JG Byron The
The color of “Giaura” painted by contrasts contrasts the following Byron’s work of the “eastern” cycle – the more extensive poem “The Corsair” written with heroic couplets. In a short prosaic introduction to the poem dedicated to the writer’s fellow author and fellow thinker Thomas Moore, the author cautions against the characteristic, in his view, defect of modern criticism – the unjustified identification of the main characters that haunted him since the time of Childe Harold – whether Giaur or anyone the other with the creator of the works. At the same time, the epigraph to the new poem – a line from the “Liberated Jerusalem” by Tasso – accentuates the inner duality of the hero as the most important emotional motif of the narrative.
The action of the “Corsair” unfolds in the south of the Peloponnesian peninsula, in the port of Koroni and the Pirate Island, lost in the vastness of the Mediterranean. The time of action is not precisely indicated, however, it is not difficult to conclude that the reader is facing the same era of enslavement of Greece by the Ottoman Empire, which entered the phase of the crisis. The image and speech tools characterizing the characters and what is happening are close to those familiar to Giaur, but the new poem is more compact in composition, its plot is more detailed (especially with regard to the adventurous “background”), and the development of events and their sequence – more orderly.
The first song opens with a passionate speech, depicting the romance of the risk-filled and anxious pirate inheritance. Combined with a sense of combat partnership, the filibusterers worship their fearless Ataman Conrad. Here and now, a quick brig to the pirate flag that brought terror to the whole region brought an encouraging message: a Greek gunner said that in the coming days a raid on the city and the palace of the Turkish governor of Seid could be carried out. Accustomed to the strangeness of the commander’s character, the pirates shy, finding him immersed in deep thought. There are several stanzas with a detailed description of Conrad (“Mysterious and forever lonely, It seemed that he could not smile”), inspiring admiration for heroism and fear – the unpredictable impulsiveness of the departed, who had lost faith in illusions (“He is among the worst of the schools – The path of disappointment – passed “
Conrad’s beloved responds in kind; and one of the most penetrating pages in the poem is the love song of Medora and the scene of heroes’ farewell before the march, Left alone, she finds no place, as always worried about his life, and he on the deck of the brig gives out instructions to the team, full of readiness to carry out a daring attack – and win.
The second song takes us to the banquet hall in the palace of Seid. The Turks, for their part, have long planned to completely clean the sea areas of pirates and in advance divide the rich prey. Attention pasha attracts a mysterious dervish in rags, from where it appeared on the feast. He says that he was captured by the infidels and managed to escape from the kidnappers, but flatly refuses to taste the delicious dishes, referring to the vow given to the prophet. Suspicious of the spy in him, Seid orders to grab him, and then the stranger instantly changes: under the humble appearance of the wanderer, a warrior in armor and with a sword smashing on the spot was hiding. The hall and approaches to it are overflowed with Conrad’s colleagues in no time; boiling furious battle: “The palace is on fire, the minaret is burning.”
Crushed by the resistance of the Turks, a merciless pirate is, however, a genuine chivalry, when the flame enveloping the palace spreads over the female half. He forbids brothers in arms to resort to violence against pasha slaves and himself takes out the most beautiful... of them, the black-haired Gyulnar, from the fire. Meanwhile, Seid, who escaped from the pirate blade in the confusion of the massacres, organizes his numerous Guards in a counter-attack, and Conrad must be entrusted to Gulnar and her friends in the misfortune of the troubles of a simple Turkish house, and himself to enter into an unequal confrontation. Around him one by one his fallen comrades fall; He, who has slain a myriad of enemies, is hardly captured alive.
Deciding to subject Conrad to torture and a terrible execution, the bloodthirsty Seidus orders him to be placed in a close casemate. The hero does not fear the coming trials; in the face of his death, only one thought disturbs: “How will the news of Medor meet the evil news?” He falls asleep on a bed of stone, and waking up, discovers in his dungeon the dark-eyed black-eyed Gulnar secretly seized by his courage and nobility. Promising to persuade the Pasha to postpone the impending execution, she suggests helping the corsair to escape. He hesitates: run wildly against the enemy – not in his habits. But Medora… After listening to his passionate confession, Gulnar sighs: “Alas! Only free is free to love!”
Canto the third opens the poetic author’s recognition in the love of Greece (“The beautiful city of Athena, who saw your wondrous sight, it will come back…”), followed by a picture of the Pirate Island, where Conrad waits in vain for Medora. A boat with the remnants of his detachment bringing terrible news approaches the shore, their leader is wounded and captured, filibusters unanimously decide at any cost to rescue Conrad from captivity.
Meanwhile, Gulnar’s persuasions to postpone the excruciating execution of “Giaur” produce an unexpected action on Sayid: he suspects that the beloved slave is indifferent to the prisoner and is plotting treason. He showered the girl with threats, he expelled her from the chambers.
After three days, Gulnar once again enters the dungeon, where Conrad is languishing. Offended by the tyrant, she offers the prisoner freedom and revenge: he must slaughter the pasha in the night silence. The pirate recoils; should the woman’s agitated confession: “Revenge the despot with evil deeds, do not call your enemy despicable in blood! Have you flinched? Yes, I want to become different: Pushed off, offended – I monsieur! I am undeservedly accused: Though a slave, I was true!”
“The sword – but not a secret knife!” – This is the counterargument of Conrad. Gulnar disappears to appear at dawn: she herself took revenge on the tyrant and bribed the guards; off the coast they are waiting for a boat and a boatman to take to the treasured island.
The hero is confused: in his soul – an irreconcilable conflict. By the will of circumstances, he owes the life of a woman in love with him, and himself – still loves Medora. Gulnar is also suppressed: in Conrad’s silence, she reads the condemnation of the atrocity she committed. Only a passing embrace and a friendly kiss of the prisoner rescued by her bring her to life.
On the island, pirates joyfully welcome the leader who returned to them. But the price appointed by Providence for the miraculous deliverance of the hero is incredible: only one window – Medora’s window – does not shine in the castle tower. Tortured by a terrible premonition, he climbs the stairs… Medora is dead.
Conrad’s grief is inescapable. In seclusion, he mourns his girlfriend, and then disappears without a trace: “Days pass, No Conrad, he disappeared forever, And not a hint did not announce, Where he suffered, where he buried the flour!” He was mourned only by his band, His friend received a mausoleum… He will live in the traditions of families With one love, with a thousand misdeeds. ” The finale of the “Corsair”, like the “Giaura”, leaves the reader alone with the sensation of the mysterious riddle surrounding the entire existence of the protagonist.
JG Byron The