In the poetry of Anna Akhmatova was the main one love theme. Love is served in moments of rise and fall, the highest blossoming of a feeling and its withering, meeting and separation. The poet's lyrical heroine – tender, touching, proud and impetuous. In her poems, A. Akhmatova recreates a multifaceted world female soul, rich, subtle, noble.
A. Akhmatova’s lyrics are extremely intimate and frank, distinguished by openness, directness, the absence of petty experiences and affectation, and are filled with the deepest experiences and personal tragedies. The fragility of feeling is combined with the hardness and stability of the verse: emotions and experiences are conveyed in clear, expressive details, thanks to which the reader feels mental tension and pain. In this, A. Akhmatova’s work is especially connected with Acmeism.
During the revolutionary years, the theme of Russia appears in A. Akhmatova’s poems. In the poems we hear the voice of a courageous man - a citizen who did not leave his native lands in difficult days. In 1921, Anna Akhmatova’s husband Nikolai Gumilyov was shot on false charges, but Akhmatova did not leave Russia. Her poems express true patriotism:
I'm not with those who abandoned the earth
To be torn to pieces by enemies.
I don't listen to their rude flattery,
I won’t give them my songs. (1922)
And the one who says goodbye to her beloved today, –
Let her transform her pain into strength.
We swear to the children, we swear to the graves,
That no one will force us to submit!
But A. Akhmatova understood that war is death, fear and evil. Most of her poems are anti-war, based on universal humanistic values (“Consolation”, “Prayer”):
Give me the bitter years of illness,
Choking, insomnia, fever,
Take away both the child and the friend,
And the mysterious gift of song–
So I pray at Your liturgy
After so many tedious days,
So that a cloud over dark Russia
Became a cloud in the glory of the rays.
The 1930s turned out to be a tragic period in the life of Anna Akhmatova: her husband and son were arrested. During the war, Anna Akhmatova's son was sent to the front. In 1949, Lev Gumilyov was imprisoned for the third time for 7 years. A. Akhmatova spent seventeen months in prison lines. The main result of this difficult period of life is the poem “Requiem” - a lament for all those who have died and are dying. In poetic lines, the poet described the state of mind of everyone who stood in line at the prison window with her, the general horror and numbness. The poem shows a picture of reality, of the whole country. “Requiem” is imbued with a tragic feeling of grief, the pain of loss, fear and hopelessness:
Mountains bend before this grief,
The great river does not flow
But the prison gates are strong,
And behind them are “convict holes”»
And mortal melancholy.
In the poem, the fate of the lyrical hero, Anna Akhmatova, merges with the fate of the people:
No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
Where my people, unfortunately, were.
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Anna Akhmatova (1889-1966) worked for Russian literature for almost six decades. During all this time, her creative style was reborn and evolved, without changing the aesthetic principles that Akhmatova formed at the beginning of her creative career.
Akhmatova entered literature " silver age", as a participant in the acmeistic movement. Critics immediately paid attention to the first two collections of poems by the young poetess - “Evening” (1912) and “Rosary” (1914). Already here, Akhmatova’s formed voice was heard, the features that distinguish her poems were visible: depth of emotions, psychologism, emphasized restraint, clarity of images.
Akhmatova's early lyrics are painted in sad, lyrical tones. The main theme of the poems is love, often mixed with suffering and sadness. The poetess conveys the whole world of feelings with the help of small but significant details, fleeting sketches that can convey the versatility of the lyrical hero’s experiences.
Anna Akhmatova can hardly be called an Acmeist “to the core.” Her work organically intertwined modernist views with the best poetic traditions of Russian literature. Akhmatova’s lyrics did not glorify “Adamism,” the unbridled natural principle of man. Her poems were more psychological, focused on man and his inner world, than the poetry of other Acmeists.
The fate of Anna Akhmatova was very difficult. In the post-October years, new books of her poems “Plantain” (1921) and “Anno Domini” (1922) were published, in which she expanded the themes of her poetry, without succumbing, unlike many other writers of that chaotic time, to the hypnosis of the cult of power. As a result, the poetess is rejected from society several times during her life and is prohibited from publishing.
However, even having the opportunity to travel outside Soviet Russia, Anna Akhmatova does not do this, but remains in her homeland, supports her during the most difficult war years with her creativity, and during the forced silence she is engaged in translations and studying the work of A. Pushkin.
Akhmatova's poems during the war period are special. They are not full of slogans and praises of heroism, like the poems of other poets. Akhmatova writes on behalf of women living in the rear, who suffer, wait, mourn. Among Anna Akhmatova’s anti-totalitarian works, a special place is occupied by the poem “Requiem”, in the center of which is pain, maternal fear for her son, inconsolable crying for the innocent who died in the “paws Yezhovshchina.” Among the poetic elite of the “Silver Age,” Anna Akhmatova won enormous respect and popularity thanks to her talent, spiritual sophistication, and integrity of character. It’s not for nothing that literary scholars still call Akhmatova “the soul of the Silver Age,” “the Queen of the Neva.”
It was Anna Akhmatova who was destined, having gone through the loss of loved ones, the agony of humiliation by a state system that did not tolerate purity and independence, to prolong the sound of the “silver” age in Russia. It is no coincidence that the words “royal” and “majestic” are so often heard in the memoirs of contemporaries about her. She managed not to submit to the topic of the day and remained faithful to poetry, preserving “high Russian speech.” Despite material disasters and moral suffering, she “learned to live,” and her “petrified” soul was open to people.
Akhmatova’s early work is represented by five poetry collections: “ Evening"(1912), " Beads" (1914), " White flock" (1917), " Plantain"(1921), "Anno Domini"(1922). The very first responses to her poems noted the author’s ability to speak in a new and poignant way about the familiar. The ability to raise a woman’s attitude towards the world to a universal level was affirmed as one of the main advantages. True, there were also concerns about A. Akhmatova’s excessive intimacy. There were attempts (Z. Gippius, B. Eikhenbaum) to see a novelistic basis and even “an exit to the novel form” in the creative world of the poetess.
Akhmatova’s work has a very strong lyrical element, subordinating plot details to the emotional characteristics of the characters. Their experiences are most often a painful passion. The crisis of every moment gives researchers reason to draw analogies with Tyutchev. However, as V. Musatov writes, in Tyutchev “the culprit of a love tragedy is the demonism of the very element of love, making the lover an executioner,” and in A. Akhmatova the duel is not with a loved one - they both suffer. But this is precisely a duel - the lyrics live according to the laws of theatrical art, its inner drama is heard in every everyday little thing, and every little thing gives uniqueness to both the hero and the love conflict.
Everyone who wrote about Akhmatova’s lyrics noted the extraordinary acuity of perception, clarity and restraint in conveying feelings. Every meeting or “non-meeting”, farewell or premonition of separation is perceived as an episode of fate. Refer to the 1909 poem “I pray to the window meadow...”. External details (the beam on the washstand) help reveal the feeling hidden by the hero (“a heart in two”).
In his work of the early 20s, V. Vinogradov, studying Akhmatova’s style, showed the amazing richness of her figurative system. The scientist compares the visual and auditory series:
At the sight of every random letter,
(“I will take this day out of your memory...”, 1915)
He is quiet, he is gentle, he submitted to me,
In love with me forever.
(“Excerpt”, 1912)
V. Vinogradov drew attention to the unusual combination - in contrast: “voiceless clique.” The heroine's voice is the embodiment of her soul. The thought of death is presented as the burial of not only the body, but also the voice (“Dying, I yearn for immortality...”, 1912).
In Akhmatova’s poetic consciousness, metaphysical entities and any abstract concepts are reified (“Like you drink my soul with a straw...” (1911), “I will groom the black beds...” (1916)). The soul is perceived as a thing brought as a gift, therefore it can be likened to any thing from everyday life.
On the one hand, researchers speak of Akhmatova’s work as poetry of allusions and emotional reticence. On the other hand, they identify key, repeating images that help to understand hints, chains of associations and analogies. Thus, V. Vilenkin drew attention to the frequency of use and different semantic shades in the image of the wind. In the early poems the wind is “light and free.” It can become “stuffy and harsh.” The wind is not only a companion of life, but also of creativity (“M. Lozinsky”, 1916). In later poems, the wind symbolizes the breath of fate and becomes a connecting link for memory. The heroine feels ready to fight with life.
And I was ready to meet
The ninth wave of my destiny.
(From the series “Rose Hips Blooms”, 1956)
The image of a Siberian blizzard helps to evoke from oblivion the unwitting friends of the “frenzied years.” Death is also associated with the wind - it becomes “black”, “howling cursedly”.
V. Vilenkin traces the evolution of another core image of Akhmatova’s lyrics - the image of the shadow. The lyrical heroine’s own shadow separates and begins to live independently, becoming her double (“Many,” 1922). The shadow turns out to be the embodiment of the soul, and it is the soul that suffers and does not find peace, wanders as an “unmourned shadow.”
Memories materialize precisely as encounters with shadows. This could be one’s own shadow “rising from the past,” or there could be images of those with whom life brought one together, but death separated them. The “wreath for the dead” created by A. Akhmatova revives the shadows of kindred spirits M. Bulgakov, B. Pasternak, O. Mandelstam, M. Tsvetaeva.
“Sudden and victorious,” as D. Samoilov said, Akhmatova’s entry into literature turned into a long silence from the mid-20s. These years were not only a test of fortitude. A. Akhmatova received an impulse of extraordinary strength both in her creative and life plans. She began a serious study of Pushkin. As V. Musatov writes, she was looking for “support and meaning, calibrating her path along it.” Pushkin helped A. Akhmatova develop criteria for assessing modern reality and modern man. There was a feeling of shame from participating in evil, from silent presence in what is called “pernicious shame.”
Awareness of the fate of man in a dehumanized reality underlies the poems of the late 30s, and above all “ Requiem"(1935-1940). Not only his own fate and the torment associated with fear for his arrested son, but his whole life is seen as a prison, a person’s existence is seen as standing in a prison line, where it is unknown whether they will take the package; If they take it, will it reach its intended destination, and in general, will a “window” open, will they not insult or destroy it?
“Requiem” was written on the basis of an experience that “should not have happened,” entirely “negative,” according to V. Shalamov. Akhmatov’s “Requiem” fulfilled the task that A. Solzhenitsyn’s “GULAG Archipelago” solved in a different genre.
The prison has become the personification of the country. The city—beloved, beautiful—“dangles like an unnecessary garb near its prisons.” Not only the city has undergone such a dramatic evolution, but also the heroine. Even looking at herself from the outside, she finds it hard to believe the transformation. Reality gives birth not only to horror - it has also become a school of courage. Strength was given by the feeling of a common destiny with fellow citizens. Words about fidelity, about preserving in memory and imprinting in words a common misfortune sound like an oath.
Having accepted from Pushkin the motif of a symbolic monument to the poet, A. Akhmatova asks to place it in front of the prison, so that even in death she would not allow the oblivion of what she had the opportunity to witness and participate in together with her people.
Then, even in the blessed death I am afraid
Forget the thunder of the black marus.
Akhmatova’s “Requiem” was published in Russia in 1987, simultaneously with A. Tvardovsky’s poem “By the Right of Memory.” Both poets with fearless truthfulness, without counting on publication, recreated the terrible pages of the history of their homeland. But there is a fundamental difference between the works. A. Tvardovsky’s poem is the repentance of the author, ready to take responsibility for the fact that “that’s how it was.” Akhmatova’s poem is a judgment on reality, which the author commits by right of participation in common suffering.
One of the most significant works in Akhmatova’s work and the most mysterious and difficult to interpret is “ Poem without a hero" It was created over many years (1940-1965).
A. Akhmatova provided it with prefaces and additions, but fundamentally refused to simplify her work and make it publicly available. The poet needs “sympathetic ink” not to encrypt the forbidden, but to embody a complex work poetic memory, artistic imagination, matching privacy with history, the events of 1913 with the present.
If in "Requiem" a judgment was carried out on reality, then in "Poem without a Hero", according to V. Musatov, "Pushkin's ability of a poet to judge himself" is realized. The scientist sees in the poem an overcoming of the apocalypse, liberation from an atmosphere of suffocation. The country becomes not a prison, but a home.
To live like this in freedom,
Dying is like home.
Love, betrayal, passions, about which the first part of the poem is, recede before history. The story feels like a general drama. One’s own involvement in this drama gives rise not to a cry of pain, but to a belief in “revenge.”
Researchers are trying to identify possible prototypes in the poem: actress Glebova-Sudeikina, dragoon boy, A. Blok, St. Petersburg. All of them are present in the poem, but among them there is no hero who could be considered the center of the work. Apparently, it is no coincidence that the author emphasized the absence of a hero in the title and abandoned personification.
V. Musatov compares the motif of purification in A. Akhmatova’s poem with the final scenes of “The Master and Margarita” by M. Bulgakov, and the work as a whole correlates with Pushkin’s “Petersburg story” - with “The Bronze Horseman”.
The fate of Akhmatova and her poetry was difficult. She survived the repressions of the 30s, which affected the people closest to her. She shared the hardships and suffering of wartime with all the people. Two years after returning to Leningrad - in 1946 - together with M. Zoshchenko, she turned out to be the main target for ideological fire. Zhdanov’s resolutions, revealing meetings in the Writers’ Union, the impossibility of publications - all this affected not only everyday circumstances, but also Akhmatova’s work (“Everyone left and no one returned...”, 1959)
The party resolution of 1946, which excommunicated the poetess from her native literature (“the poetry of an enraged lady rushing between the boudoir and the prayer room”), was only partially “corrected” in 1958. Full recognition came only in last years her life, and first abroad. In 1964 she was awarded the international poetry prize "Etna Taormina" in Italy, and at Oxford University for scientific works about the work of Pushkin, she was awarded the honorary degree of Doctor of Literature. Fortunately, A. Akhmatova avoided the fate of B. Pasternak, who was forced to abandon Nobel Prize. The West's recognition of A. Akhmatova's services to world culture played a positive role in her fate. In her homeland, her poems began to be published, although in small quantities, and with attempts to “link” her with socialist realism.
In her later work, Akhmatova continued to master Pushkin’s “laboratory of human studies.” Her thoughts and poems are about tragic fate the artist and about his victory over himself, his creative will and self-control.
Modern researchers of the poetry of the “Silver Age” pay a lot of attention to the creative relationships of A. Akhmatova and O. Mandelstam (“Soviet Bibliography”, 1991, No. 2), A. Akhmatova and M. Tsvetaeva (“Neva”, 1992, No. 9) , A. Akhmatova and B. Pasternak (“Bibliography”. - 1995, No. 2).
In the year of the centenary celebration of the poetess, scientific conferences were held at which Akhmatova’s work was examined in the context of the culture of the 20th century.
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I see everything. I remember everything, I cherish it lovingly and meekly in my heart. A. A. Akhmatova Anna Andreevna Akhmatova (1889-1966)
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Contents 1. Biography Brief biography. Childhood and youth. Love in the life of A. A. Akhmatova 2. Life and work of the poetess. First publications. First success. First World War; "White Flock" Post-revolutionary years Years of silence. "Requiem". The Great Patriotic War. Evacuation. Resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) of 1946. Last years of life. “The Running of Time” 3. Analysis of poems by A. A. Akhmatova. “White Night” “Twenty-one. Night. Monday…” “Native Land” 4. Anna Akhmatova in the memoirs of her contemporaries.
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Brief biography of A.A. Akhmatova Anna Andreevna Gorenko (Akhmatova) is one of the most famous Russian poets of the 20th century, literary critic and translator. Born on June 11 (23), 1889 into a noble family in Odessa. When the girl was 1 year old, the family moved to Tsarskoe Selo, where Akhmatova was able to attend the Mariinsky Gymnasium. She was so talented that she managed to master French listening to the teacher teaching the older children. While living in St. Petersburg, Akhmatova saw a piece of the era in which Pushkin lived and this left an imprint on her work. Her first poem appeared in 1911. A year before, she married the famous Acmeist poet N.S. Gumilyov. In 1912, the writer couple had a son, Lev. In the same year, her first collection of poems entitled “Evening” was published. The next collection, “Rosary Beads,” appeared in 1914 and was sold in an impressive number of copies. The main features of the poetess’s work combined an excellent understanding of the psychology of feelings and personal experiences about the national tragedies of the 20th century.
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Akhmatova had a rather tragic fate. Despite the fact that she herself was not imprisoned or exiled, many people close to her were subjected to brutal repression. For example, the writer’s first husband, N.S. Gumilyov, was executed in 1921. The third common-law husband, N.N. Punin, was arrested three times and died in the camp. And finally, the writer’s son, Lev Gumilyov, spent more than 10 years in prison. All the pain and bitterness of loss was reflected in “Requiem” (1935-1940) - one of the most famous works poetesses. Although recognized by the classics of the 20th century, Akhmatova was subjected to silence and persecution for a long time. Many of her works were unpublished due to censorship and were banned for decades even after her death. Akhmatova's poems have been translated into many languages. The poetess went through difficult years during the blockade in St. Petersburg, after which she was forced to leave for Moscow and then emigrate to Tashkent. Despite all the difficulties occurring in the country, she did not leave it and even wrote a number of patriotic poems. In 1946, Akhmatov, along with Zoshchenko, was expelled from the Writers' Union by order of I.V. Stalin. After this, the poetess was mainly engaged in translations. At the same time, her son was serving his sentence as a political criminal. Soon, the writer's work gradually began to be accepted by fearful editors. In 1965, her final collection “The Running of Time” was published. She was also awarded the Italian Literary Prize and an honorary doctorate from Oxford University. In the fall of the same year, the poetess had a fourth heart attack. As a result of this, on March 5, 1966, A. A. Akhmatova died in a cardiological sanatorium in the Moscow region.
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Childhood and youth of the poetess Anna Andreevna Akhmatova ( real name- Gorenko) was born on June 11 (23) 1889 in a holiday village at the Bolshoi Fontan station near Odessa in the family of Andrei Antonovich and Inna Erazmovna Gorenko. Her father was a marine engineer. Soon the family moved to Tsarskoye Selo near St. Petersburg. “My first memories,” Akhmatova wrote in her autobiography, “are those of Tsarskoye Selo: the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where little colorful horses galloped, the old train station and something else that was later included in the “Ode of Tsarskoye Selo.” In Tsarskoe Selo, she loved not only the huge wet parks, statues of ancient gods and heroes, palaces, the Camelon Gallery, Pushkin’s Lyceum, but she knew, clearly remembered and stereoscopically reproduced its “wrong side” many years later: barracks, petty bourgeois houses, gray fences, dusty outlying streets... ...There a soldier's joke flows, the bile does not melt... A striped booth and a stream of shag. They tore their throats with songs and swore by the priest, drank vodka until late, ate kutya. The raven shouted glorified this ghostly world... And the Giant Cuirassier ruled on the sledge. Tsarsko-Selo Ode. But for the young schoolgirl Anya Gorenko, the deity of Tsarskoe Selo, its sun, was, of course, Pushkin. They were brought together then even by the similarity of age: he was a lyceum student, she was a high school student, and it seemed to her that his shadow was flickering on the distant paths of the park.
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In one of her autobiographical notes, she wrote that Tsarskoe Selo, where the gymnasium took place academic year, that is, autumn, winter and spring, alternated for her with fabulous summer months in the south - “near blue sea", mainly near Streletskaya Bay near Sevastopol. And 1905 was spent entirely in Evpatoria; I studied the gymnasium course that winter at home due to illness: tuberculosis, this scourge of the whole family, worsened. But the beloved sea rustled nearby all the time, it calmed , healed and inspired. She then became especially familiar and fell in love with ancient Chersonesos, its white ruins. The love of poetry lasted throughout Akhmatova’s life. She began writing poetry, by her own admission, quite early, at the age of eleven: “At home, no one encouraged my first attempts, but everyone rather wondered why I needed this." And yet, the most important and even decisive place in Akhmatova’s life, work and destiny was, of course, occupied by St. Petersburg. In 1903, young Anya Gorenko met high school student Nikolai Gumilyov. A few years later she became his wife. In 1905, Anna Andreevna's parents divorced, and she and her mother moved south, to Evpatoria, then to Kiev, where she graduated from the Kiev-Fundukleevsky gymnasium in 1907. Then Anna Gorenko entered the law faculty of the Higher Women's Courses, but she had no desire to study “dry” disciplines, so she left her studies after two years. Even then, poetry was more important to her. The first published poem - “There are many shiny rings on his hand...” - appeared in 1907 in the second issue of the Parisian magazine Sirius, which was published by Gumilyov. April 25, 1910 N.S. Gumilev and A.A. Gorenko got married in Nicholas Church Nikolskaya Slobodka village and a week later we left for Paris. In June they returned to Tsarskoe Selo and then moved to St. Petersburg. A Workshop of Poets was organized here, and Akhmatova became its secretary.
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Love in the life of A. A. Akhmatova Marchenko unconditionally gives the central place in Akhmatova’s “quite rich personal life” to Nikolai Gumilyov. Why, after all, they knew each other from their youth, he became her first husband and the father of her only son, opened her path to poetry... Kolya Gumilyov, only three years older than Anya, even then recognized himself as a poet, was an ardent admirer of the French symbolists. He hid his self-doubt behind arrogance, tried to compensate for external ugliness with mystery, and did not like to concede to anyone in anything. Gumilyov asserted himself, consciously building his life according to a certain model, and fatal, unrequited love for an extraordinary, unapproachable beauty was one of the necessary attributes of his chosen life scenario. He bombarded Anya with poems, tried to captivate her imagination with various spectacular follies - for example, on her birthday he brought her a bouquet of flowers picked under the windows of the imperial palace. On Easter 1905, he tried to commit suicide - and Anya was so shocked and frightened by this that she stopped seeing him. In Paris, Gumilyov took part in the publication of a small literary almanac "Sirius", where he published one poem by Ani. Her father, having learned about his daughter’s poetic experiments, asked not to disgrace his name. “I don’t need your name,” she answered and took the surname of her great-grandmother, Praskovya Fedoseevna, whose family went back to the Tatar Khan Akhmat. This is how the name of Anna Akhmatova appeared in Russian literature. Anya herself took her first publication completely lightly, believing that Gumilyov had “been hit by an eclipse.” Gumilyov also did not take his beloved’s poetry seriously - he appreciated her poems only a few years later. When he first heard her poems, Gumilyov said: “Or maybe you’d rather dance? You’re flexible...” Gumilyov constantly came from Paris to visit her, and in the summer, when Anya and her mother lived in Sevastopol, he settled in neighboring home to be closer to them.
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In April of the following year, Gumilyov, stopping in Kyiv on the way from Paris, again unsuccessfully proposed to her. The next meeting was in the summer of 1908, when Anya arrived in Tsarskoe Selo, and then when Gumilev, on the way to Egypt, stopped in Kyiv. In Cairo, in the Ezbekiye garden, he made another, final attempt at suicide. After this incident, the thought of suicide became hateful to him. In May 1909, Gumilyov came to see Anya in Lustdorf, where she was then living, caring for her sick mother, and was again refused. But in November she suddenly - unexpectedly - gave in to his persuasion. They met in Kyiv at the artistic evening “Island of Arts”. Until the end of the evening, Gumilev did not leave Anya one step - and she finally agreed to become his wife. Nevertheless, as Valeria Sreznevskaya notes in her memoirs, at that time Gumilyov was not the first role in Akhmatova’s heart. Anya was still in love with that same tutor, St. Petersburg student Vladimir Golenishchev-Kutuzov - although he had not made himself known for a long time. But agreeing to marry Gumilyov, she accepted him not as love - but as her Destiny. They got married on April 25, 1910 in Nikolskaya Slobodka near Kiev. Akhmatova’s relatives considered the marriage obviously doomed to failure - and none of them came to the wedding, which deeply offended her. Returning to Paris, Gumilyov first went to Normandy - he was even arrested for vagrancy, and in December he again tried to commit suicide. A day later, he was found unconscious in the Bois de Boulogne... In the fall of 1907, Anna entered the law faculty of the Higher Women's Courses in Kyiv - she was attracted by legal history and Latin.
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After the wedding, the Gumilevs left for Paris. Here she meets Amedeo Modigliani, a then unknown artist who makes many of her portraits. Only one of them survived - the rest died during the siege. Something similar to a romance even begins between them - but as Akhmatova herself recalls, they had too little time for anything serious to happen. At the end of June 1910, the Gumilevs returned to Russia and settled in Tsarskoye Selo. Gumilyov introduced Anna to his poet friends. As one of them recalls, when it became known about Gumilyov’s marriage, no one at first knew who the bride was. Then they found out: an ordinary woman... That is, not a black woman, not an Arab, not even a Frenchwoman, as one might expect, knowing Gumilyov’s exotic preferences. Having met Anna, we realized that she was extraordinary... No matter how strong the feelings were, no matter how persistent the courtship was, soon after the wedding Gumilyov began to be burdened by family ties. On September 25, he again leaves for Abyssinia. Akhmatova, left to her own devices, plunged headlong into poetry. When Gumilev returned to Russia at the end of March 1911, he asked his wife, who met him at the station: “Did you write?” she nodded. "Then read it!" – and Anya showed him what she had written. He said, "Okay." And from that time on I began to treat her work with great respect. In the spring of 1911, the Gumilyovs again went to Paris, then spent the summer on the estate of Gumilyov’s mother Slepnevo, near Bezhetsk in the Tver province. In the spring of 1912, when the Gumilevs went on a trip to Italy and Switzerland, Anna was already pregnant. She spends the summer with her mother, and Gumilyov spends the summer in Slepnev. The son of Akhmatova and Gumilyov, Lev, was born on October 1, 1912. Almost immediately, Nikolai’s mother, Anna Ivanovna, took him in - and Anya did not resist too much. As a result, Leva lived with his grandmother for almost sixteen years, seeing his parents only occasionally... A few months after the birth of his son, in the early spring of 1913, Gumilyov set off on his last trip to Africa - as the head of an expedition organized by the Academy of Sciences. One of the people closest to her at that time was Nikolai Nedobrovo, who wrote an article about her work in 1915, which Akhmatova herself considered the best of what had been written about her in her entire life. Nedobrovo was desperately in love with Akhmatova.
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In 1914, Nedobrovo introduced Akhmatova to his best friend, poet and artist Boris Anrep. Anrep, who lived and studied in Europe, returned to his homeland to participate in the war. A whirlwind romance began between them, and soon Boris ousted Nedobrovo both from her heart and from her poetry. Nedobrovo took this very hard and parted ways with Anrep forever. Although Anna and Boris managed to meet infrequently, this love was one of the strongest in Akhmatova’s life. Before the final departure to the front, Boris gave her a throne cross, which he found in a destroyed church in Galicia. Most of the poems from the collection "The White Flock", published in 1917, are dedicated to Boris Anrep. Meanwhile, Gumilyov, although he is active at the front, was awarded for valor St. George's Cross, - is active literary life. He publishes a lot and constantly writes critical articles. In the summer of 17th he ended up in London and then in Paris. Gumilev returned to Russia in April 1918. The next day, Akhmatova asked him for a divorce, saying that she was marrying Vladimir Shileiko. Vladimir Kazimirovich Shileiko was a famous Assyrian scientist, as well as a poet. The fact that Akhmatova would marry this ugly, completely unadapted to life, insanely jealous man came as a complete surprise to everyone who knew her. As she later said, she was attracted by the opportunity to be useful to a great man, and also by the fact that with Shileiko there would not be the same rivalry that she had with Gumilyov. Akhmatova, having moved to his Fountain House, completely subordinated herself to his will: she spent hours writing his translations of Assyrian texts under his dictation, cooking for him, chopping wood, making translations for him. He literally kept her under lock and key, not allowing her to go anywhere, forced her to burn all the letters she received unopened, and did not allow her to write poetry.
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When the war began, Akhmatova felt a new surge of strength. In September, during the heaviest bombings, she spoke on the radio with an appeal to the women of Leningrad. Together with everyone else, she is on duty on the roofs, digging trenches around the city. At the end of September, by decision of the city party committee, she was evacuated from Leningrad by plane - ironically, she was now recognized as an important enough person to be saved... Through Moscow, Kazan and Chistopol, Akhmatova ended up in Tashkent. She settled in Tashkent with Nadezhda Mandelstam, constantly communicated with Lydia Korneevna Chukovskaya, and became friends with Faina Ranevskaya, who lived nearby - they carried this friendship throughout their lives. Almost all Tashkent poems were about Leningrad - Akhmatova was very worried about her city, about everyone who remained there. It was especially difficult for her without her friend, Vladimir Georgievich Garshin. After breaking up with Punin, he began to play a big role in Akhmatova’s life. A pathologist by profession, Garshin was very concerned about her health, which Akhmatova, according to him, criminally neglected. In 1945, Lev Gumilev returned to Akhmatova’s great joy. From exile, which he served since 1939, he managed to get to the front. Mother and son lived together. It seemed that life was getting better. In the fall of 1945, Akhmatova was introduced to the literary critic Isaiah Berlin, then an employee of the British embassy. During their conversation, Berlin was horrified to hear someone in the yard calling his name. As it turned out, it was Randolph Churchill, the son of Winston Churchill, a journalist. The moment was terrible for both Berlin and Akhmatova. Contacts with foreigners at that time were, to put it mildly, not welcome. A personal meeting might still not be seen - but when the prime minister's son is yelling in the yard, it is unlikely to go unnoticed. Nevertheless, Berlin visited Akhmatova several more times. Berlin was the last of those who left a mark on Akhmatova’s heart. When Berlin himself was asked whether he had something with Akhmatova, he said: “I can’t decide how best to answer...”
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First publications. First success. Anna Andreevna Akhmatova - Russian poetess, writer, literary critic, literary critic, translator; one of the largest representatives of Russian poetry of the 20th century. Born near Odessa. Her father A. A. Gorenko was a hereditary nobleman and a retired naval mechanical engineer. On her mother's side (I. S. Stogova), Anna Akhmatova was a distant relative of Anna Bunina, the first Russian poetess. She formed her pseudonym on behalf of the Horde Khan Akhmat, whom she considered her ancestor on her mother’s side. In 1912, “Evening” was published, Anna Akhmatova’s first collection, which was immediately noticed by critics. The name itself is associated with the end of life before the eternal “night”. It included several “Tsarskoye Selo” poems. Among them is “Horses are led along the alley...”, included in the cycle “In Tsarskoe Selo” in 1911. In this poem, Akhmatova recalls her childhood, associates what she experienced with her present state - pain, sadness, melancholy... In the same year she became a mother, naming her son Leo. Anna Akhmatova’s second collection, entitled “The Rosary,” was published before the outbreak of the First World War, in 1914, which the poetess herself considered a turning point in the fate of Russia. In the period from 1914 to 1923, this collection of works was republished as many as 9 times, which was a huge success for the “beginning author.”
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World War I; "White Flock" With the outbreak of World War I, Anna Akhmatova sharply limited her public life. At this time she suffered from tuberculosis, a disease that did not let her go for a long time. In-depth reading of the classics (A.S. Pushkin, E.A. Baratynsky, Jean Racine, etc.) affects her poetic manner; the acutely paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism discerns in her collection “The White Flock” (1917) a growing “sense of personal life as a national, historical life” (Boris Mikhailovich Eikhenbaum). Inspiring an atmosphere of “mystery” and an aura of autobiographical context in her early poems, Anna Andreevna introduced free “self-expression” into high poetry as a stylistic principle. The apparent fragmentation and spontaneity of lyrical experience is more and more clearly subordinated to a strong integrating principle, which gave Vladimir Vladimirovich Mayakovsky a reason to note: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.”
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Post-revolutionary years. The first post-revolutionary years in Anna Akhmatova’s life were marked by hardships and complete separation from the literary environment, but in the fall of 1921, after the death of Blok and the execution of Gumilyov, she, having parted with Shileiko, returned to active work - participated in literary evenings, in the work of writers’ organizations, and published in periodicals . In the same year, two of her collections were published - “Plantain” and “Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova united her fate with art critic Nikolai Nikolaevich Punin (since 1918, one of the organizers of the system of art education and museum affairs in the USSR. Works on the history of Russian art, on creativity contemporary artists. Repressed; rehabilitated posthumously). Unfortunately, Soviet authority didn’t leave him alone: Punin was arrested in the 1930s, but after the war he was repressed, and he died in Vorkuta. At the same time, her son Lev was imprisoned for 10 years - but, fortunately, he managed to survive the imprisonment; Lev was later rehabilitated.
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Years of silence. "Requiem". In 1924, Akhmatova’s new poems were published for the last time before a multi-year break, after which an unspoken ban was imposed on her name. Only translations appeared in print (letters from Peter Paul Rubens, Armenian poetry), as well as an article about Pushkin’s “The Tale of the Golden Cockerel.” In 1935, her son L. Gumilyov and Punin were arrested, but after Akhmatova’s written appeal to Stalin they were released. In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities; in 1938, Anna Andreevna’s son was arrested again. The experiences of these painful years, expressed in poetry, made up the “Requiem” cycle, which the poetess did not dare to record on paper for two decades. In 1939, after a semi-interested remark from Stalin, publishing authorities offered Anna a number of publications. Her collection “From Six Books” (1940) was published, which included, along with old poems that had passed strict censorship selection, new works that arose after many years of silence. Soon, however, the collection was subjected to ideological criticism and removed from libraries.
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The Great Patriotic War. Evacuation. The war found Akhmatova in Leningrad. Together with her neighbors, she dug cracks in the Sheremetyevsky Garden, was on duty at the gates of the Fountain House, painted beams in the attic of the palace with fireproof lime, and saw the “funeral” of statues in Summer Garden. The impressions of the first days of the war and the blockade were reflected in the poems The First Long-Range in Leningrad, Birds of Death at the Zenith Standing... At the end of September 1941, by order of Stalin, Akhmatova was evacuated outside the blockade ring. Having turned on those fateful days to the people he had tortured with the words “Brothers and sisters...”, the tyrant understood that Akhmatova’s patriotism, deep spirituality and courage would be useful to Russia in the war against fascism. Akhmatova's poem Courage was published in Pravda and then reprinted many times, becoming a symbol of resistance and fearlessness. In 1943, Akhmatova received the medal “For the Defense of Leningrad.” Akhmatova’s poems during the war period are devoid of images of front-line heroism, written from the perspective of a woman who remained in the rear. Compassion and great sorrow were combined in them with a call to courage, a civic note: pain was melted into strength. “It would be strange to call Akhmatova a war poet,” wrote B. Pasternak. “But the predominance of thunderstorms in the atmosphere of the century gave her work a touch of civic significance.” During the war years, a collection of Akhmatova’s poems was published in Tashkent, and the lyrical and philosophical tragedy Enuma Elish (When Above...) was written, telling about the cowardly and mediocre arbiters of human destinies, the beginning and end of the world.
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Resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) of 1946. In 1945-1946, Anna Andreevna incurred the wrath of Stalin, who learned about the visit of the English historian Isaiah Berlin to her. The Kremlin authorities made her, along with Mikhail Mikhailovich Zoshchenko, the main object of party criticism; the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, “On the magazines “Zvezda” and “Leningrad” (1946), directed against them, tightened the ideological dictate and control over the Soviet intelligentsia, misled by the emancipating spirit national unity during the war. There was a publication ban again; an exception was made in 1950, when Akhmatova imitated loyal feelings in her poems written for Stalin's anniversary in a desperate attempt to soften the fate of her son, who was once again imprisoned. And the Leader, with eagle eyes, saw from the heights of the Kremlin how magnificently the Transformed Earth was flooded with rays. And from the very middle of the century, to which he gave a name, He sees the heart of man, Which has become as bright as crystal. Of His labors, of His deeds, He sees ripe fruits, Masses of majestic buildings, Bridges, factories and gardens. He breathed his spirit into this city, He averted trouble from us - That’s why Moscow’s invincible spirit is so strong and young. And the Leader of the grateful people hears a voice: “We came to say, where Stalin is, there is freedom, Peace and the greatness of the earth!” December 1949
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Last years of life. "The Running of Time". In the later works of A. Akhmatova, those motifs that were always characteristic of her poetry were preserved. Conceiving the collection “The Running of Time,” the last poem in it she wanted to see was the 1945 poem “Whom People Once Called...” - about Christ and those who executed him. (During Akhmatova’s lifetime, only his final quatrain was published (in 1963).) This quatrain was indeed final and very important for understanding her poetry: Gold rusts and steel decays, Marble crumbles - everything is ready for death. The most lasting thing on earth is sadness And the most lasting is the royal Word. In the last years of Akhmatova’s life, international interest in her poetry began to increasingly manifest itself. At the Sorbonne S. Laffitte begins to read special course to study her work. In 1964, in Italy, A. Akhmatova was awarded the prestigious international prize “Etia-Taormina”: “... for fifty years of poetic activity and in connection with the recent publication of a collection of ... poems.” In her 1965 autobiography, she noted: “Last spring, on the eve of Dante’s year, I again heard the sounds of Italian speech - I visited Rome and Sicily. In the spring of 1965, I went to Shakespeare’s homeland, saw the British sky and the Atlantic, saw old friends and met new ones, and visited Paris again.” In June 1965 she was awarded an honorary doctorate in philology from the University of Oxford. On March 5, 1966, Anna Andreevna Akhmatova died in Domodedovo, near Moscow. She was buried in Komarov, near St. Petersburg, where she lived in recent years. Akhmatova ended her autobiography, written shortly before her death, with the words: “I never stopped writing poetry. For me, they contain my connection with time, with new life my people. When I wrote them, I lived by the rhythms that sounded in heroic story my country. I am happy that I lived during these years and saw events that had no equal.”
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“White Night” Incredibly emotional, sincere, not ashamed of tears and late repentance - a truly “Akhmatov” poem, imbued with the spirit of the author, which cannot be confused with any other - “White Night”. These 12 lines were written on February 6, 1911 in Tsarskoye Selo, during one of the numerous, small and large, disagreements between the spouses: Anna Andreevna and Nikolai Stepanovich (Gumilev, her first husband). Having gotten married in 1910, they separated in 1918, having a common son, Lev (born 1912). It is interesting that the vast majority of poems by A.A. Akhmatova, starting with the very first, published just in 1911 in the magazine “Sirius”, which was not successful with the public, is filled with pain and bitterness of loss. It’s as if this young woman, who has barely crossed the threshold of her twenties, has already experienced an endless series of separations, breakups and losses. White Night was no exception to the general “Akhmatovian” rule. Although there is absolutely nothing “white” and light in the text. The action takes place outside of time, outside of space. In Tsarist Russia - and with the same success - in the USSR, in the Moscow region - and in Paris, for example. After all, pine trees also grow there, and the sun sets in the “sunset darkness of the pine trees.” The life of the lyrical heroine can be “hell” anywhere. And always. Because her beloved left her and did not come “back”. The relationships between the characters can be clearly traced if we connect this particular poem with others, at least the most famous ones, those that are heard by every schoolchild: “The prisoner is a stranger, I don’t need someone else’s”, “Heart to heart is not chained”, “I clasped my hands under dark veil“,” “I have fun with you when I’m drunk”... The lyrical heroine is emotional, eccentric, proud and mocking. She is passionately and recklessly in love, faithful and ready to be submissive, but she cannot show this to a man for fear of his dominance, contempt, loss of interest in her (the point is controversial and discussed). Therefore, in the heat of a quarrel, she insults him, without meaning to, leading to a breakup - temporary or
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final - she herself does not know this at the time of writing the poem (outpouring of momentary emotions). An attentive reader can also guess about the hero, who is invisibly present in every line of the text, who fills every word, as well as the soul of the heroine. He may not be too confident in himself, overly emotional and touchy, and probably cannot stand criticism. Most likely, he is not as strong in spirit and will as our heroine needs... Once he left and did not return. Or does he not love her enough? Or did you stop loving him completely? Fortunately, poetic texts There cannot be an unambiguous, straightforward interpretation if it is not a nursery rhyme. Verse size: iambic tetrameter. The rhyme is masculine (the stress falls on the last syllable of the line), and the arrangement of the rhyming lines is cross (abab). All 3 verses rhyme the same way - there are no glitches or intra-textual conflicts. Genre of the work: love lyrics. If we consider the emotional component, this is, to some extent, a message. And even an appeal, a call from a woman in love. Admission of mistakes, repentance and promise... But - what? Change? Apologize? Be in love? A few words about the trails. There are few epithets, there is no excess of definitions: the darkness of the pine needles is sunset, hell is damned. That's all. Expressiveness and emotional intensity are achieved in this text by other means. The only comparison: “life is a damn hell.” Or is this hyperbole? And can the “intoxication” that comes from the “sound of a voice” be called a hyperbole? The question is controversial. A.A. Akhmatova did not at all try to “color” her poems with allegories and personifications, metaphors and euphemisms. She was quite stingy in her use of floridity and flirtatious affectation. If the texts were accused of some kind of “aristocratism”, “old regime” and “artificiality”, then in vain. Her poems can be understood by “ordinary people.” It is enough to be sincere and know how to love.
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"Twenty first. Night. Monday..." Poem "Twenty-one. Night. Monday" was written by Anna Akhmatova in 1917, a turbulent year for all of Russia. And the poetess’s personal life was also shaken: more and more difficulties arose in her relationship with her husband, and, despite the success of her first collections, she began to have doubts about her own talent. The poem begins with short, chopped phrases, like a telegram. Just a statement of time and place. And then - a long and softer line: “the outline of the capital in the darkness.” It was as if Akhmatova, in a conversation with someone (or at the beginning of a letter), named the date, with her sensitive ear caught the poetic rhythm, went to the window - and further words began to spill out by themselves. This is exactly the impression that arises after reading the first quatrain, and one even glimpses the vague reflection of the poetess in the dark window glass. “Some slacker wrote that there is love on earth.” This is a conversation between a woman and herself, still young (Anna Andreevna was only twenty-eight), but already faced with drama. And the second stanza is all permeated with disappointment. “Everyone believed the slacker who invented love, and that’s how they live.” Both this faith and the actions associated with it are a meaningless fairy tale, according to the lyrical heroine. Like the one that people believed in several centuries ago, about three whales and a turtle. And therefore, the next stanza, in addition to sadness, is also imbued with triumph. “But to others the secret is revealed, And silence rests upon them” - the word “to others” could well have been originally “chosen”, if the size had allowed. At least that's the meaning. “And silence will rest upon them” - as a blessing,
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like freedom from illusions. In this place, the voice of the lyrical heroine sounds the most firm and confident. But the last two lines give rise to a different feeling: as if they are being uttered by a very young girl who has lost some kind of landmark, who has forgotten something important. “I came across this by accident, and since then it’s been like I’ve been sick.” What is this if not regret? If not the understanding that the lost illusion, that same revealed “secret”, took away the main joy of life? It is not for nothing that these last words are separated from the calm, confident lines by ellipses. And triumphant righteousness gives way to quiet sadness. The poem is written in three-foot anapest - a meter most suitable for reflection and lyricism. The entire work is imbued with lyricism, despite the emphasized absence of visual and expressive means. The pompous metaphor “and silence will fall upon them” seems like an alien element, words that belong not to the lyrical heroine, but to the cold and disappointed woman she appears to be. But the true, soft and sad voice that sounds in last words, at once overturns cumbersome structures in favor of disappointment and leaves the reader with the impression of loss and thirst for love.
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“Native Land” A. Akhmatova’s poem “Native Land” reflects the theme of the Motherland, which very keenly worried the poetess. In this work, she created the image of her native land not as a sublime, holy concept, but as something ordinary, self-evident, something that is used as a certain object for life. The poem is philosophical. The title goes against the content, and only the ending encourages you to think about what the word “native” means. “We lie down in it and become it,” writes the author. “Becoming” means merging with her into one whole, just as people were, not yet born, one with their own mother in her womb. But until this merger with the earth comes, humanity does not see itself as part of it. A person lives without noticing what should be dear to the heart. And Akhmatova does not judge a person for this. She writes “we”, she does not elevate herself above everyone else, as if the thought of native land forced her to write a poem, to urge everyone else to stop the train of their everyday thoughts and think about the fact that the Motherland is the same as one’s own mother. And if so, then why “We don’t carry them on our chests in treasured amulet”, i.e. is the earth not accepted as sacred and valuable? With pain in her heart, A. Akhmatova describes the human attitude towards the earth: “for us it is dirt on our galoshes.” How is that considered dirt with which humanity will merge at the end of life? Does this mean that a person will also become dirt? The earth is not just dirt underfoot, the earth is something that should be dear, and everyone should find a place for it in their heart!
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Sculptor Vasily Astapov, who created a bronze bust of Akhmatova in the 1960s, notes: “The more significant a person’s personality, the more difficult and responsible the creation of his portrait - be it on canvas, in bronze or marble, or in words on paper. An artist needs to be worthy of his model.” Indeed, for a true creator, a portrait of a person is always a little more than a documentary recording of appearance - it is also a transfer inner world. Let's try to look a little into this world by comparing picturesque portraits and photographs of Akhmatova, and also providing all this with living memories of the poet. The beginning of the 1910s was especially full of important events in Akhmatova’s life: at this time she married the poet Nikolai Gumilyov, became friends with the artist Amedeo Modigliani, published her first collection of poems “Evening”, in the preface to which the critic Mikhail Kuzmin wrote: “ Let’s assume she doesn’t belong to the particularly cheerful, but always stinging poets.” This collection brought her instant fame, and was followed by “The Rosary” (1914) and “The White Flock” (1917). Akhmatova found herself at the very epicenter of the then seething St. Petersburg “silver” culture, becoming not only a famous poet, but also a real muse for many other poets and artists. In 1912, Nikolai Gumilev says about her: Silent and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her.
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It is surprising that different poets glorify almost the same feature of Akhmatova’s behavior: her unhurried, smooth and even slightly lazy movements, and the shawl, in general, becomes Anna Andreevna’s most striking and recognizable attribute. Nikolai Nikolaevich Punin, who for some time was Akhmatova’s friend and then her lover, back in 1914, speaks in his diary about her most expressive features: “...She is strange and slender, thin, pale, immortal and mystical. ...She has highly developed cheekbones and a special nose with a hump, as if broken, like Michelangelo's... She is smart, she has undergone a deep poetic culture, she is stable in her worldview, she is magnificent...” However, after 1914, life begins to take on a truly tragic hue, not only for the poet, but for the entire country... Literary critic A.A. Gozenpud, in his memoirs of the 1980s, shares some of his discoveries regarding Akhmatova’s personality and her perception of time: “I realized that for Anna Andreevna there is no distance of time, the past is transformed into reality by the power of brilliant intuition and imagination. She simultaneously lived in two time dimensions - the present and the past. For her, Pushkin, Dante, and Shakespeare were contemporaries. She had an incessant conversation with them... But she did not forget (she could not forget!) about those who, having shed someone else's blood, tried in vain to wash away its splashes from their palms... Anna Andreevna knew that people would not forget the name of the executioner, because they reverently remember the name of his victim." The same ability to feel the era and live in parallel in the most different time dimensions is evidenced by the poems of Irina Malyarova, written in March 1966: There are happy hearts on earth, Drop by drop, by spark, by sigh, they have moved the era into themselves, faithful to it until the very end . When such a person leaves, the living clocks are synchronized by him. And time freezes for a second and only then the run evens out.
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Having survived several heart attacks and being on the verge of her death, Akhmatova continues to steadily, measuredly and slowly count down the time in each of her lines: The illness languishes - three months in bed. And I don’t seem to be afraid of death. As if in a dream, I seem to myself to be a random guest in this terrible body. We, in turn, are left with a very important, but not at all difficult mission: to remember, preserve and pass on Akhmatova’s poetic creativity. Just as the people who knew her did and wrote down their living testimonies about the poet for posterity. And then, perhaps, in the soul of a modern person there will be a small place for real and sincere lyrics, which at all times makes the palette of our feelings much richer.
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Anna Akhmatova is the literary pseudonym of A.A. Gorenko, who was born on June 11 (23), 1889 near Odessa. Soon her family moved to Tsarskoe Selo, where the future poetess lived until she was 16 years old. Akhmatova's early youth included studying at Tsarskoye Selo and Kyiv gymnasiums. She then studied jurisprudence in Kyiv and philology at the Higher Women's Courses in St. Petersburg. The first poems, in which Derzhavin’s influence is noticeable, were written by schoolgirl Gorenko at the age of 11. The first publications of poems appeared in 1907.
From the very beginning of the 1910s. Akhmatova begins to publish regularly in St. Petersburg and Moscow publications. Since the formation of the literary association “Workshop of Poets” (1911), the poetess served as secretary of the “Workshop”. From 1910 to 1918 she was married to the poet N.S. Gumilev, whom she met in the Tsarskoye Selo gymnasium. In 1910-1912 made a trip to Paris (where she became friends with the Italian artist Amedeo Modigliani, who created her portrait) and to Italy.
In 1912, a significant year for the poetess, two big events occurred: her first collection of poems, “Evening,” was published and her only son, the future historian Lev Nikolaevich Gumilyov, was born. The poems of the first collection, clear in composition and plastic in the images used in them, forced critics to talk about the emergence of a new strong talent in Russian poetry. Although the immediate “teachers” of Akhmatova the poet were the masters of the symbolist generation I.F.Annensky and A.A.Blok, her poetry was perceived from the very beginning as acmeistic. Indeed, together with N.S. Gumilev and O.E. Mandelstam, Akhmatova compiled in the early 1910s. the core of a new poetic movement.
The first collection was followed by a second book of poems, “The Rosary” (1914), and in September 1917, Akhmatova’s third collection, “The White Flock,” was published. The October Revolution did not force the poetess to emigrate, although her life changed dramatically and her creative destiny took a particularly dramatic turn. She now worked in the library of the Agronomic Institute, and managed to do so in the early 1920s. publish two more collections of poems: “The Plantain” (1921) and “Anno Domini” (“In the Year of the Lord”, 1922). After that, for 18 long years, not a single poem of hers appeared in print. The reasons were different: on the one hand, her execution ex-husband, the poet N.S. Gumilyov, accused of participating in a counter-revolutionary conspiracy, on the other hand, the rejection of Akhmatova’s poems by the new Soviet criticism. During these years of forced silence, the poetess worked a lot on Pushkin’s work.
In 1940, a collection of poems “From Six Books” was published, which for a short period of time returned the poetess to contemporary literature. The Great Patriotic War found Akhmatova in Leningrad, from where she was evacuated to Tashkent. In 1944, Akhmatova returned to Leningrad. Subjected to cruel and unfair criticism in 1946 in the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad”, the poetess was expelled from the Writers' Union. For the next decade, she worked primarily as literary translation. Her son, L.N. Gumilyov, at that time was serving his sentence as a political criminal in forced labor camps. Only from the second half of the 1950s. The return of Akhmatova’s poems to Russian literature began; in 1958, collections of her lyrics began to be published again. In 1962, “Poem without a Hero” was completed, which took 22 years to create. Anna Akhmatova died on March 5, 1966, and was buried in Komarov near St. Petersburg.
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