. . 
 


   ,  ,     ,         .  ,   ;          ,     ,    ;    . ,    ,   .    90-    . ,     ,    ,        .   .





. . 



 



  



 ,2023

 , ,2023



ISBN978-5-4483-0877-2

     Ridero







 ,    ,         ,  ,    -    , , ,        .

 ,  ,  , ,     ,  ,   , -   -  , , ,  . ʠ,  ,   -  , , , .

  蠖  ;       ,  :  ໠       ..,  ,   ;     ,    . ; -   Gloomy Sunday,         .

ʠ:       , ,  ,   ,  ,     , ,   ,    ,       ; ,  ,          (, ,      ); ,  , ,   , ,     ,       , ,    ,     ,          . (,  -,    ,   ,       ,      ,  ,  .)

      ,          ,       ,   ̸      ,       , ,      .

    ,      ,      ,  ,       , ,   .

		.




 











 

  








		  ,
		,    ,
		  ,
		 
		 ,
		,
		
		

(  1994.)



 


		     
		   ,
		      
		   ;
		  ,
		 
		Ƞ    ,
		 
		   
		Π    ,
		  ,
		    
		,  .

		  젖 ,
		  
		   ,
		,   ,  ,
		 
		, 
		   ,
		  
		 ,  ,
		  ,
		 

( 2002; )



  


		 ,
		   ,
		     蠗
		  ,  ,  ,
		  
		  :
		   [1 -   (17.05.1866 01.07.1925), Erik Alfred Leslie Satie,  -,    - . 20;    ,   .],
		   ,
		  ;
		,   ,
		 
		 

(2003; )



 


		,  - :
		  ;
		   ,  :
		  ;
		-,   ,  :
		  ;
		   , :
		   ;

		  -,  ,
		  ;
		,   ,
		  ;
		-   ,
		  ;
		    ,
		   .

(2006;
 ,  . )



[2 -     .]


		  
		    ,  
		 .

		  ,
		   ,  
		  ,
		  .

		  ,
		  ,     .
		 ,
		    ?
		
		  ,
		  ,  ,
		  

		  , ,  ,
		 ,
		   ,
		,  ,  
		
		 .

(2008;
 ,  . )



   


		  ,
		  ;
		  , ,
		   .

		  ,
		   ;
		Ƞ,   , 
		,   .

		  ,
		    ;
		, ,    
		    .

		  ,
		    ;
		   
		    ;








		  ,
		 , ;
		 ,  ,  ,
		,
		,
		    .

		˸   ;
		   ,
		   ,
		 .

(012008,
 䠖 , )



 


		  .
		  ,
		   ;
		   .

		 , , .
		   ;
		  
		- .

		  .
		   ꠗ
		,  , .
		   ,
		   ,
		  .

		 ,   , 
		  ,  .
		 ,  , , ,
		  ,
		   , .

		߅   

( 2009; )



 


		    ?
		    ?
		ߠ    ,
		   ,
		     ?
		?  ? ?

		ߠ  ?
		  ,      ;
		    ,
		 ,
		Ƞ 

		     ?
		      
		ߠ     ?
		 ?
		, ? ?

		ߠ ,   ?
		   ?
		   ,
		Ƞ -,
		 ,  , ,
		-,
		 , 栗
		 

		ߠ ?..
		ߠ ,  ?
		     ?
		  ?  , , ,
		    ,
		ȅ   ,    ,
		 
		Ƞ  ?

		  
		   , , ?

(02.02.2010; )



 


/ . , 

  /


		Ƞ     
		   [3 -  ? ,  ,  - , ,      ,  , , ,      .], ,  ;
		,  , ,    ,
		  ,     , 
		[4 -   , 軠        , ,    , ,  ,      .].

		 . . , .[5 -        ! ( , ,18.1777).     ,          ,  ,   ,  ,   ,  . . .]
		 . .
		,  ,
		 .
		, , !

		Ƞ ,  ,  :
		Ƞ      ;
		  [6 - ࠖ  , ,    ࠖ ,     ,     ,   ;    ,    ,   ,     . ( ., , 13 1780).      -  , ,   -,       ,    ;   ,   , ,    .],  , 
		  ,     
		.

		 .  . Viva moderate.[7 - Viva moderate      ,  . , ( -        ), , , .-, - ,       .]
		 . .
		Ƞ,  ,
		 .
		,  !

		Ƞ ,   -,
		Ƞ ,      ,
		Ƞ  , ,   

(02.09.2010 07.09.2010;
  . )






		,   ,  ,
		   
		Ƞ  ,   .

		,  ,   ,
		    
		Ƞ  ,  -.

		, ,   ;
		  ;
		 , Π  ,
		   .

(16.09.2010; )



Ҹ


		   ,    
		  :   , , ;
		Ƞ  ;

		 , ,   ;
		     ,
		 䠖  

		 
		     ;
		    
		  .

		  ,   ,
		   ;
		  
		, ,  -  ,
		 .

(27.09.2010 03.10.2010
,  )



[8 -        2010.]


		 ,   ,
		 c  - ,
		,   ,
		  .

		 -,  ,
		  
		 .

		   
		   ;
		    ;
		    .








		  ,
		  ࠗ
		 .
		 ,   ,
		 .

		  ,
		   ࠖ  ;
		Ƞ 
		Ƞ   .[9 -   ,     , : "       ?"]

(22.12.2010 27.12.2010; Moscow)



 


		( 
		 [10 - ..           ,    ,  , ,    ,   ,   ,      ,       (,   , )  ,  , ,        .    ,          -.]
		  
		)

		  젗
		 ,     ;
		, ,   ;
		  

		
		 
		   ;
		
		 -   ;
		 ;

		 ,  ;
		    ;
		ࠖ   頖 ;
		   ;
		 .

		 堖 ,
		 
		,    ,
		    ,
		 ,  ;
		   ,
		,     
		堗
		
		 .
		 .

		젖  .
		    , 
		Ѡ   ,
		,
		 .
		Π   ,
		Π   
		Ѡ, 
		,
		,  
		  ,
		 ,
		 
		   .

		,   ,
		  
		 ,
		
		  
		    .
		  ,  
		
		  ,
		, ,
		 ,  
		 ,
		
		 .

		
		;
		 [11 -   , ,     .];

		
		;
		 ;

		
		;
		 ;

		
		;
		 .

		     堗
		   ,   ,
		 ,
		,
		,
		   ,  ,
		
		  .
		     
		  .
		(, .)

		
		    ;
		
		  ;
		  - ,
		 堗
		 .

		
		   ;
		     ;
		   
		х ,   ,    ;
		 .
		.
		Estin.[12 - Estin  (. .)]

		    , , .
		     
		   
		Π,   
		,
		    .
		
		 .

(03.02.2011 08.03.2011; )



  


		(ʠ66  
		  19391945..)

		  ,
		   Ÿ[13 -  ,             , , 89.];
		Ƞ  , :
		 
		-,  ,
		   ?

		   :
		   ,
		Ƞ    ;
		   ,
		    ;
		     .

		    
		  , ;
		  ,  [14 -    ,    ,  , ,   砫  ,          ,     .]:
		   ?
		,   ,
		 堖   .

		    ,
		 -  .

(08.05.2011; )



 


		/  90-,  XXI ,
		,    ,
		Ѡ, /

		     ,
		, ,     ;
		     ,
		    ;
		   ,
		     ;
		     ,
		  ;

		     !
		     ?!

		-,     .
		 ,
		      .
		.
		     ;
		 
		,
		     ;
		ʠ, ,
		ʠ , ,
		Ƞ, ,
		Ƞ   ,   ,
		ʠ ,
		,
		 
		.

		,  ,      .
		- ,       ,
		     ;
		      ,
		  , ,    ;
		     ,
		       ,
		,   ,
		.
		   , ,  ,
		 
		
		     ;
		ʠ ,
		, 
		Ƞ,   ,
		-, ,
		, full-life
		- .

		       ,
		     ;
		   , ,  ,
		     ;
		    ,
		     ;
		,  
		   ,
		,
		     ,
		       ,
		ʠ ,
		ʠ , ,
		ʠ ,  ,
		-, 
		,
		-,
		- .

(23.10.2011; )



[15 -   ,  , 堫 ,      ,  ,   ,   ,   , ,    ,  ,  .]


		,   ,   
		   ,
		-,,    ,
		Ƞ, ,    ,
		, ,    .

		 ,   Ÿ,
		      ,
		,   Ÿ   ,
		    
		Ƞ   .

		, ,  Ÿ   ,
		   ,   ,
		     :
		 蠖 , - .

		     ,
		      ,
		   Ÿ   ,
		     .

		Ƞ  Ÿ   ,
		     ,
		 ,  , ,
		,  ,   .

		߅ ,  ,    :
		-,  ,   
		,     ,
		       ,
		   Ÿ  ,
		 ,   ,  ,
		 ,    ,
		     ,
		    ,    ;
		    ,
		     , , :
		:  , ,   ?

(10.11.2011 06.02.2012
, )



 


		   
		   ,
		    
		    ;
		     ,
		      ,
		 ,      .

(   . )
		  ,
		   ;
		   ,
		  .

		  
		   ;
		    ,
		   !

		 ,
		  ,
		 ,
		  ;

		 ,
		  ;
		   
		   

		  
		Ƞc  ;
		   ,
		   ,

		   ,
		   
		Ѡ   ,
		  , .

(18.12.2011 24.12.2011; Moscow)






		( ,
		-
		   .)

		    : , 
		ꠖ    ,  
		 ,  ,   ,
		      .

		    .
		 ,     ;
		       ,
		    ,  .

		, ?    
		      ,
		  -  ,
		Ƞ,      ?

		, ,   !  ,
		,  , , .
		     ,
		   - .

		 ! ,    ,
		  ,   
		 , , ,    ,
		    - [16 -   ,   ,  ,        . ,        , - ,   . ,     ,          .].

(. 09.02.2012堗
.  12.07.2012)



  

(   )


		   ;
		 ,  ,
		 ,  ,
		  
		  .
		,  ? Ӡ 
		  , 
		    ;
		, ,   
		  ,  ,
		 ,  .
		Ƞ   ,
		Ѡ   
		 ; 
		 -,  
		 ,  ;
		  ,   ,
		  , -,
		  ,,
		  :  ?
		,     .
		, ,  
		    ,
		Ƞ,   
		,    
		   ;
		    ,
		Ƞ     ,
		  ,
		ȅ!,    ,
		   :
		, ,     !
		, ! , ,  ,
		  ,  ,
		    ,
		  , 

(10.12.2012, )








 -

(; ; )


		   ,
		    ,
		 젖    ,
		     .

		     ,
		     ;
		     ,
		 蠖   .

		   ;
		   
		 ,   ,
		 ,   .

(01.03.2012 03.03.2012, )



,  


		,  ,
		   ,
		   ,
		    
		   ?
		    ,
		,  ,
		   
		   
		   -,
		   ,
		ȅ  , , ?

(08.03.2012; )






		 , [17 -  ,    ;     ,    ,       ;  ,    - ,    ,  , ,  .],
		  ,
		   
		  堗
		  
		  .

		  ,
		 ,
		Ƞ  
		Π ,
		 , 
		  ;
		,   젗
		  .

		,  ,
		  , ,
		 , 
		, :
		 ,
		  ,
		  젗
		  .

		   ,
		 ,
		  ,
		  
		   ,
		   ,
		  
		  .

		 ,
		  ,
		 
		  ;
		   ,
		ꠖ   ,
		Ƞ 
		  .

		 , ,
		  ,
		   
		  堗
		  
		  .

(19.05.2012 23.05.2012; Moscow)



  


		  
		 ,  .
		   
		,  ;
		 , , 
		Ƞ , ,
		   .
		  ,
		, ,    .

(25.05.2009 25.06.2012.
.  , .  )



 


		/ Ÿ - 
		..-[18 -   - (1768 1803),         , ,   , , ,        .   ,   17      ..; 1798,   ,      ; ,   ,  20  .      ,         , , , , .              . (砫    ..).]
		/

		  , ;
		, , ?
		,  
		,  ,   :
		   [19 -  1860-   (1960 .  )    ,   ,    -   .        - .       ,        ,  ,   , ,      .];
		, ,  .
		   , true artistess,
		  ;
		,  ;
		  堖   
		 ,  ;
		, ,  

		 ,   ,
		    ,
		 ,  ,  ,
		    ;
		  , [20 -   ..,  , , ; ,  ,  ,   .        (   , 頖          ,     ) ... (  ),    .],
		  ;
		    
		 [21 -   ,   (17731863) -   ,     ..,      , ,  ,       ,    .],     ;

		  ,  
		   ;
		   [22 -    ,    ,   ,    ,    , , -  ,     .],  
		    .
		  ,  
		    ,
		Ƞ    
		Π  .

		  , ;
		, , ?
		,  
		,  ,   :
		   ;
		,   .

(20.06.2012 03.07.2012;
   . , )






		 , , ,  ,
		   :
		- , ,
		 ,   , 

(20.11.2012 )



 


/   ø/


		,  ,
		   , .
		  ,
		  .

		 ,  ,
		,  .
		   ,
		  .








		,   , ;
		 , ࠖ   .
		 ,   ;
		    .

		    , ,
		    ;
		    :
		ࠖ   .

		! ,   ,
		  ?
		, ,
		 !
		,   
		   ,
		  ?!

		, 
		    .

(12.02.2013; )






		,  ![23 -          ,     .]
		   ;
		  .

		   ,
		 ;
		,  ,
		  .

		:
		   ,
		:
		 ,  
		  .

		    ,
		Ƞ   ,
		Ƞ  ,  ,
		Ƞ  .

		   ,
		 ,
		   .

		   ,
		 ?
		    .

(01.07.2013 08.07.2013;
   . )



    [24 - .  (,      )   ,  -     , ,     - . (,    - - ,  ,     .) ,        ,   ;       , , , , ,      ]







		  ,
		   
		, ,  ;
		    
		   ,
		Ƞ   ,
		Ƞ  that with my light[25 - :  .  (, , 砫 )   ,  , ..    ࠫ, 堫,       ; [that] not [tht].  , ,  ,  ,  - ;  , ,     ,  ,   ,  (   ).].
		 ,   ,
		     
		ʠ,    !
		    
		,   ,
		     !
		  !    
		    
		 , ,  ;
		   ,   ,
		Ƞ   that ofthe start.

(23.07.2013
 ,  . )



 


		,   ,   !
		   ,
		   
		     ?

		, !  -, ,
		   ;
		,   
		    !

		,      ,
		    :
		     ,
		  ,   .

		     ;
		  ,   .

(18.08.2013 ;  ..)



ʠ450- 


(  )

		 ,
		  
		   [26 -           ;        ,      19,   (Leigh Hunt);          ,          1820., ,   .],
		  [27 -   ꠖ      ,      ,  ,     .]
		  ,
		Ƞ , 
		Π   
		 ![28 -    ,  .]
		   ,
		  [29 -  -   . ,    ; ,     ..    .]
		 
		  :
		   .

		   !
		    
		    ;
		  :
		  :
		  ,
		  ,
		  ,
		  ,
		,   ,  
		 ,
		Ƞ  .
		(, , ?)

		, !
		 [30 - ʠ  ,     146,   -  /the centre ofmy sinful earth/;  ,   ,Ƞ, ,  .     . (.., 2006)],
		    ,
		    , 
		Ƞ  ;
		  ,
		   .

		     ,
		 ,     !

(01.04.2014 09.04.2014; )



 




   ,        , , ,  . ,    , -  ,       , ,   -  , ,  ,      . ,             ,  ,  ,     ,       ,      .       ,     . , ,     ,   ,   ,   ,       .  , 堖 ;   ; ,  ,    ,   ,  ߠ  ,     , , ,  ,          , , , , ,   ,             ,  ,    ,              -   -    . ,  ࠖ      (,   - - ) , ,  ,        ;  ,    ,        . ,          -  .

		젖     :
		  ,
		  ,   ;
		,    ,
		     
		   ,
		     .
		    ,
		    ,
		  ,   
		Ƞ   .
		   
		    
		 c  , ,  
		 ,   , .

		,        :
		   ,  , [31 -     ,     ,      .  ,       :     , ,    ,  , .,  . , ,        ,       ;     ࠖ   , ,    ,     ,    ,   ;],
		 [32 -   ,   ⠖   , ,  ,        , ,      - ,      ; , ,    ,     , , ,    :],   [33 -   ,   ;     , ,  ,   :   -     , ,     ,     -;    ,   ,     ,   -; ,           ;],
		,  ,  ,
		   ;
		 ,   [34 -    , ,     ,    , , ,    ;  ,        :    , ,    , ..  ,     ,           ;  ,     , ,  -      ࠫ ,     -    ;],
		     
		ʠ    ,
		  , ,
		Ƞ:      ;
		     ,
		    ,
		     ,
		Ƞ    
		    , .
		     ,
		     ,
		,     
		  ;
		     
		      .
		      [35 -       ,    ,  ,              ,     , ,          ; ,     -, ,    ;  ,      ,      - ,         ;   , ,       ,      ;  ,       ,  ,  -,     -     : ,    ,  ,      ,    ,        ,       , , ,  ,           ;],
		Ƞ    ,
		  , , ,  
		    ;
		     
		    
		ʠ,   , ,
		 ,  ,  .
		    ,
		 , ,  ;
		       ,
		 ,   ,  [36 - ,     蠫     , , ,     ,      .. , .. ,    :      ,  ()   ()  ,  ,     ,     ,    ,    ,       -; , , ,  ,  ,         ;     ,    , ,   ,  ,  ,    .],
		,    - .
		    , 
		,  ,   .
		    
		  
		   .
		  , ,  
		   -.

(19.04.2014 28.04.2014; )



 


/ʠ   1  /


		,    ?
		    ,
		,   ,
		   ,
		   -
		   .
		,   ,
		 ?  
		   ?
		  -,
		 ;   
		,  ,   ;
		   ;
		,    !
		   :
		  !
		  !
		, , ,  !
		-. 
		   
		   :  ,
		,   ,
		Ƞ ,   ;
		 , - !
		,  ׸,  ![37 - ׸ 껠  - . ;     . ;       1 ,     ,  ,  ,        ; ,   ,  ,     , , ,   ,  ,  ,    -  , .  . ,    ,  ,     ,     20.]
		  [38 -  ,  ,      ;  ,  ,     -     :   (-, )       , , ,  ], 
		   ,  -
		? , 蠖 
		Ƞ    [39 -     ;   10 ;  ,      ࠖ ,      ;       ;],
		Ƞ [40 - ,  ,    ;]
		  ,
		Ƞ  
		 ,  .
		, ,     ,
		,  ;
		Ƞ젖  ,   ,
		 ,   .
		  .








		, ,  

(8,   2-, ;
yet unfinished)



  


		/...
		   /

		   
		 ,   ;

		 ,  ,
		   ;

		The note ofhistory, 
		 ,   ,

		Ƞ  , 
		 ,   .

		Ƞ 堖  ,
		   ;

		Ƞ 堖  
		   Ÿ ;

		C    ,
		    !

		   
		       !

(06.06.2014 09.06.2014;   . )



 

, 


		,  ,
		, ,  ,
		Ƞ:    ;
		   ,
		Ƞ?   ,
		   ,
		 , ,  砗
		, -.
		 ?   ;
		  :   !
		    !
		     .
		, 栖 ? ! , - ,
		    ,
		Ƞ ,  ;
		Ƞ   

		    ;
		   堖  
		?  , :
		,  .

( 2014 11.10.2014; )



 


		, [41 -       .   , -  . ,   ,     () ,      , ,   (,   ,     ,    ,    ),      :    ,     ,      . ( ,     ,   ,    -.) ,   ,        ,     ,   . -  (  !)] ,
		 , !
		,   
		Ƞ   .

		   ,
		   !
		   ,
		  .

		 .  ,
		  ,
		  ,
		  .

		! ! ! !
		   ;
		  ,
		Ѡ   .

		  !
		 
		, ,   ,
		   .

(08.08.2014 10.08.2014
  . )



  


		  
		  ,
		  ?
		  ?

		- ,
		 !
		 ?
		 ?

		  
		- ;
		 ,
		 

		,
		
		 ,
		 ;
		,
		

		 ;
		 ;
		  ?
		  ?

		, 
		,   ;
		,   ;
		 
		    .

		  
		  .
		  ?
		  ?

(. . 2014, ࠗ
26.08. 2015; )











		 , ;
		 , ;
		 , ;
		  .

		 , ;
		 , ;
		  
		   .

		  ;
		C  ?
		  ;
		  ,  

(14.10.2014 17.10.2014;
  . )



 







( )

		 
		- 
		,  ,
		  
		  
		  
		 ;  
		  ,
		   
		  :
		  [42 -     ,  ;     ,  ,     ,   ()   -   .],
		 [43 - ʠ, , ,     ;      , ; ,       ,    -  .]: 
		?  ? , ?
		   
		 ;  
		  
		    
		 , ࠫC
		    ,
		 ,   ,
		 ;  
		  ,  
		   
		Ƞ,  
		  
		Π, , ,  .[44 - Christos . -.  ,  ; , ,    ,      ,    , ,       ,    ,   .]

(07.01.2014 12.01.2014
  . )






		   ,
		   ;
		 ,  [45 - ..  :  .   셻], ,
		   .

		 ,
		    ,
		,   ,
		,    .

		  
		 ,   ;
		    ,
		    ,  .

		     ,
		   ;
		   ,
		   .

		      ,
		  ,  ;
		   ,
		     .

(06.02.2015 10.02.2015; )



 


		(1 , )

		  :   
		,  ,  ,
		  ,  ;
		Ƞ  ,  ,
		 [46 -  (,  )      .],   ,
		Ƞ  ;
		  , ;
		    ,
		   ;
		,   ,
		   , ,
		 ,   

		(2 )

		  :   
		,  ,  ,
		  ,  ;
		Ƞ  ,  ,
		 ,   ,
		Ƞ  ;
		  , ;
		    ,
		   ,
		 ;  
		 ,   
		  ,
		,   [47 -  :   ,    ,  ,   ,          , , ,    ,        ,  ,  ,    ,   .    ,    ,    13,    , ,  ,     .       , .    ,        - - ,  ,    ,  ,     ,   ,   . (. )], 
		 ,   

(13.03.2015 17.03.2015;
  . )



, 

( )


		/..,
		   ,
		  2015/

		,     ;
		 ,   
		 ,   ,
		,  
		     ,
		  ,  ,
		   ,   .[48 -       ,      ,      ,        ;      .]

(24.03.2015; )



  ,  


		(-  . 
		  )

		  ,
		Ƞ  ?
		Ƞ    ,
		  ?

		 ,    ?
		 ,    ?
		   
		    !

		  ! , :
		   ,   ;
		 , - ,
		  ,    .

(05.04.2015 10.04.2015; )



   ,  750  

(TrES2b; Trespass tobe?)







		 .  Ÿ,  堗
		   ,
		  .

		   ,
		    ,
		    
		 .

		,  ,
		 ,  ,  ;
		,   ,
		   
		; 
		 .

		,  ,
		   ;
		    :
		  ,
		    ,
		     ;
		ʠ ,    :
		   ,
		, ,  
		;

		.
		 ,  .

		      
		 , ,
		 ,  [49 - AFTERWORDS:     750-   . ( ,        8-  , 8-  ?)  ,    , ,   ,   ,   ,     , , ,     ,   ,     ,   ,   : ,  , ,         .    , , :   ,  750 , , 750 ;         : - 2011., TrES2b, ,    ,  ,    ;  ,             ,  ,   ,     , ..     ,   ,    ;    (   , ,  ,     ,         ) ,          . ,   ,  , , ,   ,   TrES2b,         ; ,       :     (. .).   ,   , ,        ,  ;  . .    .       (,  . ,        ,    , , ,   )     ,    蠖   ; ,   ,     .  ,    ,  ,    ,          .        ,           : .., , ,   .    . (:     ?  ?)..]

(23.05.2015 02.06.2015;   . )



    

(   )


		/  . [50 -      ,   (divine, divinism, .),       ,         ; ߠ      ,       -,            ,  ,  , ,  ,             . , ,    , .        .],
		  -, , , 
		.  . /

		     ,
		   
		 ,    :
		, , , ,
		   ; ,
		    ;
		    ,  砗
		    ;
		Ƞ   -
		   , 
		  , 
		    , , ,
		Ƞ ,   ;
		   ,
		     .

(04.06.2014 06.06.2015;   . )



 

  


		/  
		  . /

		   ?
		Ƞ   ,
		    ?
		,   .

		. Ѡ , 
		  ,  
		  , 
		  ,   ?

		  
		  ࠖ ,
		   ;
		    ?

		  ,   ?
		   ?
		  , ,
		 ,    .

		  -,   !
		  , 
		   ,
		   .

		 , ;
		ʠ-    .

(17.06.2015 27.06.2015)
  . )



  


		  , ,
		Ƞ   ;
		   ,
		Ƞ  ,
		    ,
		Ƞ    ;

		  ,
		    ;
		    ,
		     ,
		  ,
		   -.

		;  ;
		 ;  ;
		  ,  ;
		 , ,  ,
		   ,
		Ѡ    .

		  ?  ,
		Ƞ   ,
		   ;
		Ƞ -, ,
		 , ,  ,
		  -.

(11.09.2015 19.09.2015; )



  


		   ,
		   ,
		,    ,
		   ; ,
		 ,   -
		Ƞ    ;
		  ,  ,
		 ,  ;
		    ,
		 , ;
		  , 
		 ,  
		 ,  ?
		Ƞ   ,
		  ,    ,
		   ,  .

(. 1    04.10.2015; )



  


		  ,
		Ƞ,  ,  ;
		   ,
		 , , .

		   ;
		 ,   ;
		  ,   ,
		   .

		,    ;
		 !   ,
		     ;
		    .

(24.10.2015 31.10.2015, )



    , Acte deFoi[51 - [Acte de] Foi      ,  ,   . II (. .),  ,     ,  (, ,   ) .  ,  . Foi, ,  ; , ,  . II,  ,    ,    acte de foi ( , ),   , , ,         (, ࠖ   . ). ,   ,   : profession de foi, .., , ,   , ,  ,    ,   , ,  , ,   , .]

(   .)


		 ,
		 
		ʠ  , The Secrets ofMdm Breuss.

		I.

		    [1],?
		  [2], ,   ?
		 [3]蠖  ?  
		 ,    ,
		    
		  , !   ,
		,    ,
		,    -[52 - Jacob Daniel Bruce,     ,  -  ,     ,      (  ,          , ).       ,  ,       ,  ( ,  ,   ,    )    ,    --, 젖  .     , , ,    ,  , ,     ø ,      .]: :
		  ,  [4],
		    ,
		  ,
		  ,  
		 ,    
		 ,     
		   ? 
		Ҹ [5] ,   ,
		  [6]   [7],
		      ;
		,  . !  :
		   ,
		   [8]  ;
		   [9],
		Ƞ [10] ,  [53 -  ,  ,   , ;      ,   ,  ,  ø,    1816/17.,   , , -, ,  -   (1816),   젖    ; ,    , 1816., ,    ,   - ( , -),      -...-- (., The Secrets ofMdm Bruce. ),    -,  ,  ,  ,     ,       ,  ,      -  ⠫   , -,  ,   .] ,
		 ; 
		,  , ,
		  , [11] 
		  ,   ,
		,   ,
		  ; ,
		    ,
		  .
		  ; 
		  [12]  ,
		   , -
		  [54 -   ,  ,        ø, ,   , , ,         ࠖ , ,  ,   ,    , ,    . (  -     ,        ;  , -  .)   ? : ,          ,  , ,  ;        .1, ,   ,       ;  ,     - .];   
		 , 
		  .
		! [13] ! 堖 , ,
		  ;   ,
		   [14] 
		 ?  ,  ?

04.11.2015 22.11.2015;   . .
		***  ***  ***

   :   [*] , ,     ,       ..; , [55 - . .197],      .




 English Verses[56 -           , . . 207.]





Child ofHumanAges


/Tomy dear son Daniel Wolanski/


		Why tis so, that the child loves tohear the singings,
		Child inthe age ofone-day?
		Why tis so, this animal likes tolisten the stories,
		Yet never stepped inthe age ofthe Brain?
		Not inthe age ofthe Theatre, he makes all grimases,
		Never learnt there laughter or fright;
		He plays eyes, such, as if hes inthe age ofTruth even;
		And, far from the age ofthe Judge, he cries.

		Never felt yet inthe age ofthe Doubt there,
		He gives himself tothe looks ofall-leaned heads;
		Why tis so? Not inthe age ofRevengeyet,
		This babe waves against the lie offalse breaths.

		Look, not inthe age ofall-tormented Passion,
		He pulls his arms into invisible Far Space;
		And, yet neer reached the age ofWisdom or Fashion,
		This being wins upon Sadness with one even gaze.

		He heeds to As if inthe age ofNew Legend
		Dear friend, dont you know, where this nostalgie from?
		An infant cant see, but awakes tonew sights and the senses,
		So irrevitably lives inus, through each age, ineach form

(03.01.2011; Moscow)



The Magnetism ofPoesy


		Truth: is that inthe sudden thought,
		That life goes earthlyby?
		Irather dream that poesy
		Is magnetism attracts tomorrows light.

(06.08.2013 dacha)



On the theme philosophical, me-called the Funeral ofWar[57 - The idea ofthis theme, startingly, appeared as akind ofpoetic response tothat message ofPeace, which stays forever kept forus within the works ofanoble (and most perspicaious, this way) English poet P.B.Shelley. Nothing can be more provocative and more agitating for his intellectual reader, and thats, tosay, toall the further thinking upon this sort oftruths, questions and possibly practical answers, than that laconic wisdom, expressed, for ex., inhis upper cosmopolitan Gella, like that inthe wisest words ofhis Ahasuerus, talking on final mutability ofHumane, or that inthe last two strophes ofthe Chorus, bythe end ofthe poem, where: The world is weary ofits past,Oh might it die or rest at last! At least, any rationalist, who will take this theme seriously, bymeans ofbringing it closer tothe proper philosophical matters, or, rather tosay, tothe proper philosophical way ofthinking, could never escape that very naturally rising question, which, after all the romantic desires and wishes, simply, is the question ofall the mature, unabstractive hows. The allegory, (highly-human allegory, hurray!), much deserves and, therefore, has tobe improved, unveiled inthings and actions; inthinking that ofhow tragically, still, the whole modern world and its society is rapt byall syndromes ofthe post-war egotisms, ofhow much, still, the ethical attitude tocelebrating the End ofConflict yet performs but the potential willingness tostart the new one, then, Iwas, especially, consciously driven todevelop this theme, rather, inthe manner ofproper objectivization and dis-chimerization; and that is how, even against all the Platos warnings for inexorable escaping ofdealing with poesy inphilosophy, this particular product ofmy thought and vision was, finally, created.]

Socraticpoem


		1.
		Astrangest ghost awitness ofthe me,
		Prophetic, from the spheres ofdeadly peace
		Arose right front ofmy spontaneous gaze;
		The things 'bout passed war were inhis words;
		How shall we bury it? heve asked, andI
		Felt inthe certain pause, and Isaw
		The vision ofunquiet macrocosm.

		How shall we bury it? Should be there tomb?
		Should be that sad? Iread your thinker mood;
		Cause it is, firstly, sad torealize
		What sort ofgroan it brings toresolute
		Its memory to-come. Thought toforegone.
		Thats it: weve got tobury it. Although,
		The joy ofmaking it, deliberatejoy,
		Like common ease, could morally confuse
		That half ofworld ofcitizens, whose pride
		Relates toall the dear facts ofnoble loss;
		Thunsatisfied dramaticism oppose
		Tothe unseriousity frivolous,
		And thats to-war? Suppose, tocount onboth
		Effects will do the whole ofworldly truth
		Like inthe time ofgladiators youth?
		Oh, no! Although twas the performance
		Ofthe pra-ethos ofno-foe. Their battles,
		Staged, were toexpress quite certain morals:
		Rome used togive toHistory achance
		Torehabilitate inlooser avictor.
		But that is rather tocelebrity
		Not tothe all-repose ofWar! Times gone?
		Ukrain youve mentioned, the modernity
		Ofpublic claw bythat? What we dont want.
		And, as Istayed quite dumb; he: Not wewant
		Tothink the War; we bury it. Ourwar
		Is over, theres no other war. At all?
		For you toget: the War is not discrete;
		Its being is ofthe matters different?
		Me-think, its constitution is permanent.
		And what we bury here had its proud end.
		Well, Yes Isaid. So, what weve meant,
		That must be like, what foe thinks as friend,
		Cause, not afoe any more, refused
		Heve been tobear the woe. And what is it?
		Compare toth ended, twill have no end. Weird
		Yes, tmust be like what CAn be repeated,
		Each time with freer memory replayed.
		GOOD memory? Thought smiles, well-comprehend!
		New memory ofThe War-Burial event.
		If that mysterious festivity
		Like Carny greatly-mad supposed tobe,
		Then only thought bout it is ofthe
		Mystery,the secret there,very thing
		Within the Theme, you understand? Indeed
		That must inherit the Competity
		As part offreeing Act, and all theArt,
		All sort of, suiting tofair Ritual
		Undoubtedly. And, so, the question still:
		What is that main intrigue, the Carnys riddle,
		Point ofthe Mystery? As you cansee,
		Just on the usual wing, like that inSpain[58 - The foolish characters ofmoors, time ago, the bloodiest foes, are the part ofSpanish carnival ofToday.],
		Witht secret motive, it will be quite vain,
		Imean, vain for the Whole-Wars burial theme.
		If you can tell me just one thing, he said,
		Though it was shining our words between:
		Please, can we ever tell, on thousand percent,
		On newer way ofthought, who is the friend
		And whos foe-nO-more ofthe End, you know?
		No. We cant tell this from the start, at least.
		Oh, thinkers bliss! The question thansweris.
		Thats first ofsecrets who for whom there is.
		His face expressed quite aunique grimace.
		And like that wouldve been the Light blessus
		Toplay aconversation more likefun,
		The irony inwords has come, and things.
		Your Fonomore! Ilaughed, child ofthe dreams,
		Exclusively created son bycleverword
		Oflingua-hooligan, done just like this!
		Out ofyour ghostly head! Feast jealous?
		Zealous dead? Fantastic personages that!
		Toimagine, hes out ofthe dark;
		Miraculous cloak all covers him;
		Surrounded byothers, harlequins
		And fools, and many abeings unseen,
		He moves like psychedelic king, and hymns
		The harmless See ofSin But listen; see
		Ghost looked at me, those funny fools you mean;
		What are the fools? Are they as same, ashim?
		Or they appeared all from gnosticwomb
		Ofthe Unfathomable Lots magazine,
		With very news ofthat the War we think
		Existed on this Earth yet have neer been?
		What aJew Shestov[59 - Russian philosopher Leo Shestov. (1866 1938) Inhis works, especially inhis book Athens and Jerusalem, once again inthe history ofphilosophical thought, nihilistically, he tried toargue for that very unpopular idea, which tellsus that Socratus was never poisoned the thought unbearable for the most ofphilosophers ofLogos.] could ve dreamngly seen,
		Or like that Mister Happy History
		No-Holocaust-no-Auschwitz Doc[60 - The image Doc, me-used inthese lines, do not characterize especially the one only person; however, from the big group ofso-called Holocaust deniers, the names ofD. Hoggan, A.J.Mayer and other writers, especially those who address their thoughts toauthority ofprofessorships inthe world offundamental sciences, are darken-starred, still we think, simply as the names ofanti-deductivists inthe history.] brings
		Loud as the facts against the hissed story
		Ofthe gas times limitlessly horrid,
		As if true Nazis records was ajoke:
		No hair, no bones no kameras, no films;
		There was no Human shock, but just adream!
		That schism changed Peace ofClock achildish dream,
		No more than just alittle spoilt seemed The flock
		Ofthoughts. Ive took alead, No, we cantdo
		So that the things, we look at, will be like
		Oh, no. We do we bury thendedWar;
		If thats apseudo type, the End weve thought
		Should be alas!twill be like the War start!
		The fools are.., though But-the-But gigged their times
		Just look: tobe no more the foes, ghost smiled;
		Theyre not the friends yet, ist all right? And so
		The some could really be the Endsome foe.
		Or called as thendful as one full ofEnd;
		The End-fool foe great! aname suites one at all!
		What if thats Mr War Crime out ofmanhole?
		Ifelt, Icant provoke not. Kindly joke.
		He answered. Well, it can be so; fears choked.
		Let him be dressed all, let him swing and walk,
		And let the mystery works: wheres his friend?
		Has he afriend? Though, there must be the friends,
		But does he know them? Or do they knowhim?
		Infact, thats, mostly, up torole offools
		Tobe asort ofmessengers within
		The Project. And, even though Iwouldsee
		Inlight ofmy own logic that example
		Ofthe last be better idol not alive,
		But anyway, ingeneral, fools task,
		Tothat we find them being offoe type,
		Toact that way the friends could be found right.
		Dilemma is: whos first towitness there
		For the others side? he wisely sighed. Wild
		Is the sight ingames ofdoubling mind;dim
		Is the truth ofdarker dream for unforeseen
		What have you done tomy thought blind? Me-seem,
		Its getting toabsorb The vanity?
		Good joke! twas aghosts singing. (Clarity,
		Oh, clarity! Fool is your reality!)
		Exotic dispute we are bringing thus;
		Yes, tmakes me wonder clever words ofyours:
		Todo that th Carnys eidos[61 - Eidos idea (inold Greek).] will be just,
		(What should be the Wars Funeral, repose,)
		Todo so we should humanize the pride
		Infool, the foes pride, but inthe name of
		All the good, youre right. Is there any doubt?
		He asked critically. Adoubt Isany
		There as such, socratically, the thing bout,
		Like that thought, like that of Mister Hitler,
		Gorgeously who could be seen afigure
		OfWorld Pacifism, main antifascist,
		Consciously who bury all-war passions,
		Full ofanti-dominativism, love?
		InHaides we, the ghosts, heard from above
		Once there came tous titanic melos
		And voice ofhippyistic hooligan
		Sang: Twenty first century schitzoid man.[62 - All you must have known that very popular rock-song from the end of60s, played byKing Crimson the band, with P.Sinfields lyric.]
		Ifelt hes rather teasing me. No, please,
		Tell seriously. Iknow, its afun
		For you tomake the earthly jokes onme
		Full ofthe crying logic for so done,
		But What higher-strophically been mentioned,
		All should be. No aught ofdifferentwe
		Pointed here than that hes afool, agree?
		Afool abeing free Mad thoughts dimension
		Lucky we, that whole our Great Carny
		Not bythe only fools there filled will be!
		Exactly! How wise tosee: more foeshe
		Like more fool hes carnyshly. Already,
		What the images here comes tome! Tobe
		For not tobe strange there Lenin, Stalin,
		Utopically all-surprising Thekey,
		However Key! tonotions were rising
		Whats that meaning? Such the humanizing,
		Weve discussed, what really do inpractice?
		Him Iasked. The grave. He shortly answered.
		(Oh, Mans thought ThImaginarys dancer!)
		No need ofthe reasking glance. Youvegot:
		The Carnys purport is tobury known-what;
		Thats how the grave. Do you remembernot
		What was the dispute start? And then Ive heard
		Again that ofthe tomb inside my mind,
		(Should be there tomb?[63 - See the line89.]) and once again ofthat
		What sad way off could be the joyous laugh.
		However, Ifind now its enough
		Oftalking for tonight; well do next time.
		Wherere you going? Me-seen, he moved back.
		Wine ist too earthly luck. Before the dark,
		Im going tohave cicuta[64 - The poison ofwater hemlock (Cicuta Verosa) was the favorite type ofthe human-killing poisons before the era ofmodern cyanide (potassium cyanide) was started. As you all well know, Socratus was cruelly served with it inhis prison] now
		The drink all-philosophiest! Your wow!
		No! He lifted up his nowhere-fromcup,
		And, smiling sage, he hadlle[65 - This word haddle simply came out as aproduct ofmixing apostrophic spelling between the words: had-it-all = haddle. Not that Imentioned afigure ofghost could ever be as like that vulgarly person from commonhood, who after the certain cup ofsafety & relaxation, inthe certain moment and inthe certain manner, would have cry: Oh! Its just ahaddle-waddle!; whether, me-think, this new-made word quite ironically points the character ofaction and the used jester closely toalive context ofhere-described situation within the poem.] inone gulp,
		And, like that inthe strange cartoon, turned green,
		Turned blue then, and so soon all-disappeared.

		All, so spontaneously! No, Iwasnt feared
		Neither Iwas satisfied; timelessly,
		Seem, alast question ofthe Theme weve tried,
		Was keeping alchemize my loaded mind,
		And the effect was felt like limbo thought
		Grotesquely-dissolved inmount ofsights
		Ofall subsequently awaken fancies.
		It was all coming up from stranger words
		Made wilder dancing ofthe scene-to-world.
		The Provocation how fast was rising
		From the back-imagined talk. That bout tomb,
		That bout dead, that bout doom and light;
		As if these Two, sane-eyed, sat there, side toside,
		At their philosophic table ofthe Time,
		Whilst all around, full ofcommon cries
		From yet tonight, the witnesses ofour insight,
		Beings too-voluntarous, rose tounite
		And all got closer, and acted there blind,
		And some were just tofight then. All images,
		All characters tofind Dude Fonomore,
		With others, fans ofEnd, Satirehood,and
		Madder-looking creature broke the hand, then,
		Ofthe Dead Walls Clock, and picture changedall.
		And all, so suddenly, went tobehold:
		Oh, that was news unique! that openedwide,
		That newly-viewed field there was; that hugely
		Laid all oer there corpse. Bigger than house.
		Much bigger than the airplane or gardens
		Some, the Corpse ofWar, dread on thesun.
		And twas all full ofmoving! life, not life,
		What could Icall it like? The crawls, all sounds,
		Those all expressions, parasitic mess,
		All from inside came out; ants not ants,
		Not so the worms, but looked like flags and guns,
		Intones and tints, materialized moods
		Ofthings inshape, inshade, dead sentiments.

		The threats ofvision stopped, view lost itsends
		Dissolved inshouts for the needed Grave
		That time, when my stressed psyche invoked again
		Back tomy consciousness, that for methen
		Tobe ahere-man. And here Iam. Think,
		Else, what Ican say is that, when my old mind,
		Impressed alot, went wondering alone
		Ofthat if ever could be right togrow
		Our seductive Carnys theme at all,
		If eer wed find away tobury doubts
		(Oh, what awisest thought!) bout Death ofWar,
		So it cant rise again, per rotten chance;
		Tothis, Ifelt, however, but anerve
		OfHuman inspiration, dreamingthen
		Ofsage and dispute tobe back again.

(08.05.2014, Moscow
01.08.2014, dacha
byS. Posad)



The RedWood


		The sun ofthis Spring awokeme,
		With the Voice from the Sleep it rose,
		From the Doubt ofThought, it tookme
		Into world, where the Red Truth grows.

		How often youve had the Red Day?
		That mystery teller have led;
		The word tobe fair on your eye-way,
		Bymagus the Nature be spread.

		Dumb, Ihave stepped into wood mine;
		How felt Itosee that allnew:
		The birches not white! the redline
		Mystify the strange poetic view.

		How couldve that happen, oh, tell me?
		Ist asign ofRed Horse? Skye cries?[66 - Red Horse apocalyptic image from Matth. 6:4;]
		Like the shades, blood with oerwhelming,
		Those Lifes witnesses stands and sighs.

		Human mind fatalist-dreamer!
		All the fancies intime, behold,
		Paints the things fairer togrimmer,
		All embodied inreal world.

		No image stays off-the-Matter,
		Not amap that poein[67 - The proverb poein [topoeticize] inold Greek means tocreate.], but Life;
		On this border, the Fate neer flatter
		With that Polis can use for strife.

		Voice had gone Ifelt quite awkward.
		These red stems, kind ofprophecy
		Yet Ive dreamt, what if some Ode-word,
		Incarnated, its author coulds.

(12.05.2014 20.05.2014
dacha, bySergiev Posad)



Nike and HerHead


Oh, ????! Time though did beheaded you;

They dies, day new, tobreak one ofyour wings:

Whos right? who won the Woe-War?" Not Marce;

And none is tosurvive inslaves ofhis



Who is towin upon thAchiles anarchism?[68 - Inthis verse, Id like toremind you that ofwhy Achiles, abloodiest hero, is the only personage, amongst all ofhis friends the Athenians, who was honored tobe placed on the Eagean Islands, after his death: if you remember, hes aone, never looking for the War and the fighting, right from the start; apeacefulest athletic character anymphan, unlikely toall others, he had no purport and no desire towar at all, surely nor like Menelai the revenger, neither like Odysseus the profit searcher; Achiles the Marmedonian King kept the policy ofneutralism on his Islands, and this kind ofblissfulness Ive mentioned tobe apart ofme-versed vision ofanoble Aegenean ofhis past and his future, both.]

The Heavens laissez-fair star-gaze ingrass

But barbar is that not, who goes sofar

Toask the Stix gainst Islands neutralism?



ThEagean grasp? Hell looking for, youare

Alittle plebe with giant sword, calling for Death!

Hell do perverse not the light ofLucifer,

Where free from cares aVictor drink Loves breath.



Where little winged goddess skyehead

Wedds thoughts ofPoet and Atlet for strength.[69 - "And he felt inlove with the mind ofPatrocles; Pindar is the first, who emphasized this sort ofideal truth, bylooking into the aspects ofhealthy mens friendship with the clean, unpervert eye, yet before Aristotle explained it so inhis treatises.]



(24.04.2015 06.05.2015;
dacha byS. Posad)




The Meditative


		/ToOlga Barre,
		On her veryDay,
		Also tothat thought ofhersfor
		The 100th BirthdayofDon Juan Mattus./

		What the bird couldhear
		Time, when the space go asleep,
		No one toprevail they knew.

		No soul done todream insincere.

		No sky can escape that ofthought
		Tobenear
		Tothe eye ofgracenew.

		The sigh is the hearts atmosphere.

		For whateer the mountains stayed
		As the myths with thosefew,
		The sea-birth hymns the light over there:

		Joy ancient and Earth foryou.

(07.09.2014 12.09.2014
dacha byS. Posad)



If Poetry was Music


		If Poetry was Music, what, mostly, is,
		Id rather be avoice, that ofthe melos
		Plays beyond the Tacts, that ofthe lyri
		Freer than forebound words oftextured song,
		Like astrange wonderer, neer care if right or wrong
		Half-slept Composer planned it be, for world
		Could learn its inner history; and that ofstress,
		Ofhidden breath, ofrarest thought innotes unread
		Twould be awitness ofthe sacred dialect
		For new-found sounds be your own mistery.
		Asong, sings newborn song, adreaming dream
		Much Iwould love it can be; honestly,
		Id dare tomix then asort ofnostalgie
		For things unheardable with archi-tenor fancy,
		What could be like no energy thSky needs tohymn
		AScene ofvery Soul ofthe pure Listening.
		This glancing Myth! And you init, you genious
		Are the creator ofthe future bliss, at once:
		That inspiration yours brings that what Ive broughtnot:
		The orphies[70 - The orphies meant tobe the orpheisms inshorten friendly use ofthis word, and all ofyou let never stay doubting then, that, originally, it relates toOrpheus the Archi-poetic Singer and tothe thoughts around him and his themes, all Haides-raising.] from within you join my pauses,
		And it is like the Chance compose that Ineer heard,
		No falsed, no spoilt, and this is might be somewhat
		What could be told thus ofthe sacrifice innotes?[71 - This last line, here, also was thought tobe written as: What could be told, thus, ofthe sacrifice ofloving note? However, this second sense is rather more poetically difficult and emotionally complicated.]

(13.11.2014 03.12.2014;
Moscow dacha byS. Posad)



On the new date inthe World Poetic Calendar, which happened tobe called The Negative CapabilityDay


		/Tothe KSMA friends,
		With gratitude toJ.K.
		For the initiating as such agreat idea ofthe Day./

		Three years later, five years since thApocalypse[72 - The year 2012, as you all might remember, was the expected year ofthe End ofthe World, what was promissed byIndian Calendar ofMaya, so the reader can stay doubting not inthose words ofapoem; accordingly, the year 2017will be the year of225th Birthday of P.B.Shelley, abig friend of J.Keats, what Isuppose is mentioned tobe somehow symbolical for all those who reads that poetry with their hearts.],
		Which never happened, that ofwhat old doubts
		Be, still: if really happened so twill be not,
		The Beauty, dove-tailed thought[73 - This is abeautiful expression ofJohn Keats from his literaturiously-remarkable Letter dated by21st (22d or 27th, the world still guessing) ofDecember 1817, inwhich he expressed that original thought ofso him-called Negative Capability, what especially has become atitled idea ofthe new-brought day inthe World Poetic Calendar.], will diseclipse,
		As ever, peoples minds from dead uncertainty
		Inbounds ofits genial transgnosticArt.
		New coming Dawn will phrase on that. Redeemed world!
		The Biggest Doubter ofgoodly mankinddied
		On freest Sunday[74 - As you may know, inRoman Catholic Calendar, the date ofdeath ofSt Thomas the Apostle, Thomas the doubting, as he also used tobe called inhistory, before 1969, was thought tobe exactly on 21st ofDecember. Inthat line, where Ive been saying on Sunday, firstly, Ikept my eye on that coincidential truth, that the both days ofthe Keats Letter and The Negative Capability Day 2014 the Sundays. The rest ofsupposive guessing here could be ofthat, if St Thomas himself died, too, on Sunday, however this sort ofexact truth for me is still unknown.], and wasnt it for Poets word,
		Who came upn new time toshake Great Negus[75 - The original Latin root ofthe words the negative, negativism; tothose, who wonder, how really objective Iam inusing as such agreat meaning inthe tight context ofthe poem, Ishould answer byaddressing their quests tothe last lines ofthe Keats Letter, and so, byreminding them ofthe very pointed there the about-Shelleys; with that, you can find your own way toanalize the pre-motivation ofme-written line ofhand-shake..] hand,
		Soothing no sword, if not inname ofthUnforeseen
		All-Love? Unreasonable, called byAir so, Love,
		That goes through the bounds ofaLife-denial
		Mind, no ugly Trial on this day will be.
		How Mystery ofFate and Time takes Dream Exiled
		Back toLight? not samely, as the Beauty ends old history?[76 - Infact, there is the second variant ofthis line: not samely, as the Beauty starts new history? (its newer history?); so, let the readers be more enthusiastically creative, incooperating their own vision with mine, inthinking that, how, and which way, towards the history, the Beauty universally improves itself.]

(18.12.2014 21/22.12.2014;
Moscow dacha byS. Posad)



The Truth ofShelleys Ghost


/ToLynn Shepherd,

An author ofTreacherous Likeness,

Abook me-read infeeling ofirrational, unexplanable regret/


		AShade theres the dark echoing:
		Ofanoblest kind! slidesin,
		All silent, pre-materialized.
		There can be seen noeyes
		Ofmaid surprised, no scene
		Offatal cries. Amonster
		Felt from high-poetic stars,
		He swam across the sea ofDeath,
		And, after seven lives ofstorm,
		His ugly look how eloquent!
		Much peaceful though. The light-rays
		Seem are not toaggravate the lines
		On his still brow, so tis likenow
		As he tries his light-way back.
		Envoked toface the old dreams wrack.
		Within the Rumours House, frank,
		He steps, incorridors ofLie.
		Those specks ofcrystal life guides
		Him toth rooms ofother-side Crime;
		With manner ofthe dead he comes,
		Inmanner ofagone-bye stays
		There bythe frame ofglass
		Infernal entrance. Sweet diable waits,
		Envoker ofthe burned tails:
		Intrigue pristess ofachen shame
		She ought todo him welcome.
		Inher service, that asacrifice
		Tomake for him, toanimate
		His vague self. Abandoned Shade!
		Be fed thou byasacred essence
		From the most luxuriant Hell!
		And cant thou see these gazing Sins?
		Not ofthe most devotedthey
		Are seen and bloodsome tobe yours?!
		Have aliquid life from them, be-shared:
		One fear relatives they[77 - Here, inthis part ofapoem, Im bringing the drops ofarchi-Hellenic knowledge about that mystical ritual called the envoking the shade. Homer, inhis Odyssey, explains it perfectly inthe Songs 1011. There, exactly, are the words about the giving blood toashade; and that image, symbolically, Ive used inmy allegoric lines. (As we remember, Shelley himself, too, inhis poems, quite often used tosend his reader toasacred meaning ofthe blood and blood-sharing, whether it be insocial or sexually-mystical context ofhis poetic works.)].
		Asad guest. He sees aroundher
		The sights oflunarcraft there
		Depraved Gossips bout alost face
		Has their fun, and, tlike some Masson,
		The naive and sensitive intheir will.
		The loves too sweet are tobe killed,
		They laughing? Dear murderer,
		You gibbets libertine, kids knot!
		Are you proud not? We yours, yours!
		Theyre giving their life-drops; phrase;
		And as he yet cant tell his Fate,
		She pours some magic upon glass;
		There, inDiabolis circle dark[78 - Im using the word diaboli here inproper Hellenic meaning ofit, what means columny or, other way too, simply the judging.],
		Oer the border ofreflected Doubt,
		He realize he stands himself,
		His awkward figure, and his face,
		As if from ashy rhyme arisen,
		Alien tothem. But whats that shape?
		His ugly look where has gone?!
		He sees inhis reflections eyes,
		Would be that Ferro Luxe[79 - Luxe Ferro, the Highest Light, and so Lucifer as we know, is aname ofabrightest star inthe Sky, like that for ex. inOvid, and which now days called simply as the Polar Star. The Shelleys Ghost was originally picturized inimage ofastarry-eyed dead. Thats how my Shade can see the reflected sparks ofstarry-light inthe eyes ofthis-side-living Shelley.] from, those sparks
		Ofstarry soul; and no ruined
		Grace, no aught ofdamned lines
		At all avision ofclean Youth,
		Delightful, poetic, but feared,so.
		Feared of(a) doomed self, ofdiables call,
		Betrayal ofthe Past? Reflections
		Quite can be confused, when meetthey
		Inthe glass ofTimes their part,
		Their lasting life. That fears
		Though the feared (is) facing Fear leaves;
		Asilent visitor steps back;
		His Future saw its Shade from dark,
		And hes tokeep the path.And
		Yes, as like the timeless echo-thought,
		The other side ofAir there spells,
		Whilst his eyes back tokiss hisboat
		Far let be flying through theends
		Ofthe blind dream ofLifes Ghost;
		So, hes tohear: Hes withus Amongst[80 - P.S. This poem far is not the representation or any kind ofinterpretation ofLynns fictional scenario with that strangest Shelleys Henry ofhers; and my idea, inthese lines, was but ofasort ofan authors trying topicturize that possibly-objective tete-a-tete contact just between aPoet and his famous paranormal Ghost, and so, between the times ofthem too: between the Poets time with its past and future, and the Ghosts time with its past and future indeed, closely toour measures; however, we may know about it, that twas asort ofresult ofthat mental distortion happened tobe inacause ofall the perfidy and calumny, which Shelley, inhis life, have always been avictim and an arbitre of, and which was so impressively performed inLynn Shepherds inventional book.]

(25.01.2015 03.03.2015;
Moscow dacha byS. Posad)



 

 







		  ..
		Ƞ.  

		ʠ220-   

		 ,    ,
		,   
		 ⠖ , ,
		     ,
		   ;
		Ƞ  ,  栖  !
		 ,   ,
		,    ?
		    ?

		,     ,
		  ,   ;
		   ,  
		   ,
		    ,
		   ,
		     .
		Ÿ ,  -,
		Ƞ ,    
		Π,   ,   .
		      ,
		     .

		***  *** ***

		    ,
		   :
		,   
		    ,
		    
		   ,
		,   ,
		   , 
		 - ,
		   .
		     ,
		Ƞ,   .

		    -,
		 ,    
		   :
		  ,
		 ,   
		 ,  ,
		  .
		    
		,  ,  ;
		   ,  
		    ,
		 ;  ,
		,   :
		  蠖    [81 - ʠ ,   ,        ,          Percy Leigh ( , -,      ,   ; ,   -   (,    19), -  . ,    ,   );                ,   .          , ,    ,  .        , ,  , ,  ,       (. ) 2: - ,    ,    ,   , ,  , -,  ;      .      - : , , , ,    ,      ; ,     ,    .,     ,  ,  ( , ,   ,   ,  , ,    ),      ,        ,     ,   , . -,.].

		   ,
		  
		    ,
		    
		    
		 , ,   .
		   
		  -
		  [82 -  ,        (. 1800 ); ,   ,          ,       , ,   16 ;    ;],
		   [83 -     廠   ;]
		    ,
		    ,
		   ,
		   ;
		,   , 
		   :
		,    
		     
		 ,    .
		(  :    ?)

		, ,   
		  :   ;
		   
		,    
		  ,  
		,  [84 -  (isophymia)  ,  ,   -    . ,     , .  ,  ꠫,   . , ,    (. , 1992);] ,
		, ,  ?!
		, , 
		   
		Ƞ , 
		    ,
		ȅ (well, ..,  , ,
		  -) ,, 
		Ƞ, 
		   : , ,
		Ƞ,     -

		    .
		,    
		     ;
		,   ,   ,
		 (.. ..) 
		  , , ,
		 ,    
		  , 
		   -[85 -  .  ,          -      ; ,           - .];
		,     ,
		     
		,  , 
		 ,  
		 ,  
		  ,
		Ƞ  
		,  -:
		  , , ,  
		     ,
		     .

		, , , ,
		, ,  , ,
		ȅ. , , 
		, , , ,
		 ,   ,
		   ,  .
		   ,
		? ,
		  .
		  ,  ,
		  ;
		 : -
		,  
		     
		- ,
		 ,  , 
		   ,
		 ,  
		  ; 
		Ƞ , 
		   ,
		   ,
		-,   
		  .
		 ,
		   , -, [86 -   ,   (1811 ,    16)    .1816,    - ;],
		    Adonais [87 - Adonais      ;     ;],
		    
		    ,
		   
		 ,  
		  , :
		 ,   ;
		,     
		 ,  
		    ,
		,    ,
		,    ;
		   .

		,
		 ,  
		 ,  
		,   , 
		Ƞ  
		Π  ,
		   : 
		  .
		    ,
		    
		,   ,
		 ,   ,
		  , , 
		(ʠ, ,   , 
		 ) , 
		    
		[88 -  (Indicator, 18191821) ,     . ;      𻠖   .   ;],  
		Ƞ,  ,  ,
		,    
		ʠ,    
		  .
		   ࠗ
		  ,  
		, ;   
		 ,  .
		 :  
		   
		  : 
		 ,  
		   ;  
		 ,  ,  last 
		   ,,
		,  , ,
		Ƞ,  ,  ,
		 ,  
		,    ,
		Ƞ   
		      
		Ѡ,   
		   ,  ,
		 ,  ,
		 .   
		    .
		   :
		 , ,   ,
		  , 
		 , 㠖 
		 ?! 
		 ?!   
		,    ,
		   , 
		 ?      ?
		  ? Ƞ 
		   ?
		 - , 
		-,   ,
		 , , 
		   
		,   腠 , 
		   
		 , ,  
		
		  
		 , , ,
		   
		  .
		    , 帠
		   .[89 -    ..    ;],
		  
		  ,    
		Ƞ렖 , ,  




  .


   .

   ,     (https://www.litres.ru/book/maksimilian-gubris/izbrannoe-poeziya-dramaturgiya-20613996/)  .

      Visa, MasterCard, Maestro,    ,   ,     ,  PayPal, WebMoney, ., QIWI ,       .



notes








1


  (17.05.1866 01.07.1925), Erik Alfred Leslie Satie,  -,    - . 20;    ,   .




2


    .




3


 ? ,  ,  - , ,      ,  , , ,      .




4


  , 軠        , ,    , ,  ,      .




5


       ! ( , ,18.1777).     ,          ,  ,   ,  ,   ,  . . .




6


ࠖ  , ,    ࠖ ,     ,     ,   ;    ,    ,   ,     . ( ., , 13 1780).      -  , ,   -,       ,    ;   ,   , ,    .




7


Viva moderate      ,  . , ( -        ), , , .-, - ,       .




8


       2010.




9


  ,     , : "       ?"




10


..           ,    ,  , ,    ,   ,   ,      ,       (,   , )  ,  , ,        .    ,          -.




11


  , ,     .




12


Estin  (. .)




13


 ,             , , 89.




14


   ,    ,  , ,   砫  ,          ,     .




15


  ,  , 堫 ,      ,  ,   ,   ,   , ,    ,  ,  .




16


  ,   ,  ,        . ,        , - ,   . ,     ,          .




17


 ,    ;     ,    ,       ;  ,    - ,    ,  , ,  .




18


  - (1768 1803),         , ,   , , ,        .   ,   17      ..; 1798,   ,      ; ,   ,  20  .      ,         , , , , .              . (砫    ..).




19


 1860-   (1960 .  )    ,   ,    -   .        - .       ,        ,  ,   , ,      .




20


  ..,  , , ; ,  ,  ,   .        (   , 頖          ,     ) ... (  ),    .




21


  ,   (17731863) -   ,     ..,      , ,  ,       ,    .




22


   ,    ,   ,    ,    , , -  ,     .




23


         ,     .




24


.  (,      )   ,  -     , ,     - . (,    - - ,  ,     .) ,        ,   ;       , , , , ,      




25


:  .  (, , 砫 )   ,  , ..    ࠫ, 堫,       ; [that] not [tht].  , ,  ,  ,  - ;  , ,     ,  ,   ,  (   ).




26


          ;        ,      19,   (Leigh Hunt);          ,          1820., ,   .




27


  ꠖ      ,      ,  ,     .




28


   ,  .




29


 -   . ,    ; ,     ..    .




30


ʠ  ,     146,   -  /the centre ofmy sinful earth/;  ,   ,Ƞ, ,  .     . (.., 2006)




31


    ,     ,      .  ,       :     , ,    ,  , .,  . , ,        ,       ;     ࠖ   , ,    ,     ,    ,   ;




32


  ,   ⠖   , ,  ,        , ,      - ,      ; , ,    ,     , , ,    :




33


  ,   ;     , ,  ,   :   -     , ,     ,     -;    ,   ,     ,   -; ,           ;




34


   , ,     ,    , , ,    ;  ,        :    , ,    , ..  ,     ,           ;  ,     , ,  -      ࠫ ,     -    ;




35


      ,    ,  ,              ,     , ,          ; ,     -, ,    ;  ,      ,      - ,         ;   , ,       ,      ;  ,       ,  ,  -,     -     : ,    ,  ,      ,    ,        ,       , , ,  ,           ;




36


,     蠫     , , ,     ,      .. , .. ,    :      ,  ()   ()  ,  ,     ,     ,    ,    ,       -; , , ,  ,  ,         ;     ,    , ,   ,  ,  ,    .




37


׸ 껠  - . ;     . ;       1 ,     ,  ,  ,        ; ,   ,  ,     , , ,   ,  ,  ,    -  , .  . ,    ,  ,     ,     20.




38


 ,  ,      ;  ,  ,     -     :   (-, )       , , ,  




39


    ;   10 ;  ,      ࠖ ,      ;       ;




40


,  ,    ;




41


      .   , -  . ,   ,     () ,      , ,   (,   ,     ,    ,    ),      :    ,     ,      . ( ,     ,   ,    -.) ,   ,        ,     ,   . -  (  !)




42


    ,  ;     ,  ,     ,   ()   -   .




43


ʠ, , ,     ;      , ; ,       ,    -  .




44


Christos . -.  ,  ; , ,    ,      ,    , ,       ,    ,   .




45


..  :  .   셻




46


 (,  )      .




47


 :   ,    ,  ,   ,          , , ,    ,        ,  ,  ,    ,   .    ,    ,    13,    , ,  ,     .       , .    ,        - - ,  ,    ,  ,     ,   ,   . (. )




48


      ,      ,      ,        ;      .




49


AFTERWORDS:     750-   . ( ,        8-  , 8-  ?)  ,    , ,   ,   ,   ,     , , ,     ,   ,     ,   ,   : ,  , ,         .    , , :   ,  750 , , 750 ;         : - 2011., TrES2b, ,    ,  ,    ;  ,             ,  ,   ,     , ..     ,   ,    ;    (   , ,  ,     ,         ) ,          . ,   ,  , , ,   ,   TrES2b,         ; ,       :     (. .).   ,   , ,        ,  ;  . .    .       (,  . ,        ,    , , ,   )     ,    蠖   ; ,   ,     .  ,    ,  ,    ,          .        ,           : .., , ,   .    . (:     ?  ?)..




50


     ,   (divine, divinism, .),       ,         ; ߠ      ,       -,            ,  ,  , ,  ,             . , ,    , .        .




51


[Acte de] Foi      ,  ,   . II (. .),  ,     ,  (, ,   ) .  ,  . Foi, ,  ; , ,  . II,  ,    ,    acte de foi ( , ),   , , ,         (, ࠖ   . ). ,   ,   : profession de foi, .., , ,   , ,  ,    ,   , ,  , ,   , .




52


Jacob Daniel Bruce,     ,  -  ,     ,      (  ,          , ).       ,  ,       ,  ( ,  ,   ,    )    ,    --, 젖  .     , , ,    ,  , ,     ø ,      .




53


 ,  ,   , ;      ,   ,  ,  ø,    1816/17.,   , , -, ,  -   (1816),   젖    ; ,    , 1816., ,    ,   - ( , -),      -...-- (., The Secrets ofMdm Bruce. ),    -,  ,  ,  ,     ,       ,  ,      -  ⠫   , -,  ,   .




54


  ,  ,        ø, ,   , , ,         ࠖ , ,  ,   ,    , ,    . (  -     ,        ;  , -  .)   ? : ,          ,  , ,  ;        .1, ,   ,       ;  ,     - .




55


. .197




56


          , . . 207.




57


The idea ofthis theme, startingly, appeared as akind ofpoetic response tothat message ofPeace, which stays forever kept forus within the works ofanoble (and most perspicaious, this way) English poet P.B.Shelley. Nothing can be more provocative and more agitating for his intellectual reader, and thats, tosay, toall the further thinking upon this sort oftruths, questions and possibly practical answers, than that laconic wisdom, expressed, for ex., inhis upper cosmopolitan Gella, like that inthe wisest words ofhis Ahasuerus, talking on final mutability ofHumane, or that inthe last two strophes ofthe Chorus, bythe end ofthe poem, where: The world is weary ofits past,Oh might it die or rest at last! At least, any rationalist, who will take this theme seriously, bymeans ofbringing it closer tothe proper philosophical matters, or, rather tosay, tothe proper philosophical way ofthinking, could never escape that very naturally rising question, which, after all the romantic desires and wishes, simply, is the question ofall the mature, unabstractive hows. The allegory, (highly-human allegory, hurray!), much deserves and, therefore, has tobe improved, unveiled inthings and actions; inthinking that ofhow tragically, still, the whole modern world and its society is rapt byall syndromes ofthe post-war egotisms, ofhow much, still, the ethical attitude tocelebrating the End ofConflict yet performs but the potential willingness tostart the new one, then, Iwas, especially, consciously driven todevelop this theme, rather, inthe manner ofproper objectivization and dis-chimerization; and that is how, even against all the Platos warnings for inexorable escaping ofdealing with poesy inphilosophy, this particular product ofmy thought and vision was, finally, created.




58


The foolish characters ofmoors, time ago, the bloodiest foes, are the part ofSpanish carnival ofToday.




59


Russian philosopher Leo Shestov. (1866 1938) Inhis works, especially inhis book Athens and Jerusalem, once again inthe history ofphilosophical thought, nihilistically, he tried toargue for that very unpopular idea, which tellsus that Socratus was never poisoned the thought unbearable for the most ofphilosophers ofLogos.




60


The image Doc, me-used inthese lines, do not characterize especially the one only person; however, from the big group ofso-called Holocaust deniers, the names ofD. Hoggan, A.J.Mayer and other writers, especially those who address their thoughts toauthority ofprofessorships inthe world offundamental sciences, are darken-starred, still we think, simply as the names ofanti-deductivists inthe history.




61


Eidos idea (inold Greek).




62


All you must have known that very popular rock-song from the end of60s, played byKing Crimson the band, with P.Sinfields lyric.




63


See the line89.




64


The poison ofwater hemlock (Cicuta Verosa) was the favorite type ofthe human-killing poisons before the era ofmodern cyanide (potassium cyanide) was started. As you all well know, Socratus was cruelly served with it inhis prison




65


This word haddle simply came out as aproduct ofmixing apostrophic spelling between the words: had-it-all = haddle. Not that Imentioned afigure ofghost could ever be as like that vulgarly person from commonhood, who after the certain cup ofsafety & relaxation, inthe certain moment and inthe certain manner, would have cry: Oh! Its just ahaddle-waddle!; whether, me-think, this new-made word quite ironically points the character ofaction and the used jester closely toalive context ofhere-described situation within the poem.




66


Red Horse apocalyptic image from Matth. 6:4;




67


The proverb poein [topoeticize] inold Greek means tocreate.




68


Inthis verse, Id like toremind you that ofwhy Achiles, abloodiest hero, is the only personage, amongst all ofhis friends the Athenians, who was honored tobe placed on the Eagean Islands, after his death: if you remember, hes aone, never looking for the War and the fighting, right from the start; apeacefulest athletic character anymphan, unlikely toall others, he had no purport and no desire towar at all, surely nor like Menelai the revenger, neither like Odysseus the profit searcher; Achiles the Marmedonian King kept the policy ofneutralism on his Islands, and this kind ofblissfulness Ive mentioned tobe apart ofme-versed vision ofanoble Aegenean ofhis past and his future, both.




69


"And he felt inlove with the mind ofPatrocles; Pindar is the first, who emphasized this sort ofideal truth, bylooking into the aspects ofhealthy mens friendship with the clean, unpervert eye, yet before Aristotle explained it so inhis treatises.




70


The orphies meant tobe the orpheisms inshorten friendly use ofthis word, and all ofyou let never stay doubting then, that, originally, it relates toOrpheus the Archi-poetic Singer and tothe thoughts around him and his themes, all Haides-raising.




71


This last line, here, also was thought tobe written as: What could be told, thus, ofthe sacrifice ofloving note? However, this second sense is rather more poetically difficult and emotionally complicated.




72


The year 2012, as you all might remember, was the expected year ofthe End ofthe World, what was promissed byIndian Calendar ofMaya, so the reader can stay doubting not inthose words ofapoem; accordingly, the year 2017will be the year of225th Birthday of P.B.Shelley, abig friend of J.Keats, what Isuppose is mentioned tobe somehow symbolical for all those who reads that poetry with their hearts.




73


This is abeautiful expression ofJohn Keats from his literaturiously-remarkable Letter dated by21st (22d or 27th, the world still guessing) ofDecember 1817, inwhich he expressed that original thought ofso him-called Negative Capability, what especially has become atitled idea ofthe new-brought day inthe World Poetic Calendar.




74


As you may know, inRoman Catholic Calendar, the date ofdeath ofSt Thomas the Apostle, Thomas the doubting, as he also used tobe called inhistory, before 1969, was thought tobe exactly on 21st ofDecember. Inthat line, where Ive been saying on Sunday, firstly, Ikept my eye on that coincidential truth, that the both days ofthe Keats Letter and The Negative Capability Day 2014 the Sundays. The rest ofsupposive guessing here could be ofthat, if St Thomas himself died, too, on Sunday, however this sort ofexact truth for me is still unknown.




75


The original Latin root ofthe words the negative, negativism; tothose, who wonder, how really objective Iam inusing as such agreat meaning inthe tight context ofthe poem, Ishould answer byaddressing their quests tothe last lines ofthe Keats Letter, and so, byreminding them ofthe very pointed there the about-Shelleys; with that, you can find your own way toanalize the pre-motivation ofme-written line ofhand-shake..




76


Infact, there is the second variant ofthis line: not samely, as the Beauty starts new history? (its newer history?); so, let the readers be more enthusiastically creative, incooperating their own vision with mine, inthinking that, how, and which way, towards the history, the Beauty universally improves itself.




77


Here, inthis part ofapoem, Im bringing the drops ofarchi-Hellenic knowledge about that mystical ritual called the envoking the shade. Homer, inhis Odyssey, explains it perfectly inthe Songs 1011. There, exactly, are the words about the giving blood toashade; and that image, symbolically, Ive used inmy allegoric lines. (As we remember, Shelley himself, too, inhis poems, quite often used tosend his reader toasacred meaning ofthe blood and blood-sharing, whether it be insocial or sexually-mystical context ofhis poetic works.)




78


Im using the word diaboli here inproper Hellenic meaning ofit, what means columny or, other way too, simply the judging.




79


Luxe Ferro, the Highest Light, and so Lucifer as we know, is aname ofabrightest star inthe Sky, like that for ex. inOvid, and which now days called simply as the Polar Star. The Shelleys Ghost was originally picturized inimage ofastarry-eyed dead. Thats how my Shade can see the reflected sparks ofstarry-light inthe eyes ofthis-side-living Shelley.




80


P.S. This poem far is not the representation or any kind ofinterpretation ofLynns fictional scenario with that strangest Shelleys Henry ofhers; and my idea, inthese lines, was but ofasort ofan authors trying topicturize that possibly-objective tete-a-tete contact just between aPoet and his famous paranormal Ghost, and so, between the times ofthem too: between the Poets time with its past and future, and the Ghosts time with its past and future indeed, closely toour measures; however, we may know about it, that twas asort ofresult ofthat mental distortion happened tobe inacause ofall the perfidy and calumny, which Shelley, inhis life, have always been avictim and an arbitre of, and which was so impressively performed inLynn Shepherds inventional book.




81


ʠ ,   ,        ,          Percy Leigh ( , -,      ,   ; ,   -   (,    19), -  . ,    ,   );                ,   .          , ,    ,  .        , ,  , ,  ,       (. ) 2: - ,    ,    ,   , ,  , -,  ;      .      - : , , , ,    ,      ; ,     ,    .,     ,  ,  ( , ,   ,   ,  , ,    ),      ,        ,     ,   , . -,.




82


 ,        (. 1800 ); ,   ,          ,       , ,   16 ;    ;




83


    廠   ;




84


 (isophymia)  ,  ,   -    . ,     , .  ,  ꠫,   . , ,    (. , 1992);




85


 .  ,          -      ; ,           - .




86


  ,   (1811 ,    16)    .1816,    - ;




87


Adonais      ;     ;




88


 (Indicator, 18191821) ,     . ;      𻠖   .   ;




89


   ..    ;


