Subjective realization of the theme of cognition in N. Gumilev's collection The Pillar of Fire

In the article N.S. Gumilev's poetic collection The Pillar of Fire is considered in the aspect of different models of subjective realization of the theme of cognition. The theme of cognition prevails in the collection and determines the direction of developing the themes of fate and death, and is specified in the sphere of interaction between "the subjective forms of author's consciousness expression". The perspective of interaction between the "subjects of consciousness" is determined by the author's intention, revealing the strategy of the author's individual formulating the theme of cognition. Particularly, the scheme of relations between the forms of the lyric hero and the lyric "We" is important; it uncovers the models of "presence and absence of a perspective" in the solution of the problems initiated by the development of the themes of time (fate) and death. "The dialogue of consciousnesses" is expressed in the tendency to separation of subjective forms (consciousnesses) as a positive reality in the artistic world of The Pillar of Fire and in merging the forms as a negative reality. Sovereignty of the subject (first of all, the lyric hero who is independent of "We"), synonymous with the act of cognition, gets a high value status, indicating the attempt of overcoming the universal determinism. The texts of The Pillar of Fire are analyzed according to the significance of each poem in the construction of a single plot, in the reflection about the ways of developing the ability of "inner vision", "methods" of independence. The poems "The Forest", "The Leopard", "The Persian Miniature", "The Tram that Lost its Way", "Canzonet One", "Canzonet Two", "A Baby Elephant", "Among the Gypsies", "Ol-ga", "My Readers" demonstrate different approaches to the themes of fate and death in the sphere of the lyric hero. In "Memory" the meaning of correlation between the forms of the lyric hero and the lyric "We" is expressed. The poems "The Drunk Dervish" and "Imitation of the Persian" create the context of implemented knowledge by the reference to the traditions of Sufi poetry. "The Word" and "The Sixth Sense" show the model of "epistemological insolvency" of undifferentiated collective consciousness. Dramatized "The Soul and the Body" leads to the statement of the consciousness of "Super I". The narrative poems "Bird-Girl" and "Star Horror" and also the dramatic poem "Ring" open the prospect of mastering the new "recourses of cognition" by the characters of works. Among the reasons explaining the "centripetal" character of the author's intention the existential direction of the personality concept and the ideological context of age are pointed out. The "idea of borders" contributing to the definition of "the subjective drawing" is connected with the evolution of the poet's world view, appealing to metaphysical problems (the history of the world and the history of the spirit) and to the questions of its creative realization.

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