In the midday heat of the valley of Dagestan read. Lermontov mikhail - dream

"Sleep" ("In the midday heat in the valley of Dagestan ...") "DREAM"("At noon heat in the valley of Dagestan ...") (1841), verse. with short story plot, often found in the later poems of L. ("Testament", "Neighbor", "Neighbor", "Prisoner"). "Dream" was written on behalf of a person who is on the verge of life and death, and this already largely predetermines a special mystery, ontological. the mystery of lermont. verse., this phenomenon in Russian. poetry. The hero of the ballad has a dream about his own. death and in his dream - the dream of his beloved woman, prophetically seeing his death. And this dream is devoid of any surreal dream convention, it is extremely clear and concrete - despite the fact that its content is like a verse. overall, deeply symbolic.

Fig. S. V. Ivanova. Black watercolor. 1891.

The all-pervading connection between the motives of love and death finds expression in a complex plot form, built on the principle of "generation" - one plot-psychol. the situation (the dream of a lyric. hero) gives rise to another (the dream of a woman he loves), or "investments" - the dream of one is "invested", the dream of another is built in; Wed not identical, but similar in "Stans" ("I can't languish in my homeland"): "So, but if I don't forget / In this [mortal. - Ed.] a dream of love, a sad dream ... ". B. Eichenbaum, exploring genre and composition. the originality of the "Dream", called its construction "mirror": "The dream of the hero and the dream of the heroine are like two mirrors, mutually reflecting the actual destinies of each of them and returning their reflections to each other" [ Eichenbaum(7), p. 252); according to V.S. Solovyov, this is “a dream in a cube”. Symbolic and compositions. the complexity of the verse. contrasts with the emphasized poetic simplicity. stylistics, lack of metaphors. imagery: all used in verse. epithets - general poetic or neutral. But the instrumentation of the verse, int. rhymes, assonances and alliterations ("in ldn ev n th f ar in dol and n e Yes guest house n a ... le f al n e d in and f im ... and with ln tse ggl about their f yellow tops n s and ggl about me n I ... ") in combination with anaphoras and joints creates a complex muses. drawing. Intonats. and muses. the movement of the verse is correlated with its circular construction, which is not uncommon in lyric poetry. genres; here it receives a fundamentally new content due to the special logic of the plot's development. The first and the last circular quatrains do not belong to one, as usual, but to different consciousnesses: the hero (“I lay motionless”) and the heroine (“and she dreamed ...”). Such a circular repetition - one person “recognizes”, recreates the death of another down to the details - conveys a special, “resolving” sense of the tragic. the plot is verse, imprisoned not only in death, but in the very "observation" of the hero of the ballad of his dying: "A deep wound was still smoking, / Drop by drop my blood was draining." "Sleep" does not give rise to that "chilling despair" about which VG Belinsky spoke about in connection with L.'s later poems. - "with the demand not so much love as memory" - then in the artist. the space of the ballad seems to come true and the image that lived in L. perfect love who turned out to be visionary. And such love, to-ruu only in a death dream, but managed - by the power of his own. insight - to see the hero verse., deduces the theme of death from an absolute, closed tragedy. Various assumptions have been made regarding the origin of the "Dream", however, some versions cannot be accepted due to the chronological. inconsistencies. Some researchers associate it with the name of V.A. Lopukhina, others - with E.P. Rostopchina; the latter, according to Eichenbaum, is more likely. E.A. Sushkova unreasonably believed that the reason for the creation of "Dream" was the news of her alleged marriage with A. A. Lopukhin: L. allegedly warned Sushkova that he would challenge her fiancé to a duel ... On this occasion, he wrote the poem "Dream" ( Sushkova, with. 226). G. Gradovsky calls another source - the memories of gene. M.Kh. Schultz, to-ry told L. how after the battle he lay wounded all day among the dead until he was picked up. L. Semyonov suggested in verse. the influence of the folklore of the Greben Cossacks, S. Shuvalov - the lyrics of G. Heine. However, it is undoubtedly in verse. reflected and gloomy forebodings that possessed L. after his last departure from St. Petersburg. The motive of a dream about own. death was developed by L. back in early lyrics marked by an intense search for the solution to the eternal mystery of being (cf. "Night. I", "Death" - "Fondled by blooming dreams ..."). As A. Bezhetsky pointed out, the plot of "Dream" was developed into verse. unknown the author, a cut was attributed to L. The influence of "Sleep" can be traced in the verse. NP Ogareva "In the silence the night chord is sad ...". Motives lermont. verse. are repeated in the lyrics of A. Isahakyan (“Yes, I always know - there is a foreign country”). Belinsky referred to "Dream" as one of the "most significant" works. L., equally interesting "both aesthetically and psychologically" and belonging "to the era full development"His talent. NG Chernyshevsky quotes this verse. as an example of the truly beautiful in poetry. Later interest in poetry. form of "Dream", its aesthetic. content, to be reflected in the verse. personality L. was especially inherent in researchers close to the Symbolists: V. V. Rozanov, D. S. Merezhkovsky found in the "Dream" the prophetic dream of L. himself, mystical. insight of the poet. Questions of composition and instrumentation of "Sleep" are highlighted in the works of S. Shuvalov and I. Rozanov; the latter also analyzes L.'s work on the autograph. Verse. illustrated by G. G. Gagarin, S. V. Ivanov, D. N. Kardovsky, K. A. Korovin, P. Litvinenko, D. I. Mitrokhin. We have put to music more than 20 composers, incl. M. A. Balakirev, J. F. Prigozhiy, S. N. Vasilenko, A. N. Drozdov, V. M. Ivanov-Korsunsky. From ser. 19th century "Sleep" has become a part of the folk song repertoire. In 1915, Mikhail Fokin staged the ballet Dream (music by Mikhail Glinka, script by Fokin) at the Mariinsky Theater. Autographs: Belovoy - GPB, Sobr. rukop. L., No. 12 (notebook presented by V. F. Odoevsky), fol. 7v., Rough - in the same place, fol. 21-22. For the first time - "OZ", 1843, no. 4, dep. 1, p. 183. Dated in the summer of 1841 according to the position in the notebook.

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

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

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

A (y), pr. about the heat, in the heat, in the heat, m. 1. A strong degree of heat, inherent in what l. heated or burning and radiated by it. After the rain, the sun was so hot on the ground that a damp heat was blowing through the cell window from the field, as if from a bathhouse. M. Gorky, Karamora ... Small academic dictionary

TRANSLATIONS AND STUDY OF LERMONTOV IN THE LITERATURE OF THE PEOPLES OF THE USSR. The connections between L.'s creative work and the literature of the peoples of the USSR are numerous and diverse, they were embodied and realized in different ways in separate liters, arose at different times, depending on ... ... Lermontov Encyclopedia

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

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

GENRE OF Lermontov's poetry. Lit. L.'s activity proceeded in the era of destruction and diffusion of the genre system of the 18th century, and his creative work. heritage is not always amenable to genre classification, reflecting at the same time the search for new forms. Pupil. lyrics by L. ... ... Lermontov Encyclopedia

- (1806 88), Colonel of the General Staff, member of the cavalry. wars, later gene. major. L. met Sh., Apparently in 1840 in Stavropol. Sh .'s story about his injury during the assault in 1839 dag. the fortress of Akhulgo and about the condition he survived to the swarm then, served, ... ... Lermontov Encyclopedia

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

- (nee Yushkova, after her first husband Kireevskaya; 1789 1877), an acquaintance of L.; the mistress of the famous mosk. lit. salon. Friend and relative of V. A. Zhukovsky, mother of I. V. and P. V. Kireevsky. In the 30s and 40s. in the salon of the Elagin Kireevsky (at the Red Gate) ... ... Lermontov Encyclopedia

- "Otechestvennye ZAPISKI" (1839 84), a magazine, originally a collection (1818 I part, 1819 II part), founded in St. Petersburg by P. P. Svinin and published by him monthly in 1820 30. In 1839 "OZ" were renewed by AA. Kraevsky, published monthly (in 1865 ... Lermontov Encyclopedia

- (pseudo; real name Peyo Kracholov) (1878 1914), bulg. poet. Showed a deep interest in the work of L. "His poetry, wrote Ya., Is, as it were, a more perfect confession of my own soul." The tonality of the series has died down. I. 1900s reminiscent of the lyrics ... Lermontov Encyclopedia

Half-day heat in the valley of Dagestan
Lead in my chest I lay motionless;
A deep wound was still smoking,
Drop by drop my blood was chiseling.

I lay alone in the sand of the valley;
The ledges of the rocks were crowded around,
And the sun burned their yellow tops
And it burned me - but I slept like a dead dream.

And I dreamed shining with lights
Evening feast at home.
Between young wives crowned with flowers,
There was a funny conversation about me.

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

And she dreamed of the valley of Dagestan;
A familiar corpse lay in that valley;
There was a blackened wound in his chest,
And the blood poured in a cold stream.

Analysis of Lermontov's poem "Dream"

The poem "Dream", written in 1841, belongs to the last period of the poet's work. It was created during his second exile to the Caucasus, when the author already had a presentiment of his death and tried to fully fulfill the order of his friend Vladimir Odoevsky. The thing is that on the eve of his departure, the poet presented Lermontov with an elegant notebook, asking him to return it after the trip, completely covered with poetry. This gesture of support and participation was designed to strengthen Mikhail Lermontov's faith in his strength, but Odoevsky did not even imagine that he was seeing his friend for the last time.

The poem "Dream" itself stands out significantly from a number of works that were created by the poet during this difficult period for him. The author mentally put an end to his career, realizing that after the second exile to the Caucasus, he would have to resign. At the same time, having taken place as a poet, Mikhail Lermontov also realized that with the current tsarist regime and the aggravation of relations with the government, his works are unlikely to be published. Therefore, the poems of this period are distinguished by their sharpness and undisguised sarcasm, which cannot be said about the lyrical and full of tragedy work "Dream". In it, the author identifies himself with the main character, who in the valley of Dagestan "lay motionless with lead in his chest." Life flowed out of him drop by drop and, gradually falling into oblivion, the hero saw an unusual dream. In it he was again at home, and the beautiful virgins, having gathered for the "evening feast," vividly discussed his person. Only one of the girls, suddenly falling into a dream, saw him lying in the sunny valley of Dagestan, realizing that the hero of girls' disputes and dreams had been killed.

This is the poem has a very non-standard and atypical form for the works of Mikhail Lermontov, it is shrouded in a kind of mysticism and fatalism. In fact, the poet predicted his own death down to the smallest detail, although the second part of the work, where the heroine of the poem is visited by a strange dream-vision, is a lyrical digression, a desire to pass fiction as reality. Alas, in " home side»Except for the elderly grandmother, who raised the future poet, and a few friends who believed in Lermontov's talent, no one was waiting for him. Apparently, the realization of this made the author slightly embellish his work, which, nevertheless, still causes controversy among literary scholars.

Many researchers of Mikhail Lermontov's work are inclined to believe that the poet possessed not only a literary gift, but also knew how to see the future. After all, "Dream" is not the only work of this author, which contains rhymed predictions. Close friends of Lermontov claimed that he really could look into the other world and sometimes dropped strange phrases in the presence of many witnesses, which were later destined to become prophetic.

Therefore, no one was surprised when in the notebook presented to the poet Odoevsky, after Lermontov's death in a duel, the poem "Dream" was discovered, anticipating the events that were destined to happen just a few months after the writing of this work.

Moreover, eyewitnesses claim that Mikhail Lermontov not only knew about his death, but also did not want to change anything, believing that such an act was not worthy of a person whose fate was predetermined. Therefore, during the duel, when it became clear that the poet had the right to fire the first shot, he pointed the barrel of the pistol into the sky and, thereby, showed that he was ready to accept his own fate, which he very colorfully and reliably described in the poem "Dream", without indicating only the name of the person who was destined from above to fulfill this difficult and sad mission.

Half-day heat in the valley of Dagestan
Lead in my chest I lay motionless;
A deep wound was still smoking;
Drop by drop my blood was chiseling.
I lay alone in the sand of the valley;
The ledges of the rocks were crowded around,
And the sun burned their yellow tops
And it burned me - but I slept like a dead dream.

And I dreamed shining with lights
Evening feast, in the homeland.
Between young wives crowned with flowers,
There was a funny conversation about me.

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

And she dreamed of the valley of Dagestan;
A familiar corpse lay in that valley;
There was a blackened wound in his chest,
And the blood poured in a cold stream.

Analysis of the poem "Dream" by Lermontov

The poem "Dream" (1841) is one of the last works of Lermontov. Many consider him an amazing prophecy of his own fate. The poet did not hide that he deliberately sought death. All his later works are permeated with this motive. The image of death, like a dream, may have been inspired by Lermontov by one of the songs of the Greben Cossacks, whom he was interested in in the Caucasus.

The author describes his death, which was a common occurrence in the context of continuous war. Eyewitnesses claim that in military clashes Lermontov showed reckless courage and literally climbed under enemy bullets himself. The war could not save the poet from painful loneliness. The feeling of constant danger very soon dulled. First impressions quickly lost all their freshness and pungency. Lermontov again felt dissatisfaction. It was exacerbated by reflections on the meaning of war. Most of the officers never thought about it, they only strove for glory and victory. The lonely romantic with lofty ideas turned out to be a stranger here too.

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

Lermontov does not indicate specifically whose bullet will end his life. Nor does he describe battles with enemies. Therefore, the poem "Dream" can really be regarded as a detailed prediction of one's own death. The poet's strange behavior in a duel, when he simply raised the pistol with the muzzle up and did not even fire, enveloped his death in a romantic halo. Even looking death in the eye, Lermontov went against all the rules and died in splendid isolation.

"DREAM"("At noon heat in the valley of Dagestan ...") (1841), verse. with short story plot, often found in the later poems of L. ("Testament", "Neighbor", "Neighbor", "Prisoner"). "Dream" was written on behalf of a person who is on the verge of life and death, and this already largely predetermines a special mystery, ontological. the mystery of lermont. verse., this phenomenon in Russian. poetry. The hero of the ballad has a dream about his own. death and in his dream - the dream of his beloved woman, prophetically seeing his death. And this dream is devoid of any surreal dream convention, it is extremely clear and concrete - despite the fact that its content is like a verse. overall, deeply symbolic.

Fig. S. V. Ivanova. Black watercolor. 1891.

The all-pervading connection between the motives of love and death finds expression in a complex plot form, built on the principle of "generation" - one plot-psychol. the situation (the dream of a lyric. hero) gives rise to another (the dream of a woman he loves), or "investments" - the dream of one is "invested", the dream of another is built in; Wed not identical, but similar in "Stans" ("I can't languish in my homeland"): "So, but if I don't forget / In this [mortal. - Ed.] a dream of love, a sad dream ... ". B. Eichenbaum, exploring genre and composition. the originality of the "Dream", called its construction "mirror": "The dream of the hero and the dream of the heroine are like two mirrors, mutually reflecting the actual destinies of each of them and returning their reflections to each other" [ Eichenbaum(7), p. 252); according to V.S. Solovyov, this is “a dream in a cube”. Symbolic and compositions. the complexity of the verse. contrasts with the emphasized poetic simplicity. stylistics, lack of metaphors. figurativeness: all used in verse. epithets - general poetic or neutral. But the instrumentation of the verse, int. rhymes, assonances and alliterations ("In the ldn ev n th f ar in dol and n e Yes guest house n a ... le f al n e d in and f im ... and with ln tse ggl about their f yellow tops n s and ggl about me n I ... ") in combination with anaphoras and joints creates a complex muses. drawing. Intonats. and muses. the movement of the verse is correlated with its circular construction, which is not uncommon in lyric poetry. genres; here it receives a fundamentally new content, due to the special logic of the plot development. The first and the last circular quatrains do not belong to one, as usual, but to different consciousnesses: the hero (“I lay motionless”) and the heroine (“and she dreamed ...”). Such a circular repetition - one person “recognizes”, recreates the death of another down to the details - conveys a special tragic meaning that “resolves” the meaning. the plot is verse, imprisoned not only in death, but in the very "observation" of the hero of the ballad of his dying: "A deep wound was still smoking, / Drop by drop my blood was stealing." "Sleep" does not give rise to that "chilling despair" that VG Belinsky spoke about in connection with L.'s later poems. - "with the demand not so much love as memory" - then in the artist. The space of the ballad seems to come true and the image of ideal love, which turned out to be visionary, which lived in L. is fully understood. And such love, to-ruu only in a death dream, but managed - by the power of his own. insight - to see the hero verse., deduces the theme of death from an absolute, closed tragedy. Various assumptions have been made regarding the origin of the "Dream", however, some versions cannot be accepted due to the chronological. inconsistencies. Some researchers associate it with the name of V.A. Lopukhina, others - with E.P. Rostopchina; the latter, according to Eichenbaum, is more likely. E.A. Sushkova unreasonably believed that the reason for the creation of "Dream" was the news of her alleged marriage with A. A. Lopukhin: L. allegedly warned Sushkova that he would challenge her fiancé to a duel ... On this occasion, he wrote the poem "Dream" ( Sushkova, with. 226). G. Gradovsky calls another source - the memories of gene. M.Kh. Schultz, to-ry told L. how after the battle he lay wounded all day among the dead until he was picked up. L. Semyonov suggested in verse. the influence of the folklore of the Greben Cossacks, S. Shuvalov - the lyrics of G. Heine. However, it is undoubtedly in verse. reflected and gloomy forebodings that possessed L. after his last departure from St. Petersburg. The motive of a dream about own. death was developed by L. in his early lyrics, marked by an intense search for the solution to the eternal mystery of life (cf. "Night. I", "Death" - "Fondled by blooming dreams ..."). As A. Bezhetsky pointed out, the plot of "Dream" was developed into verse. unknown the author, a cut was attributed to L. The influence of "Sleep" can be traced in the verse. NP Ogareva "In the silence the night chord is sad ...". Motives lermont. verse. are repeated in the lyrics of A. Isahakyan (“Yes, I always know - there is a foreign country”). Belinsky referred to "Dream" as one of the "most significant" works. L., equally interesting "both aesthetically and psychologically" and belonging to the "era of full development" of his talent. NG Chernyshevsky quotes this verse. as an example of the truly beautiful in poetry. Later interest in poetry. form of "Dream", its aesthetic. content, to be reflected in the verse. personality L. was especially inherent in researchers close to the Symbolists: V. V. Rozanov, D. S. Merezhkovsky found in the "Dream" the prophetic dream of L. himself, mystical. insight of the poet. Questions of composition and instrumentation of "Sleep" are highlighted in the works of S. Shuvalov and I. Rozanov; the latter also analyzes L.'s work on the autograph. Verse. illustrated by G. G. Gagarin, S. V. Ivanov, D. N. Kardovsky, K. A. Korovin, P. Litvinenko, D. I. Mitrokhin. We have put to music more than 20 composers, incl. M. A. Balakirev, J. F. Prigozhiy, S. N. Vasilenko, A. N. Drozdov, V. M. Ivanov-Korsunsky. From ser. 19th century "Sleep" has become a part of the folk song repertoire. In 1915, Mikhail Fokin staged the ballet Dream (music by Mikhail Glinka, script by Fokin) at the Mariinsky Theater. Autographs: Belovoy - GPB, Sobr. rukop. L., No. 12 (notebook presented by V. F. Odoevsky), fol. 7v., Rough - in the same place, fol. 21-22. For the first time - "OZ", 1843, no. 4, dep. 1, p. 183. Dated in the summer of 1841 according to the position in the notebook.

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

• - Russian pre-revolutionary. the name of the village associations. communities semi-patriarch-semi-feudal. type in Dagestan, retained attributed. independence from neighboring fiefs. owners ...

  Soviet Historical Encyclopedia

• - With the weakening of the power of the Shamkhals in the XIV - XVII centuries and the Persian shahs in the 17th - 18th centuries. Dagestan and Eastern Transcaucasia were divided into several separate possessions ruled by special rulers - khans ...
• - With the weakening of the power of the Shamkhals in the XIV-XVII centuries and the Persian shahs in the XVII-XVIII centuries. Dagestan and Eastern Transcaucasia were divided into several separate possessions ruled by special rulers - khans ...

  encyclopedic Dictionary Brockhaus and Euphron

• - a term introduced by Russian historians and ethnographers to designate associations of rural communities of a semi-patriarchal-semi-feudal type in Dagestan, which retained independence from neighboring feudal ...

  Big Soviet encyclopedia

• - noon "...

  Russian orthographic dictionary

• - ...

  Dictionary of antonyms

• - AFTERNOON, midday and midday, ...

  Dictionary Ozhegova

• - half-day, half-day, half-day. adj. by noon in 1 digit. Half day hour. "In the midday heat in the valley of Dagestan, I lay motionless with lead in my chest." Lermontov ...

  Ushakov's Explanatory Dictionary

• - midday adj. local 1.rel. with noun noon I, associated with it 2. Specific to noon, characteristic of it. 3. Occurring at noon I 1 ...

  Efremova's Explanatory Dictionary

• - ...

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"Sleep (" At midday heat in the valley of Dagestan ... ")" in the books

Raduev is not allowed to leave Dagestan