I lay alone on the sand of the valley. The most ancient farmers of Dagestan

IN midday heat in the valley of Dagestan
With lead in my chest I lay motionless;
The deep wound was still smoking;
Drop by drop my blood flowed.
I lay alone on the sand of the valley;
Rock ledges crowded around,
And the sun burned their yellow tops
And it burned me - but I slept like a dead sleep.

And I dreamed of shining lights
Evening feast, in the native side.
Between young wives crowned with flowers,
There was a cheerful conversation about me.

But without entering into a cheerful conversation,
I sat there alone, thoughtfully,
And in a sad dream her young soul
God knows what she was immersed in;

And she dreamed of the valley of Dagestan;
A familiar corpse lay in that valley;
There was a smoking black wound in his chest,
And the blood flowed in a cooling stream.

Analysis of the poem “Dream” by Lermontov

The poem "Dream" (1841) is one of latest works Lermontov. Many consider it an amazing prophecy about their own fate. The poet did not hide the fact that he was consciously seeking death. This motif permeates all of his later work. The image of death, like a dream, may have been inspired by Lermontov from one of the songs of the Greben Cossacks, in whom he was interested in the Caucasus.

The author describes his death, which was a common occurrence in conditions of continuous war. Eyewitnesses claim that in military clashes Lermontov showed reckless courage and literally climbed under enemy bullets himself. The war was never able to save the poet from painful loneliness. The feeling of constant danger very soon dulled. First impressions quickly lost all their freshness and sharpness. Lermontov again felt dissatisfaction. It was intensified by reflections on the meaning of war. Most officers never thought about this; they only strived for glory and victories. A lonely romantic with lofty ideas turned out to be a stranger here too.

The author compares his death to a dead sleep. He has already said goodbye to real world, in which I never found understanding. But the poet's soul magically was able to return home. Lermontov dreams that there are still people who remember him and talk about him " funny conversation" But among all his friends and relatives, it is more important for the poet to find out about the condition of the girl with whom he was in love until the end of his life. It has not been established exactly who exactly Lermontov means, most likely V. Lopukhina. The poet believes that his death will naturally resonate in his soul mate. Despite the enormous distance, his beloved will feel his death. In the same mysterious dream, she will see the real appearance of a “familiar corpse.”

Lermontov does not specifically indicate whose bullet will end his life. He does not describe battles with enemies. Therefore, the poem “Dream” can really be regarded as a detailed prediction own death. Strange behavior the poet in a duel, when he simply raised the pistol with the muzzle up and did not even fire, his death was shrouded in a romantic aura. Even looking death in the eye, Lermontov went against all the rules and died in splendid isolation.

"Dream" ("In the midday heat in the valley of Dagestan...") "DREAM"(“In the midday heat in the valley of Dagestan...”) (1841), verse. from novelistic a plot often found in L.’s later poems (“Testament”, “Neighbor”, “Neighbour”, “Prisoner”). “The Dream” was written on behalf of a person who is on the verge of life and death, and this already largely predetermines a special ontological mystery. the mystique of Lermont. verse., this phenomenon Russian. poetry. The hero of the ballad has a dream about his own. death and in his dream - the dream of the woman he loved, who prophetically foresaw his death. And this dream is devoid of any surreal dream conventions, it is extremely clear and specific - despite the fact that its content is like poetry. overall, deeply symbolic.

Ill. S. V. Ivanova. Black watercolor. 1891.

The pervasive connection between the motives of love and death finds expression in a complex plot form, built on the principle of “generation” - one plot-psychology. a situation (the dream of a lyrical hero) gives rise to another (the dream of the woman he loves), or “investments” - the dream of one is “invested” into the dream of another; Wed not identical, but similar in “Stanzas” (“I can’t languish in my homeland”): “So, but if I don’t forget / In this [mortal. - Red.] dream of love, sad dream...” B. Eikhenbaum, exploring genre and composition. originality of “The Dream”, called its construction “mirror”: “The hero’s dream and the heroine’s dream are like two mirrors, mutually reflecting the actual destinies of each of them and returning their reflections to each other” [ Eikhenbaum(7), p. 252); as defined by V.S. Solovyov, this is a “dream in a cube.” Symbolic and composition complexity verse. contrasts with the emphasized simplicity of the poetic. stylistics, lack of metaphor. imagery: all used in verse. epithets - general poetic or neutral. But the instrumentation of the verse, internal. rhymes, assonances and alliterations (“In ldn ev n th and ar in dol And n e Yes gesta n a...le and al n e d in and and to them I...And with ln this zhgl about them and yellow tops n s and zhgl oh me n I..."), combined with anaphors and junctions, creates a complex music. drawing. Intonation and music the movement of the verse is correlated with its ring structure, which is not uncommon in lyric poetry. genres; here it receives a fundamentally new content, determined by the special logic of plot development. The first and last ring quatrains belong not to one, as usual, but to different consciousnesses: the hero (“I lay motionless”) and the heroine (“and she dreamed...”). Such a circular repetition - one person “recognizes”, recreates down to the details the death of another - conveys a special, “resolving” meaning of the tragic. verse to the plot, contained not only in death, but in the very “observation” by the hero of the ballad of his dying: “The deep wound was still smoking, / Drop by drop my blood was drained.” “Dream” does not give rise to that “chilling despair” that V. G. Belinsky spoke about in connection with L.’s later poems. If the hero of L.’s early lyrics constantly turns to the woman he loves with a prayer, a spell to preserve the posthumous memory of him - “with a demand not so much for love as for memory” - then in art. In the space of the ballad, the image of ideal love that lived in L., which turned out to be prophetic, seems to come true and is fully understood. And such love, which I experience only in the sleep of death, but managed to do so - by the power of my own. epiphany - to see the hero verse., brings the theme of death out of absolute, closed tragedy. Various assumptions have been made regarding the origin of the “Dream,” but some versions cannot be accepted due to chronological reasons. inconsistencies. Some researchers associate it with the name of V.A. Lopukhina, others - with E.P. Rostopchina; the latter, according to Eikhenbaum, is more likely. E.A. Sushkova unreasonably believed that the reason for the creation of “Dream” was the news of her intended marriage with A. A. Lopukhin: L. supposedly warned Sushkova that he would challenge her fiancé to a duel...On this occasion, he wrote the poem “Dream” ( Sushkova, With. 226). G. Gradovsky names another source - the memories of a gene. M.H. Schultz, who told L. how after the battle he lay wounded all day among the dead until he was picked up. L. Semenov suggested in verse. the influence of the folklore of the Greben Cossacks, S. Shuvalov - the lyrics of G. Heine. However, there is no doubt that it is in verse. The gloomy forebodings that possessed L. after his last departure from St. Petersburg were also reflected. The motive of the dream is about one’s own. death was developed by L. back in early lyrics, marked by an intense search for a solution to the eternal mystery of existence (cf. “Night. I”, “Death” - “Caressed by blooming dreams ...”). As A. Bezhetsky pointed out, the plot of “The Dream” was developed into verse. unknown author, which was attributed to L. The influence of “Dream” can be seen in the verse. N. P. Ogareva “In the silence of the night there is a sad chord...”. Lermont motives. poem. are repeated in the lyrics of A. Isahakyan (“Yes, I always know - there is a foreign country”). Belinsky considered “Dream” to be one of the “most significant” works. L., equally interesting “both in aesthetic and psychologically” and belonging “to the era of full development” of his talent. N. G. Chernyshevsky cites this verse. as an example of true beauty in poetry. Later interest in poetry. form of “Dream”, its aesthetic. content, to be reflected in verse. L.’s personality was especially characteristic of researchers close to symbolists: V.V. Rozanov, D.S. Merezhkovsky found in “Dream” prophetic dream L. himself, mystic. the poet's insight. Issues of composition and instrumentation of “Dream” are covered in the works of S. Shuvalov and I. Rozanov; the latter also analyzes L.'s work on the autograph. Poem. illustrated by G. G. Gagarin, S. V. Ivanov, D. N. Kardovsky, K. A. Korovin, P. Litvinenko, D. I. Mitrokhin. Set to music by more than 20 composers, incl. M. A. Balakirev, Ya. F. Prigozhy, S. N. Vasilenko, A. N. Drozdov, V. M. Ivanov-Korsunsky. From ser. 19th century “Dream” has firmly entered the folk song repertoire. On stage in 1915 Mariinsky Theater M. M. Fokin staged the ballet “Dream” (music by M. I. Glinka, script by Fokine). Autographs: Belova - GPB, Collection. handwritten L., No. 12 ( Notebook, donated by V.F. Odoevsky), l. 7 vol., draft - in the same place, l. 21-22. For the first time - “OZ”, 1843, No. 4, dept. 1, p. 183. Dated to the summer of 1841 according to the position in the notebook.

Lit.: Belinsky, vol. 7, p. 38; vol. 8, p. 94, 339; Chernyshevsky, vol. 2, p. 134; Bezhetsky A., “Dream”, “New Time”, 1891, July 15; Rozanov V., Lermont. house in Pyatigorsk, “New Time”, 1908, June 23; Lerner N., About L.’s “Dream”, ibid., June 24; Merezhkovsky D.S., M.Yu.L. Poet of superhumanity, St. Petersburg, 1909, p. 35-36; Rozanov I. (1), p. 242; Rozanov I. (3), p. 115-22, 169-70; Semenov(5), p. 136-37; Shuvalov(4), p. 269; Vinogradov G., LN, t. 43-44, p. 361-63; Eikhenbaum(12), p. 350-51; Popov(2), p. 150-53; Gerstein(8), p. 344-45; Maksimov(2), p. 101; Norets J.S., M.Yu.L. in Nar. songs and vocal creativity of Russian. composers, in collection: VI conf. (Stavrop.), p. 196; Memoirs (2), p. 285-86; Zaslavsky I. Ya., On poetic skill (from observations of the poet’s last poems). Debrecen, 1965, p. 28-31; Udodov(2), p. 169-71; Chicherin(1), p. 413; Gay N.K., The artistry of literature. Poetics. Style, M., 1975, p. 191-93.

L. M. Shchemeleva Lermontov Encyclopedia / USSR Academy of Sciences. Institute rus. lit. (Pushkin. House); Scientific-ed. Council of the publishing house "Sov. Encycl."; Ch. ed. Manuilov V. A., Editorial Board: Andronikov I. L., Bazanov V. G., Bushmin A. S., Vatsuro V. E., Zhdanov V. V., Khrapchenko M. B. - M.: Sov. Encycl., 1981

See what "Dream" is ("In the midday heat in the valley of Dagestan...")" in other dictionaries:

A (y), prev. about the heat, in the heat, in the heat, m. 1. Strong degree heat inherent in something. heated or burning and emitted by it. After the rain, the sun was so hot on the ground that moist heat was blowing through the cell window from the field, as if from a bathhouse. M. Gorky, Karamora... Small academic dictionary

TRANSLATIONS AND STUDY OF LERMONTOV IN THE LITERATURES OF THE PEOPLES OF THE USSR. The connections between L.’s creativity and the literature of the peoples of the USSR are numerous and diverse, they were implemented in different ways and were realized in individual literature, and arose in different time depending on the… … Lermontov Encyclopedia

MOTIVES of Lermontov's poetry. Motive is a stable semantic element lit. text, repeated within a number of folklore (where the motive means minimum unit plot composition) and lit. artist prod. Motive m.b. considered in the context of all creativity... ... Lermontov Encyclopedia

- (Dagestan region), Mountain country to the east parts of the North Caucasus; now Doug. ASSR. In the 40s 19th century this vast region is inhabited by Muslims. nationalities and tribes, was the stronghold of Shamil. L. visited D. in 1840. On July 17, a detachment of the general. A.V. Galafeeva... Lermontov Encyclopedia

GENRES of Lermontov's poetry. Lit. L.'s activity took place in the era of destruction and diffusion of the genre system of the 18th century, and his creative work. heritage does not always lend itself to genre classification, at the same time reflecting the search for new forms. Student lyrics L.... ... Lermontov Encyclopedia

- (1806 88), Colonel of the General Staff, member of the Caucasus. wars, later gen. major. L. met Sh., apparently, in 1840 in Stavropol. Sh.'s story about his injury during the assault in 1839. Akhulgo fortress and the state that he then experienced, served,... ... Lermontov Encyclopedia

- (nee Sushkova) daughter of Alexander Vasilyevich Sushkov and Anastasia Pavlovna, nee. book Dolgorukova, b. in Simbirsk on March 18, 1812, died on October 10, 1868. In 1838 she married the cadet Alexander Vasilyevich Khvostov, ... ... Big biographical encyclopedia

- (nee Yushkova, after her first husband Kireyevskaya; 1789 1877), friend of L.; owner of a famous Moscow lit. salon Friend and relative of V. A. Zhukovsky, mother of I. V. and P. V. Kireevsky. In the 30s and 40s. in the Elagin Kireyevsky salon (at the Red Gate)… … Lermontov Encyclopedia

- “DOMESTIC NOTES” (1839 84), a magazine, originally a collection (1818 I part, 1819 II part), founded in St. Petersburg by P. P. Svinin and published by him monthly in 1820 30. In 1839 “OZ” was renewed by A.A. Kraevsky, published monthly (in 1865... ... Lermontov Encyclopedia

- (pseud.; real name Peyo Kracholov) (1878 1914), Bulgarian. poet. He showed a deep interest in L.’s work. “His poetry,” wrote Ya., is, as it were, a more perfect confession of my own soul.” The tonality of a series of verses. I. 1900s reminds me of the lyrics... Lermontov Encyclopedia

"DREAM"(“In the midday heat in the valley of Dagestan...”) (1841), verse. from novelistic a plot often found in L.’s later poems (“Testament”, “Neighbor”, “Neighbour”, “Prisoner”). “The Dream” was written on behalf of a person who is on the verge of life and death, and this already largely predetermines a special ontological mystery. the mystique of Lermont. verse., this phenomenon Russian. poetry. The hero of the ballad has a dream about his own. death and in his dream - the dream of the woman he loved, who prophetically foresaw his death. And this dream is devoid of any surreal dream conventions, it is extremely clear and specific - despite the fact that its content is like poetry. overall, deeply symbolic.

Ill. S. V. Ivanova. Black watercolor. 1891.

The pervasive connection between the motives of love and death finds expression in a complex plot form, built on the principle of “generation” - one plot-psychology. a situation (the dream of a lyrical hero) gives rise to another (the dream of the woman he loves), or “investments” - the dream of one is “invested” into the dream of another; Wed not identical, but similar in “Stanzas” (“I can’t languish in my homeland”): “So, but if I don’t forget / In this [mortal. - Red.] dream of love, sad dream...” B. Eikhenbaum, exploring genre and composition. originality of “The Dream”, called its construction “mirror”: “The hero’s dream and the heroine’s dream are like two mirrors, mutually reflecting the actual destinies of each of them and returning their reflections to each other” [ Eikhenbaum(7), p. 252); as defined by V.S. Solovyov, this is a “dream in a cube.” Symbolic and composition complexity verse. contrasts with the emphasized simplicity of the poetic. stylistics, lack of metaphor. imagery: all used in verse. epithets - general poetic or neutral. But the instrumentation of the verse, internal. rhymes, assonances and alliterations (“In ldn ev n th and ar in dol And n e Yes gesta n a...le and al n e d in and and to them I...And with ln this zhgl about them and yellow tops n s and zhgl oh me n I..."), combined with anaphors and junctions, creates a complex music. drawing. Intonation and music the movement of the verse is correlated with its ring structure, which is not uncommon in lyric poetry. genres; here it receives a fundamentally new content, determined by the special logic of plot development. The first and last ring quatrains belong not to one, as usual, but to different consciousnesses: the hero (“I lay motionless”) and the heroine (“and she dreamed...”). Such a circular repetition - one person “recognizes”, recreates down to the details the death of another - conveys a special, “resolving” meaning of the tragic. verse to the plot, contained not only in death, but in the very “observation” by the hero of the ballad of his dying: “The deep wound was still smoking, / Drop by drop my blood was drained.” “Dream” does not give rise to that “chilling despair” that V. G. Belinsky spoke about in connection with L.’s later poems. If the hero of L.’s early lyrics constantly turns to the woman he loves with a prayer, a spell to preserve the posthumous memory of him - “with a demand not so much for love as for memory” - then in art. In the space of the ballad, the image of ideal love that lived in L., which turned out to be prophetic, seems to come true and is fully understood. And such love, which I experience only in the sleep of death, but managed to do so - by the power of my own. epiphany - to see the hero verse., brings the theme of death out of absolute, closed tragedy. Various assumptions have been made regarding the origin of the “Dream,” but some versions cannot be accepted due to chronological reasons. inconsistencies. Some researchers associate it with the name of V.A. Lopukhina, others - with E.P. Rostopchina; the latter, according to Eikhenbaum, is more likely. E.A. Sushkova unreasonably believed that the reason for the creation of “Dream” was the news of her intended marriage with A. A. Lopukhin: L. supposedly warned Sushkova that he would challenge her fiancé to a duel...On this occasion, he wrote the poem “Dream” ( Sushkova, With. 226). G. Gradovsky names another source - the memories of a gene. M.H. Schultz, who told L. how after the battle he lay wounded all day among the dead until he was picked up. L. Semenov suggested in verse. the influence of the folklore of the Greben Cossacks, S. Shuvalov - the lyrics of G. Heine. However, there is no doubt that it is in verse. The gloomy forebodings that possessed L. after his last departure from St. Petersburg were also reflected. The motive of the dream is about one’s own. death was developed by L. in his early lyrics, marked by an intense search for a solution to the eternal mystery of existence (cf. “Night. I”, “Death” - “Caressed by blooming dreams ...”). As A. Bezhetsky pointed out, the plot of “The Dream” was developed into verse. unknown author, which was attributed to L. The influence of “Dream” can be seen in the verse. N. P. Ogareva “In the silence of the night there is a sad chord...”. Lermont motives. poem. are repeated in the lyrics of A. Isahakyan (“Yes, I always know - there is a foreign country”). Belinsky considered “Dream” to be one of the “most significant” works. L., equally interesting “both aesthetically and psychologically” and belonging “to the era of full development” of his talent. N. G. Chernyshevsky cites this verse. as an example of true beauty in poetry. Later interest in poetry. form of “Dream”, its aesthetic. content, to be reflected in verse. L.’s personality was especially characteristic of researchers close to symbolists: V.V. Rozanov, D.S. Merezhkovsky found in “The Dream” a prophetic dream of L. himself, a mystic. the poet's insight. Issues of composition and instrumentation of “Dream” are covered in the works of S. Shuvalov and I. Rozanov; the latter also analyzes L.'s work on the autograph. Poem. illustrated by G. G. Gagarin, S. V. Ivanov, D. N. Kardovsky, K. A. Korovin, P. Litvinenko, D. I. Mitrokhin. Set to music by more than 20 composers, incl. M. A. Balakirev, Ya. F. Prigozhy, S. N. Vasilenko, A. N. Drozdov, V. M. Ivanov-Korsunsky. From ser. 19th century “Dream” has firmly entered the folk song repertoire. In 1915, on the stage of the Mariinsky Theater M. M. Fokin staged the ballet “The Dream” (music by M. I. Glinka, script by Fokine). Autographs: Belova - GPB, Collection. handwritten L., No. 12 (notebook donated by V.F. Odoevsky), fol. 7 vol., draft - in the same place, l. 21-22. For the first time - “OZ”, 1843, No. 4, dept. 1, p. 183. Dated to the summer of 1841 according to the position in the notebook.

- Russian pre-revolutionary name of village associations. communities semi-patriarchal-semi-feudal. type in Dagestan, preserving relates. independence from neighboring fiefdoms. owners...
Soviet historical encyclopedia
- With the weakening of the power of the Shamkhals in the XIV - XVII centuries and Persian shahs in the 17th - 18th centuries. Dagestan and Eastern Transcaucasia were divided into several separate possessions, ruled by special rulers - khans...
- With the weakening of the power of the Shamkhals in the XIV-XVII centuries and the Persian Shahs in the XVII-XVIII centuries. Dagestan and Eastern Transcaucasia were divided into several separate possessions, ruled by special rulers - khans...
encyclopedic Dictionary Brockhaus and Euphron
- a term introduced by Russian historians and ethnographers to designate associations of rural communities of a semi-patriarchal-semi-feudal type in Dagestan, which maintained independence from neighboring feudal...
Big Soviet encyclopedia
- midday...
Russian orthographic dictionary
- ...
Dictionary of antonyms
- NOON, noon and noon,...
Dictionary Ozhegova
- HALF-DAY, half-day, half-day. adj. by noon at 1 digit. Midday hour. “In the midday heat in the valley of Dagestan, with lead in my chest, I lay motionless.” Lermontov...
Ushakov's Explanatory Dictionary
- half-day adj. local 1. ratio with noun noon I, associated with it 2. Peculiar to noon, characteristic of it. 3. Happening at noon I 1...
Explanatory Dictionary by Efremova
- ...
Spelling dictionary-reference book
- ...
Word forms

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This poem was written during a difficult period for the poet: a duel, a second exile to the Caucasus. After some time has passed military service, Lermontov was left by a military doctor in Pyatigorsk for treatment. And so, when the poet’s days were already numbered, when he was tormented by fatal premonitions, and he seemed to foresee death approaching him, he writes several last poems. Such, for example, was the work “Dream”.
It does not describe biographical events from the life of Lermontov, but talks about his moods in the language of poetic images. It's like the author's look into his own destiny. But we can say with confidence that the main idea of the work was main dream author - acquisition spiritual harmony And true love.

DREAM
(In the midday heat in the valley of Dagestan)

Midday heat in the valley of Dagestan
With lead in my chest I lay motionless;
The deep wound was still smoking,
Drop by drop my blood flowed.

I lay alone on the sand of the valley;
Rock ledges crowded around,
And the sun burned their yellow peaks
And it burned me - but I slept like a dead sleep.

And I dreamed of shining lights
Evening feast in the native land.
Between young wives crowned with flowers,
There was a cheerful conversation about me.

But without entering into a cheerful conversation,
I sat there alone, thoughtfully,
And in a sad dream her young soul
God knows what she was immersed in;

And she dreamed of the valley of Dagestan;
A familiar corpse lay in that valley;
There was a smoking black wound in his chest,
And the blood flowed in a cooling stream
1841

Read by V. Maratov

Mikhail Yurievich Lermontov (October 3, 1814, Moscow - July 15, 1841, Pyatigorsk) - Russian poet, prose writer, playwright, artist. Lermontov's work, which successfully combines civil, philosophical and personal motives, responding to the urgent needs of the spiritual life of Russian society, marked a new flowering of Russian literature. It had a great influence on the most prominent Russian writers and poets of the 19th century and 20th centuries Lermontov's dramaturgy had a huge influence on the development theatrical arts. Lermontov's works received a great response in painting, theater, and cinema. His poems became a true treasure trove for opera, symphony and romance, many of them became folk songs.

The motif of sleep and oblivion in the works of M. Yu. Lermontov (based on the poem “Dream” In the works of M. Yu. Lermontov, along with the motifs of melancholy and loneliness, there are themes of sleep, oblivion as ways to escape from that hopelessness and how state of mind, which has become a sign modern poet era. Lermontov’s poem “Dream” is dedicated to an attempt to analyze the state of a person who is between life and death, to present to the reader the theme of sleep in the form of a stream of consciousness.

The work does not have a clear indication of a specific narrator: on the one hand, the narration can be told on behalf of the person having a dream, on the other hand, the role of the narrator can be a dying person who is gradually abandoned by life.

Midday heat in the valley of Dagestan
With lead in my chest I lay motionless;
The deep wound was still smoking,
Drop by drop my blood flowed.

The human condition between life and death, the test of life “in fatal moments” is characteristic of Lermontov’s work. And in this work the dream also seems to be a precursor of death, this is the so-called dream in a cube, like 3 dreams: the dream of a dying man, in it there is another dream about a girl (the next two lines of the third stanza and the fourth stanza) and the dream of the girl herself (the last stanza). All these three dreams carry the meaning of seeing or foreseeing what is happening somewhere very far away, so the dream takes on new meaning, becoming the dreams of the weary consciousness of a wounded person.

The poem “Dream” is novelistic: it contains story line feelings, actions and deeds. Everything that happens is so clearly depicted by the poet that it is difficult to draw a fine line between reality and the dream of a person sleeping in a “dead sleep.” The heroine of the work is also in reality and in a dream:

And in a sad dream her young soul
God knows what she was immersed in...

From one reality in which we see the lyrical hero, another arises, existing in parallel: this is the “valley of Dagestan”, on the one hand, and the “evening feast in the native land” on the other. The characters of these two realities, also existing in parallel, mentally maintain a connection with each other, one sees what is happening now with the other, and vice versa.

And she dreamed of the valley of Dagestan;
A familiar corpse lay in that valley,
There was a black wound in his chest, smoking,
And the blood flowed in a cooling stream.

The ring composition also helps to understand the content of the poem: the details in the first and last stanzas almost completely coincide. If in the first stanza we encounter the phrases “the blood was flowing” (meaning “barely”), “the wound was smoking”, then in the second - “the blood flowed in a cooling stream”, “the wound was smoking and turning black”. This coincidence of the worldview of the lyrical heroes allows lovers to overcome the distance.

The form of the poem allows you to get to the very essence in understanding its meaning. So, the first stanza is a description of what is happening; there is a rather unique exposition here; the second stanza introduces us to an action replete with realities: here we clearly see the area where he dies lyrical hero. Dash in last line This stanza seems to inform the reader about the action going beyond the limits of reality: the hero was “sleeping like a dead sleep.” In the third stanza there is already a dream of the hero, and the point that concludes the stanza uniquely connects the two dreams.

There is almost no sublime vocabulary in the poem; the few examples of such (“cooling”, “crowned”, “young”) create a contrast between the sublime and the concrete, dream and reality, and the detail of the description creates a very visible picture of what is happening.

This poem does not at all stand out from general concept creativity of Lermontov. On the contrary, it continues the poet’s favorite theme about the alienation of the hero, who passes away from life in splendid isolation, and only one soul feels it. The hero lies alone in the valley, in the heat, and this is another contrast: the day is a symbol of life, and the hero is already leaving it, it’s as if he no longer exists.

The poem doesn't seem to evoke any special feelings, its content is conveyed extremely dryly, without unnecessary emotionality typical lyrical work. But without words and emotions, a psychologically reliable idea of what is happening is created due to the composition of the dream “in a cube.”