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different phase of the subject in jumps rather than continuously. Experienced speakers thisknow and therefore punctuate his speech plug-in episodes that are easilybe omitted without damaging the whole. Poetry has other means, because ourpoetic perception allows for the contemplation of the subject and in motion(temporary), and in the stillness" (P. 220-221). Referring to a folk text N. Gumilev observes: "the Creatorfolk songs-brother of the Creator of fairy tales. For him almost no comparisons at allthere is no metaphor. They immediately transferred him to the development of the image. Wherean ordinary poet would compare the girl with the wild duck, he makes the girlto turn into this bird" (p.208). In conclusion, we note that N. Gumilev full of suchinsights that could unfold into a coherent scientific theory,whether he is a theorist. But he moves on, creating your optionunderstanding the mosaic of the surrounding culture. It not only outlines the keypoint sense, but also deploys them in the form of processes. Here is what he writes aboutdecadence as a destination. "Walking along this path is at first improved inregion forms, old content wrapped in a new sophistication, butthen comes the coup. To tease dulled the nerves enoughliqueurs need centigrade alcohol. The lack of form is starting to worrymore than the subtle form. It begins to seem that the lines have been given to thethe colors, you lose the sense of the boundary between art andpremature synthesis becomes at best a grotesque"
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