A lot has been written about Pontus Euxine, as the Greeks called the Black Sea. It was admiringly described by writers and poets of the 19th century, poets also turned to this topic " silver age”, who used ancient images and motifs in their work (A. Akhmatova “By the Sea”, O. Mandelstam “Insomnia. Homer. Tight sails ...”, “Feodosia”, “Golden honey stream ...”, V. Bryusov “Crimea. Black Sea", M. Voloshin. "Cimmeria", "Cimmerian spring, "Koktebel", "Noon", "Odysseus in Cimmeria", etc., R. Ivnev. "Sevastopol", etc.). The singer of Cimmeria - M. Voloshin turned in his work not only to the image of the Black Sea, but also to the image of the Crimean steppe, combining these images-symbols into a single whole (as, for example, in the poem "Noon"). In this poem, Voloshin describes the picture of the midday Crimea not only poetically colorful (“dark gold of resins”, “blue - gray stones”), but also sonorously (“calls stalks of grass”). But if you carefully read this poem, you feel the intrigue that the poet prepares for the reader:
"Grasses of ancient graves, we have grown from stones, from dust,
To the heat from the night and darkness, to the sun, the call rose.
By noon we endured, trembling with sweet fear,
Dead secrets of the earth.
Crimea is a wise and amazing book, on the pages of which the history of many peoples and civilizations is described. The Crimean land is fraught with many secrets - archaeological, historical, mythological. Passion has not passed Crimean theme and N. S. Gumilyov, who, turning to antiquity, chose the images of ancient passionate heroes, since, as a poet and a person, he was deeply passionate.
At present, interest has been shown in the term "passionarity", developed by L. N. Gumilyov. Passionarity is now being considered with different points vision, as a trait inherent in strong, courageous personalities. Passionarity is an important theme in the work of N. Gumilyov, since for the poet it is associated with forward movement in time and space. However, the images of passionaries in the works of N. Gumilyov have not yet been studied enough. This striving forward carried Gumilyov on long journeys, the impressions of which he outlined in the African Diary:
“On April 10, on the steamer of the Dobrovolsky Fleet “Tambov”, we went to sea. Some two weeks ago, the raging and dangerous Black Sea was calm, like some kind of lake. The waves were softly heard under the pressure of the steamer, where an invisible screw was rummaging, pulsing like the heart of a working person. No foam was visible, and only a pale green malachite strip of disturbed water ran away. The dolphins rushed after the steamer in friendly flocks, now overtaking it, now lagging behind, and from time to time, as if in an unbridled fit of fun, they jumped, showing their shiny wet backs. Night came, the first on the sea, sacred. Stars not seen for a long time were burning, the water was seething more audibly. Are there really people who have never seen the sea?” .
Nikolai Stepanovich began to rave about the sea since childhood and carried this hobby through his entire short life. The heroes of the works of N. Gumilyov strive only forward - both by sea and by land - through time and space. Ancient heroes in this case are no exception.
Our task is to show the images of the passionaries of antiquity in the poet's work. In itself, the concept of "antiquity" is quite multifaceted, in the general sense the word goes back to lat. "antiquitas" - antiquity, i.e. We are talking about Greco-Roman antiquity. In the senior classes of the gymnasium, the future poet became interested in antiquity - literature, history, sculpture. It happened thanks to the lessons Greek led by I. F. Annensky, an outstanding poet and playwright, director of the gymnasium. N. Gumilyov was always interested in ancient passionaries, and their images were reflected in his work.
Antique motifs present in the work of N. Gumilyov can be distributed as follows:
1) heroic;
2) spiritual wandering;
3) mythological.
Ancient passionaries are a kind of travelers striving only forward, to some extent they are sea travelers. The striving forward, towards the unknown, the desire to conquer new lands - all this was inherent in the ancient passionaries.
The ancient poems of N. Gumilyov can be called early experiences. Antique motifs were most clearly manifested in the collections "Romantic Flowers" and "Pearls", since they reveal the images of ancient heroes of both periods. As we noted above, the theme of antiquity in the poet's work can be divided into two periods, or cycles:
1) Greek;
2) Roman.
A number of poems thoroughly emphasize the division of the theme: “The Warrior of Agamemnon”, “The Return of Odysseus” is a Greek cycle, while “To the Emperor”, “Caracalla”, “Pompeii at the Pirates”, “Founders”, “Pauzanius the Navigator”, etc. are Roman cycle. In these poems, the poet sings of the strength, courage of ancient passionaries, devotion to the idea, shows the characters of the heroes in development. So, in particular, in the poem "The Warrior of Agamemnon" we are talking about a brave warrior who dedicated his life to the Greek king, and who does not know what to do after the death of the king. The poet surprisingly accurately and subtly conveyed the thoughts and reflections of a warrior:
“The transparency of deep lakes beckons,
Looks reproachfully at dawn,
This shame is painful, this shame is painful, -
Live, having lost the king!
According to some literary critics, “... the influence of Homer’s work on Gumilyov was not limited only to the level of poetics of images and artistic techniques, but it was complex: the Homeric epic played an important role in shaping the philosophical and aesthetic worldview of the poet; Homer's heroes determined Gumilev's view of man, his fate and his life in this world. The image of the king of Ithaca, Odysseus, was unusually close to the poet, since Gumilev by nature was the same wanderer as this cunning hero of Homer's epic.
Odysseus, after his exploits in Trojan War, committed “to the music of spears”, after many years of wandering “over the horror of the abyss”, returns unbroken to his native home, single-handedly destroys the suitors who brazenly settled in his house and harassed his wife, cruelly avenges an attempt to desecrate his honor. In the Gumilev cycle of poems "The Return of Odysseus" tells about the end of Odysseus's many years of wandering and his return to his native Ithaca:
“I am a trireme with a sharp chest
I'm tormented in a mad storm,
But I will come home to my native island
With a gray storm cloud.
... Cracks opened up in the ship,
The sea is blown up by hurricanes.
The researcher of N. Gumilyov's work - E. Yu. Kulikova in the monograph “Space and its dynamic aspect in the lyrics of acmeists” writes: “Describing the wanderings of Odysseus, the poet lists all the worst that can happen to a sailor. It is almost impossible to survive this, and Gumilyov sees the wanderer who returned to Penelope not passionately missing home, but almost a legend. We think we can agree with this statement.
Homer did not depict panoramic scenes, like, say, artists of later eras. The poet built a harmonious chain of duels between individual opponents, for example, Menelaus with Paris, Ajax with Hector, etc. Unlike the Homeric epic, Gumilev's triptych dedicated to Odysseus reflects Gumilev's concept of travel. For Gumilyov, travel was more important than love for his wife and affection for his home. Therefore, Odysseus in the Gumilev cycle of poems is suspicious of female beauty and does not trust his wife.
Despite a long absence and a short stay at home, in his native Ithaca, Odysseus sets off again, but this time with his son Telemachus:
"Well, get ready to go with me,
A young man of light, my son Telemachus!..
Again we will love the enticing distance
And the golden horizon from the moon,
We will see the sacred palms again
And the open, bubbling Pontus.
By "bubbling Pontus" here, probably, we mean Pontus Euxinus - as the Greeks called the Black Sea. As you know, the Greeks not only visited, but also lived in the territory modern Crimea. N. Gumilyov's visit to Koktebel, which took place at the invitation of M. Voloshin, inspired Nikolai Stepanovich to create poems containing ancient motifs, themes and images. Many poets of the Silver Age wrote about the wanderings of Odysseus. So, for example, Osip Mandelstam very accurately reflected his impressions of the epic of Homer and a visit to Cimmeria:
"Insomnia. Homer. Tight sails.
I read the list of ships to the middle.
Moreover, the wanderings of Odysseus occupied the minds of many poets of the "Silver Age" - Gumilyov's contemporaries, for example, M. Voloshin ("Odysseus in Cimmeria").
Over time, in the "ancient" works of Gumilyov, an image was formed lyrical hero seeking to know the world, but at the same time rejecting earthly world in the name of heaven. In the "ancient" poems of N. Gumilyov of the Roman period, one can observe the main phases of the Roman ethnos: from the emergence to the fall.
Considering the ancient images of the passionaries of the Roman period, A. Dolivo-Dobrovolsky calls the Romans "a highly passionate people", Romulus and Remus - passionaries, but was it really so? We believe that this point of view of A. Dolivo-Dobrovolsky is very subjective, since the author of the theory, L. N. Gumilyov, divided passionaries into several ethnic groups:
1) passionaries;
2) cultural heroes;
3) subpassionaries.
Continuing to explore the Roman period of antiquity in the work of Gumilyov, one should first of all pay attention to the images of Romulus and Remus, the founders of Rome. The poet embodied their images in the poem "Founders". The brothers were going to build a city like the sun in a deserted area:
"Romulus and Remus went up the mountain,
The hill before them was wild and mute,
Romulus said: "There will be a city"
“The city is like the sun,” Rem replied.
"There will be a circus here," said Romulus,
Here will be our home, open to all.
"But you need to put closer to home
Grave crypts,” Rem replied.
The phrase "The city is like the sun", uttered by Rem, belongs to Campanella and is present in his work "City of the Sun".
Laconism and aphorism of the given lines are amazing. But behind the brief remarks lies the drama of the two founders of Rome. Cheerful at the beginning of Rem's phrase, they end with disturbing words, in which one feels an attempt to inspire his brother with the idea of eternal reproaches of conscience, which can be caused by family tombs erected near the house. Romulus and Remus are more cultural heroes than passionaries.
Continuing the analysis of the Roman cycle, we should note the poems "To the Emperor" and "Caracalla", which deal with the tyrant emperor. But the poet depicts this emperor by no means a tyrant:
"Emperor with an eagle's profile,
With a black curly beard,
Oh what a ruler you would be
If you weren't yourself!" .
N. S. Gumilyov reveals the image of Emperor Caracalla as a passionary. However, we have a passionary who has lost his former energy. If we adhere to the concept of passionarity of L. N. Gumilyov, then we can say that Caracalla lived in an era of a decrease in the passionarity of the Roman ethnos. In the same time main characteristic N. S. Gumilyov’s Caracalla is the “greed of dreams”, that is, the desire for accomplishments, the thirst for great deeds:
“The greed of dreams for you is tireless:
You could spread the military camp,
Throw a flame in the temple of Jerusalem,
To tame the rebellious Parthians".
In this case, we can draw an analogy: "the greed of dreams - the fatigue of dreams." “Fatigue of dreams” torments and plunges into deep sadness the lyrical hero of N. S. Gumilyov’s poem “Iambic Pentameters”. The “greed of dreams” of a passionary is opposed to the fatigue of the dreams of a person who has lost his former passionarity.
For Nikolai Gumilyov, a poet who "knows everything, can do everything" was an extraordinary ruler-passionary. Hence Gumilev's dream of "poetocracy", that is, of new role poet in society. However, some forms of poetocracy were also found in ancient society, namely among the Celts, among whom were poets-rulers (we are talking about the Celtic priests-druids).
Regarding the image of Caracalla, some literary critics have a different point of view. For example, T. S. Zorina believes that Caracalla is "... a typified, collective image of the ruler of Rome during the period of decline, and even endowed with the consciousness of a decadent aesthete of the early twentieth century ...".
Despite the fact that N. S. Gumilyov depicted the era of the decline of imperial Rome with historical accuracy, he nevertheless significantly distorted the image of the emperor himself, since, contrary to historical reality, he called the emperor “wise”. Caracalla in N. Gumilyov's poems "Caracalla" and "To the Emperor" seeks to know the eternal accomplishment of heroic deeds, and also realizes the futility and impotence of human attempts to defend their will and freedom in the fight against fate. T. S. Zorina also believes that “... his real, historical deeds - the suppression of the uprising of the Jews, the wars with the Alamanni and Hatt tribes, an attempt, like Alexander the Great, to conquer the Parthian kingdom - are given only as “dreams”, unrealized possibilities of a person who has forgotten the path of their ancestors in order to comprehend the secrets of the universe and their own souls.
I. Zakharieva emphasizes that Caracalla is a generalized image of the hero, which is distinguished by “clarity, concreteness of positions. This is a self-confident person who does not trust other people's calls, relying on his own mind, courageously moving towards the intended goal. Gumilyov's Caracalla is far from historical in that it opposes the traditional idea of the emperor as a despotic ruler. The well-known gumilev scholar V.V. Bronguleev, the author of a monograph about N. Gumilev “In the middle of the earthly wandering, considering ancient verses (“Roman period”), noted that “the verses of the Roman cycle are not so much historical as they are addressed to some abstract image of the ruler, endowed with poet with features far from reality, creating around him an aura of majesty, drama and strength. We believe that N. Gumilyov's poet is the highest embodiment of passionarity, since Nikolai Stepanovich believed that "a poet must know everything, be able to do everything." Therefore, Gumilyov portrayed Caracalla not only as a ruler, but also as a poet.
In the poem by N. S. Gumilyov “Pompey with the Pirates”, the youngest son of Pompey the Great, Sextus Pompey, is depicted. After the overthrow of his father, he continued the war against Julius Caesar with the help of runaway slaves and deserters. In the image of Sextus Pompey, the features of Julius Caesar are guessed, since the latter spent more than a month in captivity with pirates. However, in Gumilyov, the captive of the pirates behaves as befits an emperor. The poem "Pompeii at the Pirates" tells about a man with a strong character who is able to conquer others with his voice and look:
"Dear fragrances float
In the hold, where they hid in dangerous excitement
Pirates with a menacing look.
With hidden malice fear
They say, now brave, then turning pale,
And in an undertone they demand execution,
Heads of young Pompey".
In this poem, there is a characteristic for N. Gumilyov opposition of a fearless young aristocrat to a crowd of vengeful, vicious, and, of course, dangerous opponents, in this case - pirates. The pirates leave "with a menacing air" and "with hidden malice", demanding the execution of Pompey. The sophisticated reader may identify this scene with the novel Captain Blood's Odyssey by R. Sabatini and its main character, Peter Blood, since both heroes behaved courageously and heroically in similar situations. The descriptions of the images of Pompey and the pirates are filled with expressive details and realistic details, which helps to present them vividly and visibly. Both Peter Blood and Pompey can be attributed to passionaries.
Although antiquity in N. Gumilyov combines such different artistic phenomena and concepts as “heroism”, “spiritual wandering”, “earthly world”, “search for truth”, the poet managed to combine these concepts in an artistically harmonious whole. At the same time, Crimean motifs and images flow smoothly through all the poet's work, presenting antiquity in an artistically new perspective.
Literature:
1. Antiquity as a type of culture (collection of articles) // Losev A. F., Chistyakova N. A. et al. - M .: Nauka, 1988, - 336 p.
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Ancient images in art late XIX - the beginning of the 20th century The idea of antiquity as a happy "childhood of mankind" is based on the belief of the ancient Greeks in the possible perfection of man, on their love for the world and feeling it as a mystery. Antique art is permeated with a joyfully direct perception of life and a consciousness of the power of the world of nature surrounding man. Birth of Aphrodite. 5th c. BC. Temple of Nike Apteros. 5th c. BC. Temple of Athena on the island of Aegina. 5th century BC Temple of Zeus in Athens. Leohar. Apollo Belvedere. 4th c. BC. Artemis. 4th c. BC. Scopas. Pothos. Modern view of the Athenian Acropolis. “The craving for the Greek tradition passed like a wave through the art of the late 19th and early 20th centuries. Combined with a strong aversion to academism, it unexpectedly carried a reflection of some kind of Greek "authenticity". Mayol was neither a classicist nor a neoclassicist, he was original and modern, but in modern times he was the bearer of the spirit of Greek harmony. In a different way and in its own way, this was seen in Cezanne, in Matisse. We must not forget about the Russian artists, Vrubel and Serov, who resurrected the poetry of the ancient myth.” N. Dmitriev Stefan Mallarme Sea Wind Alas, the flesh is tired and the books are tired. Run, run to where the birds are drunk From the freshness of heaven and foamy water! Nothing - nor gazing gardens Will chain the soul, sprinkled with seas, Oh, dark nights! - no lamps light green On white, like a ban, untouched sheets, No girl - a wife with a child in her arms. I'm leaving! The steamer, ready to sail, Tearing off its anchors, calls to a new nature. Exhausted by the mockery of hopes, Tosca is still close to the farewell whiteness of shawls... And the masts, perhaps, send an invitation to the storms, And the wind bends them over the shipwreck Already at the bottom, without masts, far from the shores... Soul, do you hear the song of the sailors? SYMBOLISM is a literary trend of the late 19th - early 20th centuries, widely spread in Europe, and then in Russia. Representatives of symbolism - St. Mallarmé, A. Rimbaud, P. Verlaine in France, J. Rodenbach, E. Verharn, M. Maeterlinck in Belgium, R. M. Rilke, G. Von Hofmannsthal in Austria, O. Wilde in England, G. Ibsen in Norway . In Russia, symbolism is associated with the work of D. Merezhkovsky, Vyach. Ivanov, A. Bely, V. Bryusov, K. Balmont, A. Blok. Symbolism develops in the conditions of the brewing crisis of bourgeois culture, in the critical years on the eve of wars and revolutions; its representatives experience the tragedy of the individual in society with exceptional acuteness. Hence the extreme individualism of symbolism, its interest in the problem of personality. Which leads to a protest against society. No wonder the Symbolists spoke of the unknowability of the world, and Stefan Mallarmé, one of the theorists of Symbolism, declared that poetry is in the unspoken, supersensible. The art of symbolism is based on the subjective principle of creating symbols that transform "rough and poor" life into a "sweet legend" (F. Sologub). The symbols could capture the tragedy of the ruined village, and the grimaces of the capitalist city (“Hallucinating villages” and “Octopus Cities” by Verhaarn), convey a vague, but full of humanistic meaning, dream of a noble human vocation.
Antiquity (from Latin this word means "antiquity" - antiquus) is the era of two great civilizations - Ancient Greece and Rome.
Periodization of antiquity
Answering the question of what an ancient society is, you need to know in what era it existed and what periods this time was divided into.
The following periodization is generally accepted:
1. Early antiquity - the time of the birth of the Greek states.
2. Classical antiquity - the period of unity of Roman and Greek civilization.
3. Late Antiquity - the time of the collapse of the Roman Empire.
Considering the ancient society, one must take into account the fact that it is impossible to establish the exact time frame here. Greek civilization appeared before the Roman, and the Eastern existed for some time after the fall of the Western. It is believed that the era of antiquity is the time from the VIII century. BC e. according to the VI century. n. e., before the beginning of the Middle Ages.
The emergence of the first states
On the Balkan Peninsula in antiquity, there were several unsuccessful attempts to create states. It was a period of prehistory
2700-1400 BC e. - the time of the Minoan civilization. She existed in Crete and had high level development and culture. It was destroyed by a natural disaster (volcanic eruption that gave rise to a strong tsunami) and the Achaean Greeks who captured the island.
Around the 16th century BC. Mycenaean civilization arose in Greece. She dies in 1200-1100 BC. e. after the Dorians invaded. This time is also called the "Greek Dark Ages".
After the disappearance of the remains of the Mycenaean culture, the first period of antiquity begins. In time, it coincides with the end and formation of early class society.
The ancient Greek state was the primary civilization. It originates in the primitive system, and before it there was no previous experience of statehood. Therefore, ancient society experienced strong influence primitiveness. This was manifested, first of all, in the religious worldview. Man in this period was regarded as main feature antiquity - an active position in relation to the world.
Life in ancient society: structure and classes
The first Greek states developed very actively. This was facilitated by the struggle between the peasants and the nobility, when the latter tried to convert the former into debt slavery. In many other ancient civilizations, this was done, but not in the Greek. Here, the demos not only managed to defend its freedom, but also achieved some political rights. Of course, this does not mean that society in the ancient world did not know slavery. AND Ancient Greece, and subsequently Rome were
What is an ancient society and what is its structure? Main public education ancient world was a polis, or city-state. Therefore, a society has developed here that is completely different from other countries. The community was its core. Everyone occupied his position in it. It was determined by the presence of civil status. The entire population was divided into three categories: full-fledged citizens, incomplete and disenfranchised. Civil status is the main achievement of ancient society. If in other countries the population lived within the strict limits of estates, then in Greece and Rome it was more important to have the status of a citizen. He allowed the demos to take part in the management of the policy on an equal footing with the nobility.
Roman society was somewhat different from Greek and had the following structure:
2. Free farmers and artisans. Columns were included in the same category of the population.
3. Merchants.
4. Military.
5. Slave owners. Here in the first place was the senatorial estate.
Science and culture of ancient society
The first scientific knowledge was obtained in ancient times, in the states of the East. This period is called pre-scientific. In the future, these teachings were developed in ancient Greece.
The science of ancient society is the appearance of the first scientific theories, basic concepts, treatises and communities. At this time, the formation and emergence of many modern sciences.
In its development, the science of antiquity has come a long way:
1. Early stage - VII-IV centuries. BC. This is the time of natural science and philosophy. The first scientists-philosophers were mainly interested in the problems of nature, as well as in the search for the fundamental principle of all living things.
2. Hellenic stage - it is characterized by the division of a single science into separate areas: logic, mathematics, physics, medicine. This time is considered the highest flowering of ancient science. Euclid, Aristotle, Archimedes, Democritus create their great works.
3. The Roman stage - the time of the decline of ancient science. Of the most important achievements This period can be distinguished astronomy of Ptolemy.
The main success of the science of ancient times lies in the formation of separate directions, the creation of the first terminology and methods of cognition.
The philosophy of ancient society and its famous representatives
It arose in the 7th-5th centuries. BC e. in Greece and is divided into the following stages:
1. Naturphilosophy, or early classics. Philosophers of this time were primarily interested in questions of cosmology. Outstanding representatives: Thales, Pythagoras, Democritus.
2. Classics is the heyday of the time in which its most prominent representatives lived: Socrates, Plato, Euclid, Aristotle. Here, for the first time, questions of natural philosophy were replaced by an interest in the problem of good and evil, ethics.
3. Philosophy of Hellenism - at this time, the active development of philosophical thought begins under the influence of ancient Greek scientists. The most famous representatives: Seneca, Lucretius, Cicero, Plutarch. There are many directions of Epicureanism, Neoplatonism and Stoicism.
The influence of antiquity on modern culture
Ancient Greece and Rome are poetically called the cradle modern civilization. Undoubtedly, ancient society had a tremendous impact on the development of other countries and peoples. Sciences, theater, sports, comedy, drama, sculpture - not to list everything that the ancient world gave modern man. This influence is still traced in the culture, life and language of many Romanesque peoples and inhabitants of the Mediterranean region.
