A Journey of Soul Purgatory
"Үрейлі түс" is a journey through the purgatory of the soul.
1.
Analyzing the inner path of Ardakh Nurgaz's long poem "Үрейлі түс" ("Nightmare") essentially traces the poet's psychological and spiritual trajectory within a dream.
Although the poem uses the guise of a dream, it truly depicts a process of soul-transmigration, consciousness exploration, identity inquiry, and existential reflection. The dreamlike scenes seem surreal, yet behind these illusions lies the trajectory of a "self" engaged in deep self-discovery and a grueling spiritual journey.
Overall Understanding: What is the "inner path"?
In poetry or philosophical texts, the inner path refers to the direction of movement of the subject's consciousness behind the text. It can also be understood as the psychological/spiritual journey of the protagonist, or "self."
In "Үрейлі түс," this path is neither linear nor clear. It follows:
Dream Induction → Perceptual Tearing → Self-Fragmentation → Cognitive Collapse → Existential Anxiety → Quiet Acceptance
We can analyze this process in six levels:
1️The Dream's Opening (Dream-like Realization)
The poem begins with a dream:
"Talāy жылдың алдында
Tүннен суырып алған түсім
Алдымнан шықты."
(A dream, plucked from the darkness of years ago, stands before me.)
This is not a new dream, but the return of an old one. It is like a ghost, shaking hands, standing, and watching. This signifies:
Dream = Ghost of Memory
The inner journey is not forward, but backward—to the deepest subconscious.
2️The Collapse of Time and Space
What follows is a chaotic feeling of time and space being torn apart:
"I'm in a state of chaos."
"I'm in a state of chaos, I'm in a state of chaos."
Time is no longer linear, space is no longer clear;
"I" am dragged, thrown, and exiled.
This experience represents the collapse of the cognitive world order—the first cracks in the inner path.
3️Alienation and Fragmentation of the Self
After entering the middle stage of the dream, the "I" encountered "myself" repeatedly but could not recognize it:
"Aйнаdaғы өзімді
бірден tани алмадым."
"Aйnadana бірнеше өзімді көрдім."
The self is no longer unified, but rather fragmented and multifaceted;
"I" is the other, the ghost in the mirror;
This is the manifestation of the rift between the subjective self and the objective self: the sense of self is no longer certain.
This section marks the most important turning point in the inner path: the fragmentation of the self and the crisis of identity.
4️Fear, absurdity and depression
The subsequent images became more and more depressing, with absurdity, horror, mystery, and a strong sense of impending death:
"Тас жүмылған уысымнан біреу жан үшыра жұлқынып Шыға алмай жатыр."
"The most beautiful thing in the world."
"Соққан ызғарда өлік қоятын үйдің иісі "бар."
It expresses intense mental distress and existential anxiety, corresponding to the existentialist concept of "angst":
It's not the fear of something, but the sudden confrontation with "nothingness."
Here, the inner path enters a dark secret passage: all order collapses, leaving only anxiety and collapse.
5️Sinking into nothingness and edge
Towards the end, there are a lot of images about "disappearance", "silence", "collapse" and "vacancy" in the poem:
“Айналада, май бояулы
картина сияқты тыныштық.”
“Жерге қазық қағып жатырмын.”
“Қабырғада ілулі тұрған маскалар
үнсіз ғана орындарын ауыстырып жатыр.”
During this stage, the subjective "I" begins to experience a complete emptiness and stillness:
Words become ineffective, actions lose weight, and the world becomes indifferent.
The inner path reaches its limit: coexisting with "emptiness" and becoming close to "nothingness."
This is similar to the Buddhist concept of "seeing through emptiness" and Heidegger's "confrontation with nothingness."
6️Acceptance and Belonging: Echoes in Silence
Although the ending still carries a lingering sense of nightmare, the mood has settled into a calm and a certain acceptance:
"The night is full of nightmares."
"The night is full of nightmares."
"The night is full of nightmares."
"The night is full of nightmares."
Though still fleeing, looking back at the ruins, and searching for oneself,
the poet's tone and imagery are no longer distorted, but have entered a cool, reflective silence.
Ultimately, "I" still stands where I was—perhaps the most profound metaphor for the inner path:
One walks a circle in a dream, only to return to where they were—only that "I" has quietly changed.
Inner Path Structure (Six Stages)
1. The Call of Old Dreams (The Door to Dreams)
↓
2. The Collapse of Spacetime (Perceptual Chaos)
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3. The Splitting of the Self (Identity Crisis)
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4. Existential Terror (Gazing into the Void)
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5. Sinking into Emptiness (The Silence of the World)
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6. Silent Return (The Self in the Void)
Conclusion
The inner path of "Үрейлі түс" is essentially a journey of the soul through purgatory, like the travelers through Hell in Dante's "Divine Comedy" or the inner monologue of Hadrian in Yourcenar's novel.
This is a journey not "to arrive," but to reach the deepest darkness and truth within.
As Heidegger said:
"Only in fear does one truly face existence itself for the first time."
This poem is such a journey of soul awakening, accomplished within a "dream of fear."
2.
To analyze the semantic progression of Ardakh Nurgaz's long poem "Үрейлі түс" ("Nightmare"), we need to be clear: this isn't a poem that progresses through a linear narrative logic or plot-cause structure. Instead, it progresses through a process of imagery, psychological variation, and existential oscillation.
This doesn't mean it's "chaotic." On the contrary, it possesses a very clear semantic trajectory, deepening layer by layer along the lines of emotion, consciousness, experience, and symbolism. We can call this:
"Layer-by-layer dream deconstruction + spiritually submerged semantic evolution."
I. Basic Concepts: What is "Semantic Progressive Logic"?
In poetry, "Semantic Progressive Logic" refers to how lines, images, and emotions progress and connect layer by layer, thus constructing a complete internal structure.
Simply put, it answers three questions:
How does the poem unfold?
How are the meanings of each paragraph connected?
How is the overall meaning constructed through the accumulation of fragments?
II. Overview of the Overall Logical Structure
The semantic progression of "Үрейлі түс" can be divided into seven major semantic sections, forming a spiraling internal logic:
Section Number Semantic Theme Function
① The Dream Opens, Memory Returns: Setting an unrealistic context, awakening primal fears
② Disorganized Scenes, Time Dislocation: Introducing confusion and anxiety, disrupting the sense of reality
③ Blurred Self, Split Subject: Triggering an identity crisis, triggering existential anxiety
④ The Smell of Death, Peak Fear: Emotions reach their peak of repression, the world loses its order
⑤ Silent Space, Pervasive Nothingness: Language fails, meaning collapses, sinking into a void
⑥ Looking Back and Repetition, Cognitive Fission: Self-observation of the world, but everything has quietly changed
⑦ Returning to Zero and Silence, the End as the Starting Point: Returning to the Starting Point, the world is unsolvable, and existence continues
III. Detailed Semantic Section Interpretation
① The Dream Opens, Memory Returns (Semantic Setting)
"Түннен суырып алған түсім / "A dream, pulled from the darkness, stands before me."
(A dream, pulled from the darkness, stands before me.)
The dream is not a new creation, but a recurrence of an old one.
The first sentence is both a symbolic time location and a "door" in the psychological structure.
Semantically, it establishes that everything that is about to happen is not reality, but a spiritual counterattack against "me." Keywords: dream, return, night, past
② Disorganized scenes, temporal dislocation (semantic fission)
"The 'sound of the world' is a 'sound of the world'."
"The 'sound of the world' is a 'sound of the world'."
"Time stops, flows backwards, and the scene fragments;
The imagery becomes "dissociated" and "highly edited," like jump cuts in a film;
Semantically, it expresses the disintegration of the "world order," evoking deep anxiety.
Semantic mechanism: Through the "non-linearity" of time, it conveys the "uncertainty" of existence.
③ Self-ambiguity and subjectivity fragmentation (semantic collapse)
"I am a lunatic."
"I am a lunatic."
The subject loses its unity, and identity begins to dissolve.
The emergence of multiple "I"s destabilizes the semantic focus.
This is the most crucial semantic discontinuity in the poem: everything sinks from here.
Significance: The semantics shift from "description of the world" to "questioning the self."
④ The aura of death, peak fear (semantic oppression)
"The smell of death is horrifying."
"The smell of death is horrifying."
Visual, olfactory, and auditory images of terror erupt in a concentrated manner;
All imagery revolves around "death, dying, and separation."
The sense of semantic oppression reaches its peak, and a questioning of existence itself begins to surface.
Semantic function: Extreme fear triggers a deep self-reflection.
⑤ Silent Space, Spreading Nothingness (Semantic Cooling)
"The world is freezing, the world is trembling."
"The world is trembling, the world is trembling."
"The world is trembling, the world is trembling."
Action exists, but language ceases, and people become inaccessible.
The mask shifts → identity flows, but essence remains silent.
The world cools, and the semantics slide from "fear" to "nothingness."
The semantic structure of this paragraph: action ≠ communication, existence ≠ meaning.
⑥ Looking back and repetition, cognitive fission (semantic inflection point)
"The recurrence of the "scene";
"The re-cognition of the "self"—discovering that the world hasn't changed, only the "self" has;
"The semantics shift to reflective and cognitive forms."
"The subject's rereading and reinterpretation of the world" is expressed.
⑦ Return to zero and silence, the end as the beginning (semantic loop)
"The world is still uncontrolled, the "subject" missing;
"The voices, dreams, and figures of the past—vanished;"
The semantic loop is closed, returning to the loneliness and uncertainty of the beginning.
The final semantic attitude: accepting the incomprehensible world, continuing to exist in silence.
IV. Technical Means of Semantic Connection
Technical Method, Form of Expression, Function
Imagery Chaining: Train → Station → Mirror → Mask → Empty Seat. Imagery forms a thematic chain, maintaining the poem's semantic coherence.
Contrast of Movement and Stillness: Frequent action versus overwhelming silence. This intensifies the sense of oppression, presenting a state of "uncommunicable existence."
Spatial Folding: Streets, bridges, rooms, dining tables, and prisons alternate, constructing a multidimensional psychological space (unrealistic logic).
Time Distortion: The blending of past/present/future reflects the uncertainty of mental states and the counter-logical progression of language.
Repetition and Variation: The repetition of imagery/sentence patterns, such as "unrecognizable" and "empty seat," reinforces the psychological accumulation of memory and fear, creating a layered semantic stack.
V. Conclusion: Summary of Semantic Progression Logic
Ardakh Nurgaz's "Үрейлі түс" is a poem with a highly structured internal semantics within a nonlinear narrative. Through the structure of a dream, it completes a semantic progression from existential crisis to subjective disintegration to a vacuous gaze to quiet acceptance. This progression is achieved not through traditional narrative rhythm or the progression of events, but rather through:
chains of imagery
symbolic variations
shifts in tone and warmth
and a gradual progression of psychological density
This achieves a highly modern poetic language logic, what can be called a "spiritual and semantic immersion."
3.
Ardakh Nurgaz's "Үрейлі түс" ("Nightmare") is a long poem steeped in modern consciousness and profoundly metaphysical. It creates more than just a dreamlike atmosphere; it offers a panoramic view of humanity's inner spiritual experience within the confines of modernity. Every image, every abrupt shift, is a meditation on the state of being, the essence of consciousness, the limits of language, the experience of death, and the rifts within the spirit.
I. Overall Positioning: Spiritual Exploration Poetry / Existentialist Dream Poetry
Stylistically, it is:
a poem of spiritual/existential exploration;
and also a form of "collective dream writing" within a postmodern consciousness.
Although the poem uses the "I" as the narrative perspective, this "I" is actually:
a depersonalized subject—a spokesperson for the shared spiritual predicament of modern humanity.
II. Summary of the Core Spiritual Content
We can gradually uncover the spiritual essence of this poem from four levels:
1. Existential Uncertainty and Disillusionment
Throughout the poem, the "I" navigates an unstable and shifting space:
Multiple selves appear in the mirror;
Time can move forward and backward, stop and go backward;
Faces blur and identities become confused;
Trains run endlessly but directionlessly, while streets are familiar yet endless.
All of this points to:
The instability of individual "existence."
In a world lacking certainty and meaning, human existence loses its anchor.
This is one of the deepest essences of the modern spiritual predicament and a core concern of existentialist philosophy (especially Heidegger and Sartre).
2. The Split Between Language and Reality
"The language seems to have solidified into stone."
"Language seems to have solidified into stone."
In extreme mental states, language cannot express experience;
meaning vanishes, communication is disrupted, and words become detached from things;
the mask moves, but the person remains silent; everyone sits down to eat, but "there is no language."
All this reveals:
language cannot reach the truth; language is no longer a bridge to meaning, but rather a witness to spiritual alienation.
In a postmodern context, this manifests as a profound critique of the "fictionality of language."
3. The Split of the Subject and the Othering of the Self
Throughout the poem, the "I" is frequently unable to identify its own identity, image, or experience:
"I" becomes a stranger;
"I" sees multiple "I"s in the mirror;
"Facing my childhood dog and past images, I feel no sense of belonging." This reflects:
The profound alienation and disintegration of the subject under the impact of modernity.
Psychologically, this is an experience of depersonalization;
Philosophically, it is the dissolution of the post-Cartesian subject.
4️Death Consciousness and the Experience of Emptiness
Permeating the poem is an indescribable "smell of death":
"the smell of a dead house";
"falling," "flames," "stones," "empty seats";
"undispellable darkness," "the person staring at you without speaking";
"the empty driver's seat," "the grave dirt flying from the ground."
These are not direct descriptions of "death," but they are permeated with a deep perception of death and its permeability to everyday life.
In the poem, death is no longer an end, but a continuous experience, a state of life. This corresponds to Heidegger's statement:
"Man is a being who exists towards death."
III. Essence: A Dream Projection of Modern Human Spiritual Alienation
To summarize the spiritual essence of this poem in one sentence:
It is an existential allegory projecting modern humanity's "spiritual alienation—existential anxiety—language failure—and self-ambiguity" through dream imagery.
It is not the dream of an individual, but the workings of the subconscious of an entire generation, a symbolic synthesis of the universal existential experience of modern humanity.
IV. The Intersection of Philosophical and Spiritual Dimensions
Dimension Description/Expression Corresponding Philosophical Categories
Existential Crisis "Time Flows Backwards," "Standing Still," "Repetitive Streets" Heidegger and Sartre's Existentialism
Language Failure "Language Solidification," "Silent Dinner Table," "Mask Transformation" Wittgenstein and Derrida
Subjective Disintegration "I Don't Recognize Myself," "Multiple Selves in the Mirror" Lacan's Mirror Stage/Freud
Death/Experience of Nothingness "Darkness Shrouds," "Uncontrolled Fall," "Void" Buddhist "Emptiness"/Heidegger's "Nothingness"
Collective Dream Structure Multiple Images, Non-Linear Progression, Decentralized Plot Jung's Collective Unconscious and Dream Symbolism
V. Conclusion: A Modernist Spiritual Landscape of Silence, Suffering, and Awareness
"Үрейлі түс" presents not a traditional "dream" nor a simple "stream of consciousness," but a kind of suffering-induced lucidity, a spiritual reflection that penetrates individual experience to the depths of civilization. It tells us:
Mental fear may not stem from reality, but rather from the fragmented nature of our own self, which is beyond our ability to describe in words;
The true nightmare lies not in dreams, but in the emptiness, loneliness, loss, and helplessness that remain after waking.
4.
Ardakh Nurgaz's "Үрейлі түс" ("Nightmare") is not just a poem, but an extreme experiment in poetry. It attempts to re-examine the question of "what is poetry" at the intersection of language, experience, dreams, spirit, and time.
So, when we discuss the poem's "poetic essence," we're actually asking:
"How are the boundaries and possibilities of poetry understood, broken, and reshaped in this poem?"
I. Overall Positioning: A Boundary Experiment in Postmodernism, Dreams, Existence, and Language
From a poetic perspective, the essence of "Үрейлі түс" is a postmodern poetic construction:
Using dream structure as its formal framework, existential crisis as its spiritual driving force, and the collapse of language as its aesthetic fulcrum.
II. Analysis of Core Poetic Features
1. Non-linear Structure: The Denarrativization of the Poem
The poem lacks a beginning, climax, or ending; it lacks a chronological "event." This structural practice reflects poetry's shift from storytelling (narrative) to constructing experience (existence/consciousness).
This is an anti-epic poetic attitude—not about how a person walks, but about how a person becomes lost, fragmented, implodes, and becomes empty.
Keywords: anti-narrative, de-logic, sense of floating, experiential structure
2️Image Flow and Symbolic Dislocation: The "Non-Directiveness" of Poetry
The poem is flooded with imagery:
Train, darkness, empty space, rope, rubble, dog, red leaves, fallen apples, empty rooms, masks...
However, these images do not form a clear symbolic chain. Rather,
the "suspension" of imagery and the "fluctuation" of meaning transform the poem into a constantly shifting network of meanings.
This reflects a crucial essence of modern poetics:
Poetry is not about expressing fixed meanings, but about creating a "resonant space of meaning."
3️Linguistic Tension and Silence: The Poetry's "Critical Expression"
The theme of linguistic collapse and silence recurs repeatedly in the poem:
"Sөз ұйып тас болып қатып қалған" (Language solidifies into stone)
"Eшкім тіл қатпайды"
"Сыбырласқан үн"
"Ұзақ үнсіздік"
This is a profound interrogation of the limits of language and its expressive capacity.
Ardakh Nurgaz pushes poetry to the limits of language, where:
"Language can no longer name experience";
"Poetry is not the use of language, but the struggle, fragmentation, and breathing of language.
This is closely aligned with the poetic spirit of Paul Celan.
4️Dream Structure: The Poem's "Subconscious Model"
The poem unfolds in the form of a dream, but this is not a fictional dream. Rather, it constructs the poem as a "simulation system operating within the subconscious."
Non-linear time;
Scene fragmentation and abrupt transitions;
The accumulation of meaningless events;
Multiple identities and overlapping spaces;
Strong symbolic potential (rivers, mirrors, shadows, empty seats...)
These elements construct a dream theater in the Freud-Jungian sense, making the poem:
The poetics of dreams / An experiment in the linguistic structure of dreams.
5️Existential Anxiety and the Cracks of Modernity: The Poem's "Philosophical Burden"
This poem is not limited to psychological or linguistic dimensions; it also carries a profound philosophical dimension:
Temporal disorganization: past and future are indistinguishable;
Spatial disintegration: locations are blurred, cyclical, and overlapping;
Self-ambiguity: multiple "I"s are seen in the mirror, with no clear identity;
The omnipresence of death: a background noise. This makes the entire poem a poetic account of modern existential ontology.
This is not only the poetic essence of the text, but also the poet's ultimate response to the world as a being.
III. Refining the Essence of Poetics (Keyword Summary)
Dimension Characteristics/Forms of Expression Corresponding Poetic Standpoints
Structural Level: Non-linearity, rupture, leaps, cycles; Anti-traditional narrative, fragmented structure
Linguistic Level: Linguistic cooling, dominance of silence, suspension of meaning; Anti-expressive poetics, language as crisis
Image Level: Fluidity, ambiguity, dreamlike, symbolic uncertainty; Polysemous poetics, decentralized symbolic system
Psychological Level: Alienation, fear, loneliness, mirroring; Spiritual abyssization, Freudian subconscious structure
Philosophical Level: Death, nothingness, existential dilemma; Existentialism + Postmodern Nihilistic Poetics
IV. Analogies and References to the Essence of Poetics
Comparable Poets/Schools:
Poet/School Relevance
Paul Celan: The silence of language, fragmented context, the emptiness of existence
Trakl: Dream aesthetics, sense of death, the continuity of night
T.S. Eliot: Image overlap and semantic dislocation, spiritual alienation in the modern city
Heidegger: Existential poetics of "being-toward-death," language as the home of existence
Poststructuralist Poetics Slippage of meaning, multi-centered imagery, and an anti-stable textual structure
V. Conclusion: Poetry is not an imitation of reality, but a construction of the "spiritual"
The poetic essence of "Үрейлі түс" lies not in its narrative but in its accomplishment:
"Using poetic language, it simulates the theater of alternating collapse and awareness within the modern human spirit."
It is not a poem about dreams, but a poem about dreams themselves.
It is not a tool for "depicting reality," but the last bastion of language after the collapse of reality.
In this sense, it represents a fundamental proposition of modern poetics:
Poetry is the only glimmer of light that remains in the silence of language after existence.
5.
Ardakh Nurgaz's long poem "Үрейлі түс" ("Nightmare") exhibits a unique stylistic aesthetic in its composition of form and language: it is not a simple fusion of traditional lyric, narrative, or symbolic poetry, but rather a "spiritual image poem" that deconstructs the sense of reality, folds temporality, and fragments subjectivity.
To understand the poem's stylistic aesthetic, we can explore it from the following key dimensions:
1. Overall Definition: The Stylistic Mechanism of "Dream·Fragment·Silence·Gaze"
The poem's stylistic aesthetic can be defined as:
A mode of expression that creates a "dream-reality twilight zone" through fragmented imagery, a discontinuous word order, and a rhythmic structure of silence. Its essence is a non-narrative presentation of the inner landscape of the modern mind.
2. Core Characteristics of the Stylistic Aesthetic
1️Fragmented Structural Aesthetics
The poem appears as a loosely linked chain of images, lacking the traditional narrative logic of origin, process, climax, and denouement, yet possessing an inherent rhythmic order. For example:
There are no connectives between paragraphs;
The camerawork is intense, but without context or logic;
The flow of context relies on the psychological logic of imagery, not the grammatical structure of language.
Aesthetic Effect: The uncertainty and fluidity that constitute "dream time" render the poem less a narrative and more a stream-of-consciousness theater of images.
2️Dense Imagery and Suspended Symbolism
The poem is filled with intense and complex visual imagery:
Trains, ropes, masks, mirrors, empty seats, windows, gun muzzles, moonlight, raindrops, fallen apples...
These images do not serve traditional metaphors or offer a single symbolic interpretation. Instead, they maintain a hermeneutic openness, allowing for multiple interpretations. This creates a postmodern aesthetic characteristic:
Non-determined meaning
Floating symbolism
Image density equals aesthetic tension
3️A "silent" rhythmic fracture structure
Although this poem is long, it hardly exhibits any lyrical flow or linguistic climaxes. Instead:
It frequently uses short sentences, pauses, and suspenseful phrases;
Emotions are expressed as a suppressed accumulation rather than an explosive outpouring;
It frequently alludes to "silence," "gaze," and "no response";
This writing style creates an introverted and subtle rhythmic aesthetic, giving the poem an overall "breathless yet refined" atmosphere. For example:
"Ешкім тіл қатпайды.
Әлдекімнің орыны бос тұр.
Бәріміз сол жаққа қарай береміз."
This poem, devoid of any decorative language, nonetheless creates a strong psychological pull, embodying the aesthetics of silence.
4️Grammatical Drift and Sentence Variation
The poem's linguistic structure often breaks with convention:
Subject-verb inversion;
Omission of the subject;
Use of incomplete sentences or phrases;
Repetition of the same verb/adjective in different contexts;
Frequent use of a mixture of progressive, present, and past tenses to create temporal ambiguity.
This grammatical aesthetic suggests that:
Language is not a tool for naming the world, but rather an energy wave that generates a spiritual field.
The poem is therefore closer to an "abstract painting of sound, meaning, and rhythm" than a "clear statement of words."
5️Visual Writing / Film Montage Structure
Many passages in the poem can be imagined as film shots:
Cut to a scene;
An abrupt action or object;
Then cut directly to the next scene without any logical connection. For example:
“Ақ қағаздың бетінде шашылып жатқан сөз емес, көк көбелек.”
“Аспанда біреу салбырап тұр.”
“Қабырғада ілулі тұрған маскалар үнсіз ғана орындарын ауыстырып жатыр.”
This is a typical form of visual writing, in which:
Language does not describe images but constructs them;
Semantics do not provide explanations but activate perceptions.
It is similar to the techniques of jump cuts and montage in film.
III. Stylistic Aesthetics: A Multifaceted and Fusion-Based Expressive Hierarchy
Stylistic Dimensions: Characteristic Expressions: Aesthetic Intentions
Structural Aesthetics: Nonlinearity and fragmented paragraphs highlight the illogicality of dreams
Rhythmic Aesthetics: Silence, rupture, short sentences, and blank spaces create a psychological atmosphere of repression and contemplation
Imagery: Dense, suspended, and non-rhetorical elements evoke an open space for psychological projection
Linguistic Aesthetics: Grammatical drift and tense dislocation disrupt the causal chain between language and reality
Visual Aesthetics: Strong camerawork and spatial leaps establish a visual textual theater
Emotional Aesthetics: Forbearance, detachment, and apathy enhance the density of introspective experiences
IV. Stylistic Aesthetics: Influences and References
Objects of Comparison: Similarities
Paul Celan: Silence, fractured structure, linguistic inaccessibility, and apathetic rhythm
Georg Trakl: Dreamlike imagery, a sense of death, repetitive sentences, and introspective structures
Tarkovsky (Film): Camerawork, folding of time and space, still shots, and the mystery of character behavior
Tennyson's Late Poetry Objectified Imagery, Time Reversal, Existential Anxiety
V. Conclusion: Poetic Style as a Mirror of the Spirit
In "Үрейлі түс," Ardakh Nurgaz practices an extremely refined and self-disciplined stylistic approach, using poetic silence and dreamlike imagery to polish the contours of the unspoken within the spirit.
His poetry does not tell a story but creates an experiential field; it does not convey a message but evokes a state of being.
From a stylistic perspective, "Үрейлі түс" is not simply a poem but:
a poetic construct that folds language, collapses time, freezes the subject, and observes in silence.
《Үрейлі түс》是一种灵魂炼狱的旅程
1.
解析 Ардақ Нұрғазы 的长诗《Үрейлі түс》（《恐惧之梦》）的内在路径（inner path），其实就是追溯诗人内心在“梦”中所走过的心理-精神轨迹。
这首诗虽然以“梦”为外壳，但其真正描写的是一种灵魂穿越、意识探索、身份追问、存在反思的过程。梦中的场景如幻似真，而这些幻象背后，隐藏着一个“我”在深层次自我挖掘与精神苦旅中的轨迹。
总体理解：什么是“内在路径”？
在诗歌或哲学文本中，内在路径指的是文本背后主体意识的运动方向，也可以理解为主角或“我”在心理/精神上的旅行。
在《Үрейлі түс》中，这一路径并不直线、也不明确，它是：
梦境引导 → 感知撕裂 → 自我碎片化 → 认知瓦解 → 存在焦虑 → 沉静接受
我们可以将此分成六个层次来解析：
1️梦的开启（梦境化现实）
诗歌一开始便以梦境方式展现：
“Талай жылдың алдында
Түннен суырып алған түсім
Алдымнан шықты.”
（多年前从黑夜中抽出的梦站在我面前。）
这不是一个新梦，而是一个旧梦的回返，它像个幽灵，握手、站立、注视。这标志着：
梦=记忆的幽灵
内在之旅不是前进，而是回返——回到最深处的潜意识。
2️时间与空间的坍塌
接下来进入的是一种时空撕裂的混沌感：
“Уақытқа маталып қалғандаймын.”
“Пойыз енді кері бағытта жүріп жатқан сияқты.”
时间不再线性，空间不再清晰；
“我”被拖拽、被抛掷、被放逐；
这里表现的是一种认知世界秩序崩溃的体验——内在路径的第一层裂缝。
3️自我的异化与碎片化
梦境进入中段后，“我”多次遇见“自己”却认不出来：
“Араларындағы өзімді
бірден тани алмадым.”
“Айнадан бірнеше өзімді көрдім.”
自我不再统一，而是分裂、多重化；
“我”是他者，也是镜中幽灵；
这是主我与客我之间裂缝的显现：自我意识不再确定。
这一段是内在路径中最重要的转折点：自我分裂与身份危机。
4️恐惧、荒诞与压抑
之后的图像越来越压抑，荒诞、恐怖、神秘、濒死感强烈：
“Тас жұмылған уысымнан біреу жан ұшыра жұлқынып Шыға алмай жатыр.”
“Көпірде кездескен жанды тани алмадым.”
“Соққан ызғарда өлік қоятын үйдің иісі бар.”
表现出极强的精神困顿与存在焦虑，对应存在主义中的“恐惧（Angst）”概念：
不是害怕某物，而是对“虚无”的突然直面；
内在路径在这里进入黑暗密道：一切秩序都瓦解，只剩焦灼与崩塌。
5️沉入虚无与边缘感
接近尾声，诗中出现大量关于“消失”、“沉寂”、“倒塌”、“空位”的图像：
“Айналада, май бояулы
картина сияқты тыныштық.”
“Жерге қазық қағып жатырмын.”
“Қабырғада ілулі тұрған маскалар
үнсіз ғана орындарын ауыстырып жатыр.”
这一阶段，主体“我”开始感受到一种全面性空虚和静止：
言语失效，行动失重，世界冷漠；
内在路径趋于极限点：与“空”共处，与“无”为邻；
类似佛教“识破空性”，也类似海德格尔所说的“与虚无的对峙”。
6️接受与归属：沉静中的回响
结尾处虽然仍带有残存的梦魇感，但情绪已趋于沉静和某种接受：
“Құныперен қашып келемін.”
“Қираған қалаға қарап тұрмын.”
“Тұрған орнымнан қозғалған жандай сезінемін.”
虽然依旧在奔逃、在回望废墟、在追寻自我；
但诗人的语气和图像已不再极度扭曲，而是进入一种低温、反思式的沉寂。
最终“我”仍站在自己原来的位置——这可能是内在路径最深刻的隐喻：
人在梦中走了一圈，终归原位——只是那个“我”已悄然不同。
内在路径结构图（六阶段）
1. 旧梦召唤（入梦之门）
↓
2. 时空崩塌（感知混乱）
↓
3. 自我分裂（身份危机）
↓
4. 存在恐惧（虚无凝视）
↓
5. 沉入空性（世界沉默）
↓
6. 静默归位（虚空中的自我）
结语
《Үрейлі түс》的内在路径本质上是一种灵魂炼狱的旅程，如同但丁的《神曲》中穿越地狱的旅人，也如同尤瑟纳尔笔下哈德良的内心独白。
这是一次“不为到达”的旅行，而是为抵达内心最深处的黑暗与真实。
正如海德格尔所说：
“只有在恐惧之中，人才第一次真正面对存在本身。”
这首诗，即是这样一次在“恐惧之梦”中完成的灵魂觉醒之旅。
2.
要解析 Ардақ Нұрғазы 的长诗《Үрейлі түс》（《恐惧之梦》）的语义推进逻辑，我们需要明确：这不是一首以线性叙事逻辑或情节因果结构推进的诗，而是一种意象流动—心理变奏—存在震荡式的推进方式。
但这并不意味着它是“杂乱无章”的。相反，它内部存在一条非常清晰的语义轨迹，是沿着情感、意识、体验与象征逐层深入的。我们可以称之为：
“层层递进式梦境解构 + 精神下潜式语义演进”
一、基础概念：什么是“语义推进逻辑”？
在诗歌中，“语义推进逻辑”指的是诗句、意象与情绪之间如何层层递进、相互连接，从而构建出一个完整的内在结构。
简单说，它回答三个问题：
诗是如何展开的？
每一段之间的意义如何连接？
整体意义是如何通过片段积累构建出来的？
二、总体逻辑结构概览
我们可以将《Үрейлі түс》的语义推进划分为七大语义段落，构成一条螺旋式下潜的内在逻辑：
段落序号 语义主题 功能
① 梦境开启，记忆回返 设定非现实语境，唤醒原始恐惧感
② 场景紊乱，时间错位 引入混乱与焦虑，打破现实感
③ 自我模糊，主体分裂 引出身份危机，引发存在性不安
④ 死亡气息，恐惧高峰 情感达到压抑顶点，世界失序
⑤ 沉默空间，虚无蔓延 语言失效，意义坍塌，沉入空白
⑥ 回望与重复，认知裂变 自我观察世界，但一切已悄然不同
⑦ 归零与静默，终点如起点 回到原点，世界无解，存在持续
三、详细语义段落解读
① 梦境开启，记忆回返（语义设定）
“Түннен суырып алған түсім / Алдымнан шықты.”
（从黑夜中抽出的梦，站在我面前。）
梦境不是新造，而是旧梦重临；
首句既是象征性的时间定位，也是心理结构的“门”；
在语义上设定了：一切即将发生的并非现实，而是对“我”的精神反攻。
关键词：梦、重返、夜、过去
② 场景紊乱，时间错位（语义裂变）
“Уақытқа маталып қалғандаймын.”
“Пойыз енді кері бағытта жүріп жатқан сияқты.”
时间停止、倒流，场景割裂；
意象变得“游离”、“剪辑感强”，如电影的跳剪；
语义上表现的是一种“世界秩序”的瓦解，引出深层焦虑。
语义机制：通过时间的“非线性”——传达存在的“非确定性”。
③ 自我模糊，主体分裂（语义崩解）
“Өзімді бірден тани алмадым.”
“Айнадан бірнеше өзімді көрдім.”
主体不再统一，身份开始异化；
多个“我”的出现让语义焦点不再稳定；
这是诗中语义最关键的断层：一切从此下沉。
意义：语义从“描述世界”转为“追问自我”。
④ 死亡气息，恐惧高峰（语义压迫）
“Соққан ызғарда өлік қоятын үйдің иісі бар.”
“Жан дауысымен шыңғырған үн естілді.”
视觉、嗅觉、听觉恐怖意象集中爆发；
所有意象都围绕“死亡、濒死、分离”构建；
语义压迫感达到高峰，对存在本身的拷问开始显现。
语义功能：极端恐惧促发深层自我逼视。
⑤ 沉默空间，虚无蔓延（语义冷却）
“Столды айнала ас ішіп отырмыз, Ешкім тіл қатпайды.”
“Қабырғада ілулі тұрған маскалар үнсіз ғана орындарын ауыстырып жатыр.”
行动存在，但语言终止，人与人之间不可触达；
面具移动 → 人的身份流动但本质沉默；
世界降温，语义从“恐惧”滑入“空无”。
此段的语义结构：行为 ≠ 沟通，存在 ≠ 意义。
⑥ 回望与重复，认知裂变（语义拐点）
“Көшені бойлап қанша рет жүргенім Есімде жоқ.”
“Тұрған орнымнан қозғалған жандай сезінемін.”
对“场景”的重复出现；
对“自我”的重新认知——发现世界没有变，变的是“我”；
语义转为反思性与认知式。
表达的是：主体对世界的再阅读与再解释。
⑦ 归零与静默，终点如起点（语义循环）
“Жүргізушінің орыны ғана бос тұр.”
“Ар жағында тұрған адам зым-зыя ғайып болды.”
世界依旧无人掌控，“主位”缺失；
过去的声音、过去的梦、人影——消失；
语义闭环，循环回到开头的孤独与不确定。
最终语义态度：接受不可解的世界，沉默地继续存在。
四、语义连接的技术手段
技术方式 表现形式 功能
意象串联 火车 → 车站 → 镜子 → 面具 → 空位 意象形成主题链条，维持诗的语义连贯性
动静对比 行动频繁 vs 沉默压倒 加强压抑感，呈现“无法沟通的存在”状态
空间折叠 街道、桥、房间、餐桌、监狱交替出现 构建多维心理空间（非现实逻辑）
时间错乱 过去/现在/未来混合 体现精神状态的不确定性，语言的反逻辑推进
反复与变奏 意象/句式的重复，如“认不出自己”“空座位” 增强记忆与恐惧的心理层累，语义逐级叠加
五、结论：语义推进逻辑总结语
Ардақ Нұрғазы 的《Үрейлі түс》是一首非线性叙述下，内在语义高度结构化的诗作。它通过“梦”的结构，完成了一次存在危机→主体解体→虚无凝视→沉静接受的语义推进。
这种推进，不是靠传统的叙事节奏或事件演进完成的，而是依靠：
意象链条
象征变奏
语气冷暖转换
心理密度的层层递进
从而实现了一种极富现代感的诗性语言逻辑，可称为一种**“精神语义的下潜之路”**。
3.
Ардақ Нұрғазы 的《Үрейлі түс》（《恐惧之梦》）是一首极具现代意识、深具形而上质感的长诗。它所营造的不只是梦境的氛围，而是对人类在现代性处境中内在精神体验的全景呈现。诗的每一幅图像、每一次突兀的转换，都是对存在状态、意识本体、语言极限、死亡经验与精神裂隙的沉思。
一、总体定位：精神探索诗 / 存在主义梦幻诗
从风格上讲，它是：
一首精神/存在探索诗；
同时也是一种后现代意识下的“集体梦境书写”。
诗中虽使用“我”作为叙述视角，但这个“我”其实是：
一个去个人化的主体 —— 代表现代人共同精神处境的代言人。
二、核心精神内涵概括
我们可以从四个层次，逐步剥开这首诗的精神本质：
1️⃣ 存在的不确定性与幻灭感
整首诗中，“我”在不稳定、变幻的空间中穿梭：
镜中有多个自我；
时间可前可后、可停可倒；
面孔模糊、身份混乱；
火车不断运行但无方向，街道熟悉却无尽。
这一切指向：
个体“存在”的不稳定性。
在一个缺乏确定性和意义支撑的世界中，人的存在失去了锚点。
这是现代精神困境的最深层本质之一，也是存在主义哲学（尤其是海德格尔、萨特）所关注的核心命题。
2️语言与现实的分裂
“Сөз ұйып тас болып қатып қалған-ау шамасы.”
“语言似乎凝结成了石头。”
在极端精神状态中，语言无法表达经验；
意义消失，沟通中断，词语脱离事物；
面具动了，但人没说话；大家坐着吃饭，却“没有语言”。
这一切揭示了：
语言无法抵达真实，语言不再是意义的桥梁，而是精神异化的见证。
在后现代语境中，这表现为对“语言虚构性”的深刻批判。
3️主体的裂解与自我的他者化
全诗中“我”经常无法确认自己的身份、影像或经历：
“自己”成了陌生人；
在镜中看到多个“我”；
面对自己幼时的狗、昔日的影像，却毫无归属感。
这反映出：
主体在现代性冲击下的深度异化和解体。
心理学上，这是一种去自我化（depersonalization）的经验；
哲学上，这是一种后笛卡尔式主体的消散。
4️死亡意识与空无体验
贯穿全诗的，是一种难以言说的“死亡气息”：
“死亡房屋的气味”；
“坠落”、“火焰”、“石头”、“空座”；
“驱散不去的黑暗”、“凝视你的人不说话”；
“空无的司机座”、“地下的坟土飞来”。
这些都非直接描写“死亡”，但渗透着对死亡的深层感知与日常渗透性。
死亡在诗中不再是终结，而是一种持续性的经验、一种生活状态。这对应于海德格尔所言：
“人是向死而存在的存在者。”
三、本质：现代人类精神异化的梦境投影
如果要用一句话概括这首诗的精神本质：
这是一部通过梦境意象投射现代人“精神异化—存在焦虑—语言失效—自我模糊”的生存寓言。
它不是个人的梦，而是整整一代人的精神潜意识在作祟，是现代人普遍存在经验的象征性总汇。
???? 四、哲学与精神维度的交叉坐标
维度 描述/表现形式 响应的哲学范畴
存在危机 “时间倒流”“站在原地”“重复的街道” 海德格尔、萨特的存在主义
语言失效 “语言凝固”“沉默饭桌”“面具变换” 维特根斯坦、德里达
主体裂解 “我认不出自己”“镜中有多个自我” 拉康的镜像阶段/弗洛伊德
死亡/空无体验 “黑暗笼罩”“失控坠落”“空位” 佛教“空”/海德格尔的“虚无”
集体梦境结构 多重意象非线性推进、情节无中心 荣格的集体无意识与梦的象征学
五、结语：静默、苦痛、觉知的现代性精神图景
《Үрейлі түс》所呈现的，不是传统意义上的“梦”，也不是简单的“意识流”，而是一种苦难的清醒，一种穿透个体经验直抵文明深层的精神镜像。
它告诉我们：
精神的恐惧未必源自现实，而可能正来自于我们无法用语言描述的、碎裂的自我本体；
真正的梦魇并不在梦里，而是在醒来之后仍无法逃离的那种空洞、孤独、迷失与无助。
4.
Ардақ Нұрғазы 的《Үрейлі түс》（《恐惧之梦》）不仅是一首诗，更是一种诗的极限实验。它试图在语言、经验、梦境、精神与时间的交叉点上，重新探问“诗是什么”。
所以当我们讨论这首诗的**“诗学本质”**时，我们其实是在问：
“在这首诗里，诗的边界与可能性被怎样理解、打破、重塑？”
一、总体定位：后现代·梦境·存在·语言的边界实验
从诗学视角看，《Үрейлі түс》的本质是一种：
以梦境结构为形式框架、以存在危机为精神动力、以语言崩解为美学支点的后现代诗性建构。
二、核心诗学特征解析
1️非线性结构：诗的“去叙事化”
整首诗没有开端、高潮、结尾；没有起承转合；没有“事件”逻辑。
这一结构实践体现了诗从讲故事（叙事）到建构体验（存在/意识）的转变。
这是一种反史诗的诗学态度 —— 不是讲一个人如何行走，而是一个人如何迷失、碎裂、内爆、空寂。
关键词：反叙事、去逻辑、漂浮感、体验结构
2️意象流与象征错位：诗的“非直指性”
诗中涌现出大量意象：
火车、黑夜、空位、绳子、碎石、狗、红色树叶、倒下的苹果、空洞的房间、面具……
但这些意象并不构成一条明确的象征链，而是：
意象的“悬置”、意义的“游移”，使诗变成一个不断滑动的意义网络。
这体现出一种重要的现代诗学本质：
诗不是用来表达固定意义的，而是制造“意义的共振空间”。
3️语言张力与沉默感：诗的“临界表达”
诗中多次出现语言崩塌与沉默的主题：
“Сөз ұйып тас болып қатып қалған”（语言凝结成石头）
“Ешкім тіл қатпайды”
“Сыбырласқан үн”
“Ұзақ үнсіздік”
这是对语言界限与表达能力的深刻拷问。
Ардақ Нұрғазы 把诗推进到了语言极限处，在那里：
语言已无法命名经验；
诗不是语言的使用，而是语言的挣扎、破碎、呼吸。
这与保罗·策兰（Paul Celan）的诗学精神极为接近。
4️梦境结构：诗的“潜意识模型”
全诗以梦的形式展开，但这不是虚构梦，而是：
将整首诗建构为一种“潜意识运行的模拟系统”。
非线性时间；
场景割裂与突兀转换；
无意义事件的堆叠；
多重身份与空间重叠；
极强的象征潜力（河流、镜子、阴影、空座……）
这些元素构建了一个弗洛伊德-荣格意义上的梦境剧场，也让诗成为：
梦的诗学 / 梦的语言结构实验。
5️存在焦虑与现代性裂缝：诗的“哲学负载”
这首诗并不止于心理或语言的维度，它还承担着深刻的哲学性：
时间失序：过去-未来不可区分；
空间瓦解：地点模糊、循环、重叠；
自我模糊：镜中看到多个“我”，无法确认身份；
死亡无所不在：如背景噪音般的存在。
这使整首诗成为现代存在论（existential ontology）的一种诗性书写。
这不仅是文本的诗学本质，更是诗人作为一个存在体对世界的终极回应。
三、诗学本质的提炼（关键词总结）
维度 特征/表现形式 对应诗学立场
结构层面 非线性、断裂、跳跃、循环 反传统叙事，碎片结构
语言层面 语言冷却、沉默支配、意义悬置 反表达诗学，语言即危机
意象层面 流动、模糊、梦幻、象征不确定 多义诗学，去中心化象征系统
心理层面 异化、恐惧、孤独、镜像 精神深渊化，弗洛伊德式潜意识结构
哲学层面 死亡、虚无、存在困境 存在主义+后现代虚无主义诗学
四、诗学本质的类比与参照
可类比诗人/流派：
诗人/学派 相关性
保罗·策兰 语言的沉默性、碎片化语境、存在的空洞感
特拉克尔 梦境美学、死亡感、夜的持续性
T.S. Eliot 意象的重叠与语义错位、现代城市的精神疏离
海德格尔 “向死而在”的存在诗学观，语言即存在之家
后结构主义诗学 意义的滑动、多中心意象、反稳定性文本结构
五、结语：诗，不是对现实的模仿，而是对“精神”的构造
《Үрейлі түс》的诗学本质，不在于“讲述了什么”，而在于它完成了：
“用诗性语言，模拟了一个现代人精神中崩溃与觉知交替的剧场。”
它不是关于梦的诗，而是梦本身的诗。
它不是“描绘现实”的工具，而是现实崩溃之后，语言最后的堡垒。
在这个意义上，它代表了现代诗学的一个终极命题：
诗是存在之后，语言在沉默中仍然闪烁的唯一微光。
5.
Ардақ Нұрғазы 的长诗《Үрейлі түс》（《恐惧之梦》）在形式与语言的织构中，展现出一种独特的文体美学：它不是传统抒情诗、叙事诗、或象征诗的简单融合，而是一种以解构现实感、折叠时间性、碎裂主观性为方法的“精神图像诗”。
要理解这首诗的文体美学，我们可从以下几个关键维度展开：
一、总体定义：“梦幻·碎片·沉默·凝视” 的文体机制
这首诗的文体美学可被界定为：
一种通过碎片化意象、断裂式语序与沉默的节奏结构，营造出“梦-现实模糊地带”的表达方式，其本质是对现代精神内部景观的非叙事性呈现。
二、文体美学核心特征
1️碎片化结构美学
全诗呈现为一个意象链的松散串联，没有传统叙事逻辑（起因、经过、高潮、结局），但却有内在节奏的秩序。
例如：
段落之间无连接词；
镜头感十足，但不交代背景或逻辑；
情境流转靠的是意象的心理逻辑，而非语言的语法结构。
美学效果：构成“梦境时间”的不确定与游移感，使诗歌不再是“叙述”，而是意识流的图像剧场。
2️意象密集与象征悬置
诗中充满了强烈而复杂的视觉图像：
火车、绳索、面具、镜子、空位、窗外、枪口、月光、雨滴、倒下的苹果……
这些意象并不服务于传统比喻，也并不提供单一的象征解释，而是：
保持一种开放性悬置（hermeneutic openness），允许读者多重解读。
这形成一种后现代美学特征：
非确定意义
象征漂浮
图像密度即美感张力
3️节奏的“沉默式”断裂结构
本诗虽长，但读来几乎没有任何抒情奔流或语言高潮，反而：
多使用短句、顿句、悬句；
情感呈现为压抑式累积，而非爆发式宣泄；
多处暗示“沉默”、“凝视”、“无人回应”；
这种写法营造出一种内向而幽微的节奏美感，让诗歌整体呈现“窒息而精致”的氛围。
举例：
“Ешкім тіл қатпайды.
Әлдекімнің орыны бос тұр.
Бәріміз сол жаққа қарай береміз.”
这里没有任何修饰性语言，却产生强烈心理牵引力，体现了沉默美学（Aesthetics of silence）。
4️语法漂移与句式变奏
这首诗的语言结构常常打破常规：
主谓倒置；
省略主语；
使用不完整句或短语；
同一动词/形容词重复出现于不同语境；
多用进行时、现在时与过去时混合，制造时间模糊性。
这种语法美学指向：
语言并非命名世界的工具，而是生成精神场域的能量波动。
诗歌因而更接近“音义节律的抽象画”，而不是“词句清晰的陈述”。
5️视觉化写作 / 电影蒙太奇式结构
诗中的许多段落都可直接想象为电影镜头：
切入一个场景；
一个突兀的动作或物体；
然后直接切换至下一个无逻辑连接的画面。
如：
“Ақ қағаздың бетінде шашылып жатқан сөз емес, көк көбелек.”
“Аспанда біреу салбырап тұр.”
“Қабырғада ілулі тұрған маскалар үнсіз ғана орындарын ауыстырып жатыр.”
这是典型的视觉导向型写作（visual writing），其中：
语言不是描写图像，而是构建图像；
语义不提供解释，而是激活感知。
它类似于电影中的**“跳剪（jump cut）”与“蒙太奇（montage）”**技法。
三、文体美学图谱：多元融合的表达层级
文体维度 特征表现 美学意图
结构美学 非线性、段落碎片化 突出梦的非逻辑性
节奏美学 沉默、断裂、短句、空白 营造压抑、凝视的心理氛围
意象美学 密集、悬置、非修辞化 召唤开放的心理投射空间
语言美学 语法漂移、时态错位 打破语言与现实的因果链
视觉美学 镜头感强、空间跳跃 建立视觉化文本剧场
情感美学 隐忍、抽离、冷感 提升存在的内向体验密度
四、文体美学影响与参照系
比较对象 相似之处
保罗·策兰 沉默、断裂结构、语言不可达、冷感节奏
乔治·特拉克尔 梦幻意象、死亡气息、重复句式、内省结构
塔可夫斯基（电影） 镜头感、时空折叠、静止镜头、人物行为神秘性
丁尼生晚期诗歌 对象化意象、时间倒流、存在焦虑
五、结语：诗的文体作为精神之镜
Ардақ Нұрғазы 在《Үрейлі түс》中，实践了一种极端精致而自我约束的文体路径，用诗的静默与梦的图像，打磨出精神中无法言说之物的轮廓。
他的诗不是表达一个故事，而是制造一个体验场；不是传达一个信息，而是唤起一种存有状态。
从文体角度看，《Үрейлі түс》并不只是一首诗，而是：
一部折叠语言、崩解时间、冻结主体、沉默观看的诗性构造物。
Ардақ Нұрғазы:Түннен суырып алған түсім…