Filled with picturesque contrasts, the coloring of the “Gyaur” is also distinguished by the next work of Byron of the “eastern” cycle - the more extensive poem “The Corsair”, written in heroic couplets. In a short prose introduction to the poem, dedicated to the author's fellow writer and like-minded Thomas Moore, the author warns against a characteristic, in his opinion, vice contemporary criticism- haunting him since the time of "Childe Harold" unlawful identification of the main characters - be it Giaur or anyone else - with the creator of the works. At the same time, the epigraph to the new poem - a line from Tasso's "Jerusalem Liberated" - emphasizes the hero's internal duality as the most important emotional leitmotif of the narrative.

The action of the "Corsair" takes place in the south of the Peloponnesian Peninsula, in the port of Koroni and the Pirate Island, lost in the expanses of the Mediterranean. The time of action is not exactly indicated, but it is easy to conclude that the reader is faced with the same era of the enslavement of Greece Ottoman Empire entered the crisis phase. The figurative and speech means characterizing the characters and what is happening are close to those familiar from the Giaur, however new poem is more compact in composition, its plot is developed in more detail (especially with regard to the adventurous "background"), and the development of events and their sequence are more ordered.

The first canto opens with a passionate speech, depicting the romance of the pirate lot filled with risk and anxiety. The filibusters, soldered by a sense of camaraderie, idolize their fearless ataman Konrad. Here and now the fast brig under terrifying for the whole district pirate flag brought encouraging news: the Greek gunner said that in the coming days a raid on the city and the palace of the Turkish governor Seyid could be carried out. Accustomed to the strangeness of the character of the commander, the pirates become shy when they find him immersed in deep thought. Several stanzas follow detailed description Conrad (“Mysterious and eternally lonely, / It seemed that he could not smile”), inspiring admiration for heroism and fear - for the unpredictable impulsiveness of the one who had gone into himself, disbelieved in illusions (“He among people is the most difficult of schools - / The path of disappointment - passed”) - word that carries typical features romantic rebel individualist, whose heart is warmed by one indomitable passion - love for Medora.

Conrad's lover reciprocates; and one of the most heartfelt pages in the poem is Medora's love song and the farewell scene of the heroes before the campaign. Left alone, she finds no place for herself, as always worrying about his life, and on the deck of the brig he gives orders to the team, ready to carry out a daring attack - and win.

The second song takes us to the banquet hall in Seyid's palace. The Turks, for their part, have long been planning to finally clear the sea from pirates and divide the rich booty in advance. Pasha's attention is attracted by a mysterious dervish in tatters, who appeared at the feast from nowhere. He tells that he was taken prisoner by the infidels and managed to escape from the kidnappers, but he flatly refuses to taste luxurious dishes, referring to a vow made to the prophet. Suspecting him as a scout, Seyid orders to seize him, and then the stranger is instantly transformed: under the humble guise of a wanderer, a warrior in armor and with a sword that smashes on the spot was hiding. The hall and approaches to it in the blink of an eye are overflowing with Conrad's associates; a furious battle boils up: "The palace is on fire, the minaret is on fire."

The merciless pirate who crushed the resistance of the Turks, however, shows genuine chivalry when the flames that engulfed the palace spread to the female half. He forbids his brothers-in-arms to resort to violence against the Pasha's slaves, and he himself carries the most beautiful of them, the black-eyed Gulnar, out of the fire. Meanwhile, Seid, who escaped from the pirate's blade in the confusion of the battle, organizes his numerous guards in a counterattack, and Konrad has to entrust Gulnar and her friends, unfortunately, to the cares of a simple Turkish house, and himself to enter into an unequal confrontation. All around, one after another, his slain comrades fall; he, having cut down an uncountable multitude of enemies, is hardly alive captured.

Deciding to torture Conrad and terrible execution, the bloodthirsty Seid orders to place him in a cramped casemate. The hero is not afraid of the coming trials; in the face of death, only one thought worries him: “How will Medora’s message, the evil news, meet?” He falls asleep on a stone bed, and when he wakes up, he finds in his dungeon the black-eyed Gulnar, who has secretly made her way into the prison, completely captivated by his courage and nobility. Promising to persuade the pasha to delay the impending execution, she offers to help the corsair escape. He hesitates: cowardly running away from the enemy is not in his habits. But Medora... After listening to his passionate confession, Gulnar sighs: “Alas! To love is only given to the free!”

Canto Three opens with the author's poetic declaration of love for Greece ("Beautiful city of Athena! Whoever saw the sunset / Your wondrous one will come back..."), which is replaced by a picture of the Pirate Island, where Medora is waiting in vain for Conrad. A boat approaches the shore with the remnants of his detachment, bringing terrible news, their leader is wounded and captured, the filibusters unanimously decide to rescue Conrad from captivity at any cost.

Meanwhile, Gulnar's persuasion to postpone the painful execution of "Gyaur" produces an unexpected effect on Seid: he suspects that his beloved slave is not indifferent to the prisoner and is plotting treason. Showering the girl with threats, he kicks her out of the chambers.

Three days later, Gulnar once again enters the dungeon, where Konrad is languishing. Insulted by the tyrant, she offers the prisoner freedom and revenge: he must stab the pasha in the silence of the night. The pirate recoils; the woman's excited confession follows: “Do not call revenge on the despot villainy! / Your despicable enemy must fall in blood! / Did you start? Yes, I want to become different: / Pushed away, offended - I take revenge! / I am undeservedly accused: / Though a slave, I was faithful!

"A sword - but not a secret knife!" is Conrad's counterargument. Gulnar disappears to appear at dawn: she herself took revenge on the tyrant and bribed the guards; a boat and a boatman are waiting for them off the coast to deliver them to the coveted island.

The hero is confused: in his soul there is an irreconcilable conflict. By the will of circumstances, he owes his life to a woman in love with him, and he himself still loves Medora. Gulnar is also depressed: in Konrad's silence, she reads the condemnation of the crime she committed. Only a fleeting hug and a friendly kiss of the prisoner she saved bring her to her senses.

On the island, the pirates joyfully greet the leader who has returned to them. But the price set by providence for the miraculous deliverance of the hero is incredible: only one window does not shine in the castle tower - the window of Medora. Tormented by a terrible premonition, he climbs the stairs... Medora is dead.

Conrad's grief is inescapable. In solitude, he mourns his girlfriend, and then disappears without a trace: “A series of days passes, / Conrad is gone, he disappeared forever, / And did not announce a single hint, / Where he suffered, where he buried the flour! / He was only mourned by his gang; / His girlfriend was received by the mausoleum... / He will live in the traditions of families / With one love, with a thousand crimes. The finale of The Corsair, like the Giaura, leaves the reader alone with the feeling of an unsolved riddle surrounding the entire existence of the protagonist.

Filled with picturesque contrasts, the coloring of the “Gyaur” is also distinguished by Byron’s next work of the “eastern” cycle - the more extensive poem “The Corsair”, written in heroic couplets. In a brief prose introduction to the poem, dedicated to the author's fellow writer and like-minded Thomas Moore, the author warns against the characteristic, in his opinion, vice of modern criticism - which has haunted him since the days of Childe Harold, the illegal identification of the main characters - whether it is Giaur or anyone the other - with the creator of works. At the same time, the epigraph to the new poem - a line from Tasso's "Jerusalem Delivered" - emphasizes the hero's internal duality as the most important emotional leitmotif of the narrative.

The action of the "Corsair" is deployed in the south of the Peloponnesian Peninsula, in the port of Koroni and the Pirate Island, lost in the expanses of the Mediterranean. The time of action is not precisely indicated, but it is not difficult to conclude that the reader is faced with the same era of the enslavement of Greece by the Ottoman Empire, which has entered a phase of crisis. The figurative and speech means that characterize the characters and what is happening are close to those familiar from "Gyaur", however, the new poem is more compact in composition, its plot is developed in more detail (especially with regard to the adventurous "background"), and the development of events and their sequence - more orderly.

The first canto opens with a passionate speech, depicting the romance of the pirate lot filled with risk and anxiety. The filibusters, soldered by a sense of camaraderie, idolize their fearless ataman Konrad. And now, a fast brig under a pirate flag that terrifies the entire district brought encouraging news: the Greek gunner said that in the coming days a raid on the city and palace of the Turkish governor Seyid could be carried out. Accustomed to the strangeness of the character of the commander, the pirates become shy when they find him immersed in deep thought. Several stanzas follow with a detailed description of Conrad (“Mysterious and eternally lonely, / It seemed that he could not smile”), inspiring admiration for heroism and fear - for the unpredictable impulsiveness of the one who had gone into himself, disbelieved in illusions (“He is among people the most difficult of schools - / The path disappointment - passed") - in a word, bearing the most typical features of a romantic rebel-individualist, whose heart is warmed by one indomitable passion - love for Medora.

Conrad's lover reciprocates; and one of the most heartfelt pages in the poem is Medora's love song and the scene of the farewell of the heroes before the campaign. Left alone, she finds no place for herself, as always worrying about his life, and he, on the deck of the brig, gives orders to the team, full of readiness to carry out a daring attack - and win.

The second song takes us to the banquet hall in Seyid's palace. The Turks, for their part, have long been planning to finally clear the sea from pirates and divide the rich booty in advance. Pasha's attention is attracted by a mysterious dervish in tatters, who appeared at the feast from nowhere. He tells that he was taken prisoner by the infidels and managed to escape from the kidnappers, but he flatly refuses to taste luxurious dishes, referring to a vow made to the prophet. Suspecting him as a scout, Seyid orders to seize him, and then the stranger is instantly transformed: under the humble guise of a wanderer, a warrior in armor and with a sword that smashes on the spot was hiding. The hall and approaches to it in the blink of an eye are overflowing with Conrad's associates; a furious battle boils up: "The palace is on fire, the minaret is on fire."

The merciless pirate who crushed the resistance of the Turks, however, shows genuine chivalry when the flames that engulfed the palace spread to the female half. He forbids brothers-in-arms

to avoid violence against the pasha's slaves and he himself carries out of the fire in his arms the most beautiful of them - the black-eyed Gulnar. Meanwhile, Seid, who escaped from the pirate's blade in the confusion of the battle, organizes his numerous Guards in a counterattack, and Konrad has to entrust Gulnar and her friends, unfortunately, to the cares of a simple Turkish house, and himself to enter into an unequal confrontation. All around, one by one, his slain comrades fall; he, having cut down an uncountable multitude of enemies, is hardly alive captured.

Deciding to subject Konrad to torture and a terrible execution, the bloodthirsty Seid orders him to be placed in a cramped casemate. The hero is not afraid of the coming trials; in the face of death, only one thought worries him: “How will Medora’s message, the evil news, meet?” He falls asleep on a stone bed, and when he wakes up, he finds in his dungeon the black-eyed Gulnar, who has secretly made her way into the prison, completely captivated by his courage and nobility. Promising to persuade the pasha to delay the impending execution, she offers to help the corsair escape. He hesitates: cowardly running away from the enemy is not in his habits. But Medora... After listening to his passionate confession, Gulnar sighs: “Alas! To love is only given to the free!”

Canto Three opens with the author's poetic declaration of love for Greece (“Beautiful city of Athena! Whoever saw the sunset / Your wondrous one will come back ...”), which is replaced by a picture of the Pirate Island, where Conrad waits in vain for Medora. A boat approaches the shore with the remnants of his detachment, bringing terrible news, their leader is wounded and captured, the filibusters unanimously decide to rescue Conrad from captivity at any cost.

Meanwhile, Gulnar's persuasion to postpone the painful execution of "Gyaur" produces an unexpected effect on Seid: he suspects that his beloved slave is not indifferent to the prisoner and is plotting treason. Showering the girl with threats, he kicks her out of the chambers.

Three days later, Gulnar once again enters the dungeon where Konrad is languishing. Insulted by the tyrant, she offers the prisoner freedom and revenge: he must stab the pasha in the silence of the night. The pirate recoils; the woman's excited confession follows: “Do not call revenge on the despot villainy! / Your despicable enemy must fall in blood! / Did you start? Yes, I want to become different: / Pushed away, offended - I take revenge! / I am undeservedly accused: / Though a slave, I was faithful!

"A sword - but not a secret knife!" is Conrad's counterargument. Gulnar disappears to appear at dawn: she herself took revenge on the tyrant and bribed the guards; a boat and a boatman are waiting for them off the coast to take them to the coveted island.

The hero is confused: in his soul there is an irreconcilable conflict. By the will of circumstances, he owes his life to a woman in love with him, and he himself still loves Medora. Gulnar is also depressed: in the silence of Konrad, she reads the condemnation of the crime she committed. Only a fleeting hug and a friendly kiss of the prisoner she saved bring her to her senses.

On the island, the pirates joyfully greet the leader who has returned to them. But the price set by providence for the miraculous deliverance of the hero is incredible: only one window does not shine in the castle tower - the window of Medora. Tormented 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: “<…>A succession of days passes, / No Conrad, he disappeared forever, / And not a single hint announced, / Where he suffered, where he buried the flour! / He was only mourned by his gang; / His girlfriend was received by the mausoleum ... / He will live in the traditions of families / With one love, with a thousand crimes. The finale of The Corsair, like the Giaura, leaves the reader alone with the feeling of an unsolved riddle surrounding the entire existence of the protagonist.

Filled with picturesque contrasts, the coloring of the “Gyaur” is also distinguished by Byron’s next work of the “eastern” cycle - the more extensive poem “The Corsair”, written in heroic couplets. In a brief prose introduction to the poem, dedicated to the author's fellow writer and like-minded Thomas Moore, the author warns against the characteristic, in his opinion, vice of modern criticism - which has haunted him since the days of Childe Harold, the illegal identification of the main characters - whether it is Giaur or anyone the other - with the creator of works. At the same time, the epigraph to the new poem - a line from Tasso's "Jerusalem Delivered" - emphasizes the hero's internal duality as the most important emotional leitmotif of the narrative.

The action of the "Corsair" is deployed in the south of the Peloponnesian Peninsula, in the port of Koroni and the Pirate Island, lost in the expanses of the Mediterranean. The time of action is not precisely indicated, but it is not difficult to conclude that the reader is faced with the same era of the enslavement of Greece by the Ottoman Empire, which has entered a phase of crisis. The figurative and speech means that characterize the characters and what is happening are close to those familiar from "Gyaur", however, the new poem is more compact in composition, its plot is developed in more detail (especially with regard to the adventurous "background"), and the development of events and their sequence - more orderly.

The first canto opens with a passionate speech, depicting the romance of the pirate lot filled with risk and anxiety. The filibusters, soldered by a sense of camaraderie, idolize their fearless ataman Konrad. And now, a fast brig under a pirate flag that terrifies the entire district brought encouraging news: the Greek gunner said that in the coming days a raid on the city and palace of the Turkish governor Seyid could be carried out. Accustomed to the strangeness of the character of the commander, the pirates become shy when they find him immersed in deep thought. Several stanzas follow with a detailed description of Conrad (“Mysterious and eternally lonely, / It seemed that he could not smile”), inspiring admiration for heroism and fear - for the unpredictable impulsiveness of the one who had gone into himself, disbelieved in illusions (“He is among people the most difficult of schools - / The path disappointment - passed") - in a word, bearing the most typical features of a romantic rebel-individualist, whose heart is warmed by one indomitable passion - love for Medora.

Conrad's lover reciprocates; and one of the most heartfelt pages in the poem is Medora's love song and the scene of the farewell of the heroes before the campaign. Left alone, she finds no place for herself, as always worrying about his life, and he, on the deck of the brig, gives orders to the team, full of readiness to carry out a daring attack - and win.

The second song takes us to the banquet hall in Seyid's palace. The Turks, for their part, have long been planning to finally clear the sea from pirates and divide the rich booty in advance. Pasha's attention is attracted by a mysterious dervish in tatters, who appeared at the feast from nowhere. He tells that he was taken prisoner by the infidels and managed to escape from the kidnappers, but he flatly refuses to taste luxurious dishes, referring to a vow made to the prophet. Suspecting him as a scout, Seyid orders to seize him, and then the stranger is instantly transformed: under the humble guise of a wanderer, a warrior in armor and with a sword that smashes on the spot was hiding. The hall and approaches to it in the blink of an eye are overflowing with Conrad's associates; a furious battle boils up: "The palace is on fire, the minaret is on fire."

The merciless pirate who crushed the resistance of the Turks, however, shows genuine chivalry when the flames that engulfed the palace spread to the female half. He forbids his brothers-in-arms to resort to violence against the Pasha's slaves, and he himself carries the most beautiful of them, the black-eyed Gulnar, out of the fire. Meanwhile, Seid, who escaped from the pirate's blade in the confusion of the battle, organizes his numerous Guards in a counterattack, and Konrad has to entrust Gulnar and her friends, unfortunately, to the cares of a simple Turkish house, and himself to enter into an unequal confrontation. All around, one by one, his slain comrades fall; he, having cut down an uncountable multitude of enemies, is hardly alive captured.

Deciding to subject Konrad to torture and a terrible execution, the bloodthirsty Seid orders him to be placed in a cramped casemate. The hero is not afraid of the coming trials; in the face of death, only one thought worries him: “How will Medora’s message, the evil news, meet?” He falls asleep on a stone bed, and when he wakes up, he finds in his dungeon the black-eyed Gulnar, who has secretly made her way into the prison, completely captivated by his courage and nobility. Promising to persuade the pasha to delay the impending execution, she offers to help the corsair escape. He hesitates: cowardly running away from the enemy is not in his habits. But Medora... After listening to his passionate confession, Gulnar sighs: “Alas! To love is only given to the free!”

Canto Three opens with the author's poetic declaration of love for Greece (“Beautiful city of Athena! Whoever saw the sunset / Your wondrous one will come back ...”), which is replaced by a picture of the Pirate Island, where Conrad waits in vain for Medora. A boat approaches the shore with the remnants of his detachment, bringing terrible news, their leader is wounded and captured, the filibusters unanimously decide to rescue Conrad from captivity at any cost.

Meanwhile, Gulnar's persuasion to postpone the painful execution of "Gyaur" produces an unexpected effect on Seid: he suspects that his beloved slave is not indifferent to the prisoner and is plotting treason. Showering the girl with threats, he kicks her out of the chambers.

Three days later, Gulnar once again enters the dungeon where Konrad is languishing. Insulted by the tyrant, she offers the prisoner freedom and revenge: he must stab the pasha in the silence of the night. The pirate recoils; the woman's excited confession follows: “Do not call revenge on the despot villainy! / Your despicable enemy must fall in blood! / Did you start? Yes, I want to become different: / Pushed away, offended - I take revenge! / I am undeservedly accused: / Though a slave, I was faithful!

"A sword - but not a secret knife!" is Conrad's counterargument. Gulnar disappears to appear at dawn: she herself took revenge on the tyrant and bribed the guards; a boat and a boatman are waiting for them off the coast to take them to the coveted island.

The hero is confused: in his soul there is an irreconcilable conflict. By the will of circumstances, he owes his life to a woman in love with him, and he himself still loves Medora. Gulnar is also depressed: in the silence of Konrad, she reads the condemnation of the crime she committed. Only a fleeting hug and a friendly kiss of the prisoner she saved bring her to her senses.

On the island, the pirates joyfully greet the leader who has returned to them. But the price set by providence for the miraculous deliverance of the hero is incredible: only one window does not shine in the castle tower - the window of Medora. Tormented by a terrible premonition, he climbs the stairs... Medora is dead.

Conrad's grief is inescapable. In solitude, he mourns his girlfriend, and then disappears without a trace: “A series of days passes, / Conrad is gone, he disappeared forever, / And did not announce a single hint, / Where he suffered, where he buried the flour! / He was only mourned by his gang; / His girlfriend was received by the mausoleum ... / He will live in the traditions of families / With one love, with a thousand crimes. The finale of The Corsair, like the Giaura, leaves the reader alone with the feeling of an unsolved riddle surrounding the entire existence of the protagonist.

Filled with picturesque contrasts, the coloring of “Giaur” also distinguishes Byron’s next work of the “eastern” cycle - the more extensive poem “The Corsair”, written in heroic couplets. In a brief prose introduction to the poem, dedicated to the author's fellow writer and like-minded Thomas Moore, the author warns against the characteristic, in his opinion, vice of modern criticism - which has haunted him since the days of Childe Harold, the illegal identification of the main characters - whether it is Giaur or anyone the other is with the creator of the works. At the same time, the epigraph to the new poem - a line from Tasso's "Jerusalem Delivered" - emphasizes the hero's inner split as the most important emotional leitmotif of the narrative.

The action of the "Corsair" is deployed in the south of the Peloponnesian Peninsula, in the port of Koroni and the Pirate Island, lost in the expanses of the Mediterranean. The time of action is not exactly indicated, but it is easy to conclude that the reader is faced with the same era of the enslavement of Greece by the Ottoman Empire, which has entered a phase of crisis. The figurative and speech means that characterize the characters and what is happening are close to those familiar from “Gyaur”, however, the new poem is more compact in composition, its plot is developed in more detail (especially with regard to the adventurous “background”), and the development of events and their sequence - more orderly.

The first canto opens with a passionate speech, depicting the romance of the pirate lot filled with risk and anxiety. The filibusters, soldered by a sense of camaraderie, idolize their fearless ataman Konrad. And now, a fast brig under a pirate flag that terrifies the entire district brought encouraging news: the Greek gunner said that in the coming days a raid on the city and palace of the Turkish governor Seyid could be carried out. Accustomed to the strangeness of the character of the commander, the pirates become shy when they find him immersed in deep thought. Several stanzas follow with a detailed description of Conrad (“Mysterious and eternally alone, It seemed that he could not smile”), inspiring admiration for heroism and fear - for the unpredictable impulsiveness of the one who had gone into himself, who had lost faith in illusions (“He is among people the most difficult of schools - The path of disappointment - passed”) – in a word, bearing the most typical features of a romantic rebel-individualist, whose heart is warmed by one indomitable passion – love for Medora.

Conrad's lover reciprocates; and one of the most heartfelt pages in the poem is Medora's love song and the farewell scene of the heroes before the campaign. Left alone, she finds no place for herself, as always worrying about his life, and on the deck of the brig he gives orders to the team, ready to carry out a daring attack - and win.

The second song takes us to the banquet hall in Seyid's palace. The Turks, for their part, have long been planning to finally clear the sea from pirates and divide the rich booty in advance. Pasha's attention is attracted by a mysterious dervish in tatters, who appeared at the feast from nowhere. He tells that he was taken prisoner by the infidels and managed to escape from the kidnappers, but he flatly refuses to taste luxurious dishes, referring to a vow made to the prophet. Suspecting him as a scout, Seyid orders to seize him, and then the stranger is instantly transformed: under the humble guise of a wanderer, a warrior in armor and with a sword that smashes on the spot was hiding. The hall and approaches to it in the blink of an eye are overflowing with Conrad's associates; a furious battle boils up: "The palace is on fire, the minaret is on fire."

The merciless pirate who crushed the resistance of the Turks, however, shows genuine chivalry when the flames that engulfed the palace spread to the female half. He forbids his brothers-in-arms to resort to violence against the Pasha's slaves and he himself carries the most beautiful of them, the black-eyed Gulnar, out of the fire. Meanwhile, Seid, who escaped from the pirate's blade in the confusion of the battle, organizes his numerous guards in a counterattack, and Konrad has to entrust Gulnar and her friends, unfortunately, to the cares of a simple Turkish house, and himself to enter into an unequal confrontation. All around, one by one, his slain comrades fall; he, having cut down an uncountable multitude of enemies, is hardly alive captured.

Deciding to subject Konrad to torture and a terrible execution, the bloodthirsty Seid orders him to be placed in a cramped casemate. The hero is not afraid of the coming trials; in the face of death, only one thought worries him: “How will Medora’s message, the evil news, meet?” He falls asleep on a stone bed, and when he wakes up, he finds in his dungeon the black-eyed Gulnar, who has secretly made her way into the prison, completely captivated by his courage and nobility. Promising to persuade the pasha to delay the impending execution, she offers to help the corsair escape. He hesitates: cowardly running away from the enemy is not in his habits. But Medora... After listening to his passionate confession, Gulnar sighs: “Alas! To love is only given to the free!”

Canto Three opens with a poetic declaration of love for Greece (“Wonderful city of Athena! Whoever has seen Your marvelous sunset will come back…”), which is replaced by a picture of the Pirate Island, where Conrad waits in vain for Medora. A boat approaches the shore with the remnants of his detachment, bringing terrible news, their leader is wounded and captured, the filibusters unanimously decide to rescue Conrad from captivity at any cost.

Meanwhile, Gulnar's persuasion to postpone the painful execution of "Gyaur" produces an unexpected effect on Seid: he suspects that his beloved slave is not indifferent to the prisoner and is plotting treason. Showering the girl with threats, he kicks her out of the chambers.

Three days later, Gulnar once again enters the dungeon where Konrad is languishing. Insulted by the tyrant, she offers the prisoner freedom and revenge: he must stab the pasha in the silence of the night. The pirate recoils; the woman's excited confession follows: “Do not call revenge on the despot villainy! Your despicable enemy must fall in blood! Did you start? Yes, I want to become different: Pushed away, offended - I take revenge! I am undeservedly accused: Though a slave, I was faithful!”

"A sword - but not a secret knife!" is Conrad's counterargument. Gulnar disappears to appear at dawn: she herself took revenge on the tyrant and bribed the guards; a boat and a boatman are waiting for them off the coast to take them to the coveted island.

The hero is confused: in his soul there is an irreconcilable conflict. By the will of circumstances, he owes his life to a woman in love with him, and he himself still loves Medora. Gulnar is also depressed: in the silence of Konrad, she reads the condemnation of the crime she committed. Only a fleeting hug and a friendly kiss from the prisoner she saved bring her to her senses.

On the island, the pirates joyfully greet the leader who has returned to them. But the price set by providence for the miraculous deliverance of the hero is incredible: only one window does not shine in the castle tower - the window of Medora. Tormented by a terrible premonition, he climbs the stairs... Medora is dead.

Conrad's grief is inescapable. In solitude, he mourns his girlfriend, and then disappears without a trace: “A series of days passes, Conrad is gone, he disappeared forever, And not a single hint announced, Where he suffered, where he buried the flour! He was only mourned by his gang; His girlfriend was received by the mausoleum… He will live in the traditions of families With one love, with a thousand crimes.” The finale of "Corsair", like "Gyaura", leaves the reader alone with the feeling of an unsolved riddle surrounding the entire existence of the protagonist.

Option 2

The action of Byron's poem "The Corsair" takes place in the port of Koroni and on a pirate island during the enslavement of Greece by the Turks. The first song tells of a pirate life, Byron describes a pirate brig under the command of the filibuster Conrad. In this part of the poem, the captain learns from a Greek spy that now the best time to attack the palace of the Turkish governor Seid. The pirate captain is an image of a typical romantic rebel, a mysterious individualist hero, whose heart is warmed by an indomitable love for the girl Medora. The beloved of the captain of the corsairs reciprocates. Her love song is one of the brightest pages of the poem, as is the heartfelt scene of the parting of lovers before a pirate raid.

The second song of the poem presents to our eyes the banquet hall of Seid. The Turkish command plans to clear the sea of ​​pirate filth. The attention of the viceroy is attracted by a mysterious monk who somehow made his way to the feast. The dervish says that he was captured by the infidels and managed to escape, but he chastely refuses luxurious dishes, motivating this by a vow given to the prophet. The shrewd governor suspects the monk of espionage and orders him to be captured. However, the dervish is transformed into a well-armed warrior, clad in plate armor. Companions of Konrad begin an attack on the palace, a fierce battle begins.

A quick and sudden attack sweeps away the resistance of the Turks, but the stern corsair is a real nobility when the fire that engulfed the palace spreads to the female half of the building. He forbids the pirates to show cruelty towards Seyid's captive concubines and himself saves the slave Gulnar from the fire. However, the Turks gather their strength and organize a powerful counterattack that sweeps away the pirates - Conrad's comrades die, he, exhausted, is captured.

The Turkish viceroy sentences the captain of the pirates to torture and execution, before deciding to wear out the filibuster in the casemates. Conrad is not afraid of death, he is only afraid of how his beloved Medora will perceive the news of his death. At night, the rescued Gulnar comes to him and offers to help the pirate escape. A brave sailor hesitates with a decision, because running away from the enemy is not in his habit.

Meanwhile, Gulnar's attempt to delay the execution fails, Seid decides that his beloved concubine is not indifferent to the prisoner and accuses her of treason. The offended Gulnar again comes to Konrad and asks him to run away, urging him to secretly kill the despot Seyid. But this time too noble corsair does not want to cowardly, in a dream, kill his opponent. The concubine frees the pirate and personally kills the viceroy. The captives flee the palace and return to the pirate island.

However, returning home does not bring joy to Konrad, because his beloved Medora does not meet him. He is looking for his beloved in her chambers and does not find it... The unfortunate Medora committed suicide after learning about the impending execution of her beloved captain. Unbearable grief falls on the shoulders of Conrad. Alone, he mourns for his friend of the heart, and then leaves without leaving a trace. The finale of the play “The Corsair” gives the reader the opportunity to unravel the mystery of the feelings of the protagonist himself.

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1. Belshazzar's vision In the palace, which is all shining from rich decoration, King Belshazzar sits on the throne. Many satraps have gathered around him, who bow before him in silence. Vladyka is considered the anointed of God on earth. Belshazzar desired to have a feast. Those invited drink the most expensive Read More ......
2. GULNAR (eng. Gulnare) is the heroine of the oriental poem (“tale”) by D. G. Byron “The Corsair” (1814). The image of G. refutes famous saying A. S. Pushkin that Byron “created just one character (women have no character, they have passions in their youth; here Read More ......
3. Childe Harold's Pilgrimage When a winged line was born under the pen of A. S. Pushkin, exhaustively defining the appearance and character of his favorite hero: "A Muscovite in Harold's cloak", its creator, I think, did not at all seek to impress his compatriots with originality striking in the eyes. Its purpose, it is appropriate to assume, was Read More ......
4. Don Juan " Epic poem"- according to the author's opinion, but in fact - a novel in verse," Don Juan "- the most important and largest work of the late stage of Byron's work, the subject of the poet's constant reflections and fierce polemics of criticism. Like "Eugene Onegin", a masterpiece of the late Read More ......
5. You ended the path of life ... The poet in his work praises patriotism and selfless courage national hero. He writes about the feat of a man who served his homeland all his life and tragically died defending it. But the death of the hero did not go unnoticed by the people, Read More ......
6. Prometheus The author refers to mythical hero Ancient Greece- the titan Prometheus, who was sympathetic to humanity with its sorrow and pain. People quietly suffered from such a life. He refused to carry out the evil orders of the Thunderer and helped humanity. And for your Read More ......
7. Manfred The philosophical tragedy Manfred, which became Byron's debut as a playwright, is perhaps the most profound and significant (along with the mystery Cain, 1821) of the poet's works in the dialogic genre, and not without reason is considered the apotheosis of Byron's pessimism. Painfully experienced by the writer, discord with British society, ultimately Read More ......
8. Cain The scene of the prayer to Jehovah opens the Mystery, the action of which takes place in “a place near paradise”. All the few “mankind” participate in the prayer: Adam and Eve, who were expelled from paradise in retribution for sin, their sons Cain and Abel, daughters of Hell and Cell Read More ......