DEPARTMENT OF EDUCATION
MUNICIPAL EDUCATIONAL INSTITUTION "SAKMARA SECONDARY SCHOOL".
______________________________________________________________
Topic: “The main periods of creativity
Anna Akhmatova"
Alexandra Viktorovna,
11th grade student
Supervisor:
Utarbaeva
Vera Ortanovna
I. Introduction. “Women's poetry” by Anna Akhmatova. __________________3
II. The main periods of Anna Akhmatova's creativity.
1. Akhmatova’s triumphant entry into literature – the first stage
her creativity. ____________________________________________5
2. The second era of creativity - the post-revolutionary twenty years.10
3. “The Third Glory” by Akhmatova.________________________________18
III. Conclusion. The connection of Akhmatova’s poetry with time, with her life
people__________________________________________________________20
IV. Bibliography ______________________________________________21
I. "Women's Poetry" by Anna Akhmatova.
Poetry of Anna Akhmatova - “ women's poetry" At the turn of the 19th and 20th centuries - on the eve of the great revolution, in an era shocked by two world wars, perhaps the most significant “women's” poetry in all world literature of that time arose in Russia - the poetry of Anna Akhmatova. The closest analogy that arose among her first critics was the ancient Greek love singer Sappho: the Russian Sappho was often called the young Anna Akhmatova.
The spiritual energy of the female soul that has accumulated for centuries has found its way into revolutionary era in Russia, in the poetry of a woman who was born in 1889 under the modest name of Anna Gorenko and under the name of Anna Akhmatova, who acquired universal recognition over fifty years of poetic work, now translated into all the major languages of the world.
Before Akhmatova, love lyrics were hysterical or vague, mystical and ecstatic. From here, a style of love with halftones, omissions, aestheticized and often unnatural love spread in life. This was also facilitated by the so-called decadent prose.
After the first Akhmatov’s books, people began to love “in the Akhmatovian way.” And not just women. There is evidence that Mayakovsky often quoted Akhmatova’s poems and read them to his loved ones. However, later, in the heat of controversy, he spoke of them with ridicule. This circumstance played a role in the fact that Akhmatova was separated from her generation for a long time, because Mayakovsky’s authority in the pre-war era was indisputable.
Anna Andreevna highly appreciated Mayakovsky's talent. On the tenth anniversary of his death, she wrote the poem “Mayakovsky in 1913,” where she recalls “his stormy heyday.”
Everything you touched seemed
Not the same as it was before
What you destroyed was destroyed,
There was a sentence in every word. Apparently she forgave Mayakovsky.
Much has been written about Anna Akhmatova and her poetry in the works of leading scientists in our country. I would like to express words of respect and love for the great talent of Anna Andreevna, and recall the stages of her creative path.
A variety of materials, collected together, paint an image of a man and a poet who evokes feelings of gratitude and respect. So in “Notes about Anna Akhmatova” Lydia Chukovskaya shows us on the pages of her diary a famous and abandoned, strong and helpless woman - a statue of sorrow, orphanhood, pride, courage.
In the introductory article to the book “Anna Akhmatova: I am your voice...” David Samoilov, a contemporary of the poet, conveys his impressions of meetings with Anna Andreevna and shows important milestones in her creative path.
The creative path of Anna Akhmatova, the features of her talent, and her role in the development of Russian poetry of the twentieth century are described in the book “Anna Akhmatova: Life and Creativity”,
II. The main periods of Anna Akhmatova's creativity.
1. Akhmatova’s triumphant entry into literature is the first stage of her work.
Anna Akhmatova's entry into literature was
sudden and victorious. Perhaps her husband, Nikolai Gumilev, with whom she married in 1910, knew about her early formation.
Akhmatova almost did not go through the school of literary apprenticeship, at least the one that would have taken place in front of the eyes of teachers - a fate that even the greatest poets could not avoid - and immediately appeared in literature as a completely mature poet. Although the road ahead was long and difficult. Her first poems in Russia appeared in 1911 in the magazine “Apollo”, and the following year the poetry collection “Evening” was published.
Almost immediately, Akhmatova was unanimously ranked by critics as one of the greatest Russian poets. A little later, her name is increasingly compared with the name of Blok himself and highlighted by Blok himself, and after some ten years one of the critics even wrote that Akhmatova “after Blok’s death, undoubtedly, takes first place among Russian poets.” At the same time, we have to admit that after Blok’s death, Akhmatova’s muse had to become a widow, because Blok played a “colossal role” in Akhmatova’s literary fate. This is confirmed by her poems directly addressed to Blok. But the point is not only in them, in these “personal” poems. Almost the entire world of Akhmatova’s early, and in many ways later, lyric poetry is connected with Blok.
And if I die, who will
He will write my poems to you,
Who will help become the ringers
Words not yet spoken.
On the books given to Akhmatova, Blok simply wrote “Akhmatova – Blok”: equal to equal. Even before the release of “Evening,” Blok wrote that he was concerned about Anna Akhmatova’s poems and that “the further they go, the better.”
Soon after the release of “Evening” (1912), the observant Korney Ivanovich Chukovsky noted in her a trait of “grandeur,” that royalty without which there are not a single memory of Anna Andreevna. Was this majesty the result of her unexpected and noisy fame? We can definitely say no. Akhmatova was not indifferent to fame, and she did not pretend to be indifferent. She was independent of fame. Indeed, even in the darkest years of Leningrad apartment confinement (about twenty years!), when no one had heard of her, and in other years of reproach, blasphemy, threats and expectation of death, she never lost the greatness of her appearance.
Anna Akhmatova began to understand very early that you should write only those poems that if you don’t write, you will die. Without this shackled obligation there is and cannot be poetry. And also, in order for the poet to sympathize with people, he needs to go through the pole of his despair and the desert of his own grief, learn to overcome it alone.
The character, talent, and destiny of a person are molded in youth. Akhmatova's youth was sunny.
And I grew up in patterned silence,
In a cool nursery of the young century.
But in this patterned silence of Tsarskoe Selo and in the dazzling blue of ancient Chersonesus, tragedies followed her relentlessly.
And the Muse became deaf and blind,
The grain rotted in the ground,
So that again, like a Phoenix from the ashes,
Rise blue on the air.
And she rebelled and took up her task again. And so all my life. What has befallen her! And the death of sisters from consumption, and she herself was bleeding at the throat, and personal tragedies. Two revolutions, two terrible wars.
After the publication of her second book, “The Rosary” (1914), Osip Mandelstam prophetically predicted: “Her poetry is close to becoming one of the symbols of the greatness of Russia.” It might have seemed paradoxical then. But how exactly it came true!
Mandelstam saw greatness in the very nature of Akhmatova’s verse, in the poetic matter itself, in the “royal word.” “Evening”, “The Rosary” and “The White Flock” - Akhmatova’s first books were unanimously recognized as books of love poetry. Her innovation as an artist initially appeared precisely in this traditionally eternal, repeated and seemingly played out theme to the end.
The novelty of Akhmatova’s love lyrics caught the eye of her contemporaries “almost from her first poems, published in Apollo,” but, unfortunately, the heavy banner of Acmeism under which the young poetess stood, for a long time seemed to be draping her true, original in the eyes of many appearance Acmeism, a poetic movement, began to take shape around 1910, that is, around the same time when she began to publish her first poems. The founders of Acmeism were N. Gumilev and S. Gorodetsky, they were also joined by O. Mandelstam and V. Narbut, M. Zenkevich and other poets who proclaimed the need for a partial rejection of some of the precepts of “traditional” symbolism. The Acmeists set themselves the goal of reforming symbolism. The first condition of acmeistic art is no mysticism: the world must appear as it is - visible, material, carnal, living and mortal, colorful and sounding, that is, sobriety and a healthy realistic view of the world; a word must mean what it means in the real language of real people: specific objects and specific properties.
The early work of the poetess outwardly quite easily fits into the framework of Acmeism: in the poems “Evenings” and “Rosary” one can immediately easily find the objectivity and clarity of outline that N. Gumilev, S. Gorodetsky, M. Kuzmin and other.
In the depiction of the material, material environment, connected by a tense and undiscovered connection with the deep subterranean bubbling of feeling, Innokenty Annensky, whom Anna Akhmatova considered her teacher, was a great master. Annensky is an extraordinary poet, who matured alone in the wilderness of poetic time, miraculously developed verse before Blok’s generation and turned out to be, as it were, his younger contemporary, for his first book was belatedly published in 1904, and his second - the famous “Cypress Casket” in 1910, a year after his death author. For Akhmatova, “The Cypress Casket” was a genuine shock, and it permeated her work with long, strong creative impulses that went back many years.
By a strange coincidence of fate, these two poets breathed the air of Tsarskoe Selo, where Annensky was the director of the gymnasium. He was the forerunner of new schools, unknown and unconscious.
...Who was the harbinger, the omen,
I felt sorry for everyone, I breathed in languor in everyone -
This is what Akhmatova will later say in her poem “Teacher”. Poets most often learn not from predecessors, but from forerunners. Following her spiritual forerunner Annensky, Akhmatova honored the entire previous rich world human culture. So Pushkin was a shrine for her, an endless source of creative joy and inspiration. She carried this love throughout her life, not being afraid even of the dark jungles of literary criticism, she wrote articles: “Pushkin’s last fairy tale (about the “Golden Cockerel”)”, “About Pushkin’s “Stone Guest””, and other well-known works by Akhmatova the Pushkin scholar. Her poems dedicated to Tsarskoe Selo and Pushkin are permeated with that special color of feeling, which is best called love - not, however, the somewhat abstract one that in a respectful distance accompanies the posthumous fame of celebrities, but a very lively, immediate one, in which there is also fear, and annoyance, and resentment, and even jealousy...
Pushkin once sang the praises of the famous Tsarskoe Selo statue-fountain, glorifying it forever:
The maiden dropped the urn with water and broke it on the cliff.
The virgin sits sadly, idle holding a shard.
Miracle! The water flowing from the broken urn will not dry up;
The Virgin, above the eternal stream, sits forever sad!
Akhmatova responded with her “Tsarskoye Selo statue” irritably and annoyed:
And how could I forgive her
The delight of your praise, beloved...
Look, she has fun being sad
So elegantly naked.
Not without vindictiveness, she proves to Pushkin that he was mistaken in seeing in this dazzling beauty with bare shoulders some eternally sad maiden. Her eternal sadness has long passed, and she secretly rejoices at the enviable and happy female destiny bestowed on her by Pushkin’s word and name...
The development of Pushkin's world continued throughout his life. And, perhaps, most of all, Pushkin’s universalism, that worldwide responsiveness that Dostoevsky wrote about, responded to the spirit of Akhmatova’s creativity!
That love theme in Akhmatova’s works are much wider and more significant than their traditional framework, the young critic and poet N.V. presciently wrote in an article in 1915. Nedobrovo. He, in fact, was the only one who understood before others the true scale of Akhmatova’s poetry, pointing out that the distinguishing feature of the poetess’s personality was not weakness and brokenness, as was usually believed, but, on the contrary, exceptional willpower. In Akhmatova’s poems, he saw “a lyrical soul that is rather hard than too soft, rather cruel than tearful, and clearly dominant rather than oppressed.” Akhmatova believed that it was N.V. Nedobrovo guessed and understood her entire future creative path.
Unfortunately, with the exception of N.V. Not good, the criticism of those years did not fully understand the true reason for its innovation.
Thus, the books about Anna Akhmatova published in the twenties, one by V. Vinogradov, the other by B. Eikhenbaum, almost did not reveal to the reader Akhmatova’s poetry as a phenomenon of art. V. Vinogradov approached Akhmatova’s poems as a kind of “individual system of linguistic means.” In essence, the learned linguist was of little interest in the specific living and deep dramatic fate of a loving and suffering person confessing in poetry.
B. Eikhenbaum's book, in comparison with the work of V. Vinogradov, of course, gave the reader more opportunities to form an idea of Akhmatova - an artist and a person. The most important and, perhaps, the most interesting thought of B. Eikhenbaum was the consideration of the “romanticism” of Akhmatova’s lyrics, that each book of her poems is, as it were, a lyrical novel, which also has Russian realistic prose in its family tree.
Vasily Gippus (1918) also wrote interestingly about the “romanticism” of Akhmatova’s lyrics:
“I see the key to Akhmatova’s success and influence (and her echoes have already appeared in poetry) and at the same time the objective significance of her lyrics is that these lyrics replaced the dead or dormant form of the novel. The need for a novel is an obviously urgent need. But the novel in its previous forms, the novel, like a flowing and high-water river, began to occur less frequently and began to be replaced by swift streams (“short story”), and then by instant geysers. In this kind of art, in the lyrical miniature novel, in the poetry of “geysers,” Anna Akhmatova achieved great mastery. Here is one such novel:
As simple courtesy dictates,
He came up to me and smiled.
Half-affectionate, half-lazy
He touched his hand with a kiss.
And mysterious ancient faces
The eyes looked at me,
Ten years of freezing and screaming.
All my sleepless nights
I put it in a quiet word
And I said it in vain.
You left. And it started again
My soul is both empty and clear.
Confusion.
The novel is over,” V. Gippus concludes his observations: “The tragedy of ten years is told in one brief event, in one gesture, look, word..."
Her poem “I had a voice” should rightfully be considered a kind of summary of the path Akhmatova traveled before the revolution. He called comfortingly...”, written in 1917 and directed against those who, in times of severe trials, were about to abandon their homeland:
He said: "Come here,
Leave your land deaf and sinful,
Leave Russia forever.
I will wash the blood from your hands,
I will take the black shame out of my heart,
I'll cover it with a new name
The pain of defeat and resentment."
But indifferent and calm
I covered my ears with my hands,
So that with this speech unworthy
The mournful spirit was not defiled.
This poem immediately drew a clear line between emigrants, mainly “external”, that is, those who actually left Russia after October, as well as “internal”, who did not leave for some reason, but were fiercely hostile towards Russia, who entered the another way.
In the poem “I had a voice. He called comfortingly...” Akhmatova essentially (for the first time) acted as a passionate civic poet of patriotic sound. The strict, upbeat, biblical form of the poem, forcing one to remember the prophets-preachers, and the very gesture of expelling from the temple - everything in this case is surprisingly proportionate to its majestic and harsh era, which was beginning a new era.
A. Blok loved this poem very much and knew it by heart. He said: “Akhmatova is right. This is an undignified speech. To run away from the Russian revolution is a shame.”
In this poem there is no understanding of it, there is no acceptance of the revolution like Blok and Mayakovsky, but the voice of that intelligentsia that went through torment, doubted, searched, rejected, found and made its main choice sounded sufficiently in it: stayed with its country, with your people.
Naturally, Akhmatova’s poem “I had a voice. He called comfortingly...” was received by a certain part of the intelligentsia with great irritation - in much the same way as A. Blok’s poem “The Twelve” was received. This was the pinnacle, the highest point reached by the poetess in the first era of her life.
2. The second era of creativity - post-revolutionary
twentieth anniversary.
The lyrics of the second era of Akhmatova’s life - the post-revolutionary twenty years - were constantly expanding,
absorbing new and new areas that were previously not characteristic of it, and the love story, without ceasing to be dominant, nevertheless occupied only one of the poetic territories in it. However, the inertia of reader perception was so great that Akhmatova, even in these years, when she turned to civil, philosophical and journalistic lyrics, was perceived by the majority exclusively as an artist of love. But this was far from the case.
At the very beginning of the second period, two books by Akhmatova were published - “The Plantain” and “Anno Domini”. They served as the main subject of discussions and disputes regarding Akhmatova’s work and its suitability for Soviet readers. The question arose like this: is being in the Komsomol, not to mention the ranks of the party, compatible with reading Akhmatova’s “noble” poems?
A remarkable woman spoke in defense of Akhmatova - a revolutionary, diplomat, author of many works devoted to the idea of women's equality A.M. Kollontai. The critic G. Lelevich objected to her. His article is one of the harshest and most unfair in the numerous literature about Akhmatova. She completely erased any meaning of her lyrics, except for the counter-revolutionary one, and in many ways, unfortunately, determined the tone and style of the then critical speeches addressed to the poetess.
In her diary entries, Akhmatova wrote: “After my evenings in Moscow (spring 1924), a decision was made to stop my literary activity. They stopped publishing me in magazines and almanacs and no longer inviting me to literary evenings. I met M. Shaginyan on Nevsky. She said: “What an important person you are: there was a decree of the Central Committee about you (1925): do not arrest, but do not publish.” The second Resolution of the Central Committee was issued in 1946, when it was also decided not to arrest, but not to publish.
However, the property of the articles, which unexpectedly and sadly united A.M. Kollontai and G. Lelevich - a property essentially characteristic of all those who wrote about Akhmatova in those years and later was to ignore the civil theme that made its way through her poems. Of course, she did not appear to the poetess very often, but no one even mentioned such a beautiful image of journalistic verse as the poem “I had a voice.” He called comfortingly...” But this work was not alone! In 1922, Anna Akhmatova wrote a remarkable poem “I am not with those who abandoned the earth...”. It is impossible not to see in these works certain possibilities that unfolded in full and brilliant force only later in “Requiem”, in “Poem without a Hero”, in historical fragments and philosophical lyrics that conclude “The Running of Time”.
Since Akhmatova, after the first, as she put it, Resolution of the Central Committee, could not publish for fourteen years (from 1925 to 1939), she was forced to do translations.
At the same time, apparently, on the advice of N. Punin, whom she married after V. Shuleiko, the architecture of Pushkin’s St. Petersburg. N. Punin was an art critic, an employee of the Russian Museum and, presumably, helped her with qualified advice. This work greatly fascinated Akhmatova because it was connected with Pushkin, whose work she intensively studied during these years and achieved such success that she began to enjoy serious authority among professional Pushkin scholars.
For understanding Akhmatova’s work, her translations are also of no small importance, not only because the poems she translated, by all accounts, convey the meaning and sound of the original to the Russian reader exceptionally correctly, becoming at the same time facts of Russian poetry, but also because, for example, in the pre-war years, translation activities often and for a long time immersed her poetic consciousness in the vast worlds of international poetry.
Translations to an important extent also contributed to the further expansion of the boundaries of her own poetic worldview. Thanks to this work, a sense of kinship with the entire previous multilingual culture arose again and again and was affirmed in her own work. The sublimity of the style, which was repeatedly mentioned by many who wrote about Akhmatova, stems to a large extent from her constant feeling of an obliging neighborhood with great artists of all eras and nations.
The 30s turned out to be the most difficult trials in her life for Akhmatova. She turned out to be a witness terrible war, which Stalin and his henchmen led with their own people. The monstrous repressions of the 30s, which fell on almost all of Akhmatova’s friends and like-minded people, destroyed her family home: first, her son, a student at Leningrad University, was arrested and exiled, and then her husband, N.N. Punin. Akhmatova herself lived all these years in constant anticipation of arrest. She spent, according to her, seventeen months in long and sad prison queues to hand over the package to her son and learn about his fate. In the eyes of the authorities, she was an extremely unreliable person: the wife, albeit divorced, of the “counter-revolutionary” N. Gumilyov, who was shot in 1921, the mother of the arrested conspirator Lev Gumilyov, and, finally, the wife (though also divorced) of the prisoner N. Punin.
Husband in the grave, son in prison,
Pray for me...
she wrote in “Requiem,” filled with grief and despair.
Akhmatova could not help but understand that her life was constantly hanging by a thread, and like millions of other people, stunned by unprecedented terror, she listened with alarm to any knock on the door.
OK. Chukovskaya writes in her “Notes about Anna Akhmatova” that with such caution, she read her poems in a whisper, and sometimes she did not even dare to whisper, since the dungeon was very close. “In those years,” L. Chukovskaya explains in her preface to “Notes...”, “Anna Andreevna lived, bewitched by the dungeon... Anna Andreevna, visiting me, read me poems from the “Requiem”, also in a whisper, but in her Fountain House she did not she even dared to whisper: suddenly, in the middle of a conversation, she fell silent and, pointing with her eyes at the ceiling and walls, took a piece of paper and a pencil, then loudly said something secular: “Would you like some tea?” or “You are very tanned,” then she would write a piece of paper in quick handwriting and hand it to me. I read the poems and, having memorized them, silently returned them to her. "Today early autumn“,” Anna Andreevna said loudly and, striking a match, burned the paper over the ashtray.
It was a ritual: hands, a match, an ashtray - a beautiful and sad ritual..."
Deprived of the opportunity to write, Akhmatova at the same time—paradoxically—experienced her greatest creative rise in those years. In her grief, courage, pride and creative fire, she was alone. The same fate befell the majority of Soviet artists, including, of course, her closest friends - Mandelstam, Pilnyak, Bulgakov...
Throughout the 30s, Akhmatova worked on the poems that made up the poem “Requiem”, where the image of the Mother and the executed Son is correlated with gospel symbolism.
Biblical images and motifs made it possible to expand the temporal and spatial framework of the works as widely as possible in order to show that the forces of Evil that have gained the upper hand in the country are fully correlated with the largest human tragedies. Akhmatova does not consider the troubles that have occurred in the country to be either temporary violations of the law that could be easily corrected, or the misconceptions of individuals. The biblical scale forces us to measure events with the largest measure. After all, we were talking about the distorted fate of the people, millions of innocent victims, and apostasy from basic universal moral norms.
Of course, a poet of this type and way of thinking was certainly an extremely dangerous person, almost a leper, whom it was better to beware of until he was put in prison. And Akhmatova perfectly understood her exclusion in the dungeon state:
Not with the lyre of a lover
I'm going to captivate the people -
Leper's Ratchet
Sings in my hand.
And you’ll have time to fuck off,
And howling and cursing.
I'll teach you to shy away
You, brave ones, from me.
In 1935, Akhmatova wrote a poem in which the theme of the poet’s tragic and lofty fate was combined with an appeal to power:
Why did you poison the water?
And they mixed my bread with my dirt?
Why the last freedom
Are you turning it into a nativity scene?
Because I remained faithful
My sad homeland?
So be it. Without executioner and scaffold
There will be no poet on earth.
We have shirts of repentance,
We should go and howl with a candle.
What lofty, what bitter and solemnly proud words - they stand densely and heavily, as if cast from metal in reproach to violence and in memory of future people. In her work of the 30s, there really was a takeoff; the scope of her poetry expanded immeasurably, incorporating both great tragedies - the outbreak of the Second World War, and another war, the one that was unleashed by a criminal government against its own people.
Akhmatova’s main creative and civic achievement in the 1930s was her creation of the poem “Requiem,” dedicated to the years of the “Great Terror.”
“The Requiem consists of ten poems, a prose Preface, called “Instead of a Preface” by Akhmatova, a Dedication, an Introduction and a two-part Epilogue. The Crucifixion included in Requiem also consists of two parts. In addition, the poem is preceded by an epigraph from the poem “So it was not in vain that we suffered together...” This poem was written in 1961 as an independent work, not directly related to “Requiem,” but in fact, internally, of course, connected with it.
Akhmatova, however, did not include it entirely in the poem, since the stanza “No, and not under an alien firmament...” was important to her above all, since it successfully set the tone for the entire poem, being its musical and semantic key. When the question of including “Requiem” in the book was being decided, perhaps the main obstacle for both the editors and the censor was the epigraph. It was believed that the people could not be in some kind of “misfortune” under Soviet power. But Akhmatova refused the proposal of A. Surkov, who oversaw the publication of the book, to remove the epigraph and was right, since he, with the power of a minted formula, uncompromisingly expressed the very essence of her behavior - as a writer and a citizen: she really was with the people in their trouble and Indeed, she never sought protection from “alien wings” - neither then in the 30s, nor later, during the years of Zhdanov’s massacre, She perfectly understood that if she conceded the epigraph-key, other concessions would be demanded of her. For these reasons, “Requiem” was first published only 22 years after the poet’s death, in 1988. Akhmatova spoke about the vital basis of the “Requiem” and its internal purpose in a prose Prologue, which she called “Instead of a Preface”:
“During the terrible years of the Yezhovshchina, I spent seventeen months in prison lines in Leningrad. One day someone “identified” me. Then a woman with blue lips standing behind me, who, of course, had never heard my name in her life, woke up from the stupor that is characteristic of us all and asked me in my ear (everyone there spoke in a whisper):
Can you describe this?
And I said:
Then something like a smile crossed what had once been her face.”
In this small piece of information, the era clearly emerges. Akhmatova, standing in a prison line, writes not only about herself, but about everyone at once, speaks of “the numbness characteristic of us all.” The preface to the poem, like the epigraph, is the second key; it helps us understand that the poem was written, like Mozart’s “Requiem” once upon a time, “to order.” A woman with blue lips (from hunger and nervous exhaustion) asks her for this as the last hope for some triumph of justice and truth. And Akhmatova takes upon herself this order, such a heavy duty.
“Requiem” was not created at once, but over different years. Most likely, Akhmatova initially hardly had a clear idea of writing a poem.
The dates under the poems that make up the “Requiem” are different; Akhmatova associates them with the tragic peaks of the sad events of those years: the arrest of her son in 1935, the second arrest in 1939, the passing of a sentence, the troubles of the case, the days of despair...
Simultaneously with the “Requiem”, poems from “Skulls”, “Why did you poison the water...”, “And I’m not a prophetess at all...” and others were written, correlating with the poem not indirectly, but directly directly, which allows us to treat them as a kind of commentary "Requiem". Particularly close to it are “Shards”, which are like a musical echo, sounding directly after the lines of the poem.
Speaking about “Requiem”, listening to its harsh and hysterical mourning music, mourning millions of innocent victims and one’s own sad life, one cannot help but hear echoes of many other works of Akhmatova of that time. So, for example, “Dedication” was written simultaneously with the poem “The Way of All the Earth”: they have a common date - March 1940. The poem “The Way of the Whole Earth” - with the image of a funeral sleigh in the center, with the expectation of death, with the ringing of the bells of Kitezh, is a lamentation poem, that is, also a kind of requiem:
Great winter
I've waited a long time
Like a white schema
She was accepted.
And into a light sleigh
I sit down calmly...
I'm coming to you, residents of Kitezh,
I'll be back before nightfall.
Behind the ancient site
One transition...
Now with the Kitezhan woman
Nobody will go
Neither brother nor neighbor
Not the first groom, -
Just a pine branch
Yes, a sunny verse,
Dropped by a beggar
And raised by me...
In the last home
Give me peace.
It is impossible not to see in the poem elements of a memorial service, at least a farewell mourning.
If you put both texts side by side - the poems “The Way of All the Earth” and “Requiem”, one cannot help but see their deep kinship. In current editions, as if obeying the law of internal cohesion, they are printed side by side; Chronology also forces us to do the same.
But there is a difference - in “Requiem” one is immediately struck by a wider register and the very “we” that predetermines its epic basis:
Mountains bend before this grief,
The great river does not flow
And behind them are “convict holes”
And mortal melancholy.
For someone the wind is blowing fresh,
For someone the sunset is basking -
We don't know, we're the same everywhere
We only hear the hateful grinding of keys
Moments of periodic returns to the “Requiem”, which was created gradually, sometimes after long breaks, each time were determined by their own reasons, but, in essence, it never - as a plan, duty and goal - never left consciousness. After the extensive “Dedication”, which reveals the address of the poem, comes the “Introduction”,
directed directly to those whom women mourn, that is, to those leaving for hard labor or execution. Here the image of a City appears, in which there is absolutely no former beauty and splendor; it is a city appendage to a giant prison.
It was when I smiled
Only dead, glad for peace,
And dangled like an unnecessary pendant
Leningrad is near its prisons.
And only after the “Introduction” the specific theme of the “Requiem” begins to sound - lamentation for the Son:
They took you away at dawn
I followed you like I was being carried away,
Children were crying in the dark room,
The goddess's candle floated.
There are cold icons on your lips,
Death sweat on the brow... Don't forget!
I will be like the Streltsy wives,
Howl under the Kremlin towers.
Akhmatova, as we see, gives the scene of arrest and farewell a broad meaning, meaning not only her farewell to her son, but many sons, fathers and brothers to those who stood with her in the prison line.
Under the poem “They took you away at dawn...” Akhmatova puts the date “Autumn 1935” and the place – “Moscow”. At this time, she turned to Stalin with a letter asking for a pardon for her son and husband.
Then, in “Requiem,” a melody appears unexpectedly and sadly, vaguely reminiscent of a lullaby, which prepares another motive, even more terrible, the motive of madness, delirium and complete readiness for death or suicide:
Madness is already on the wing
Half of my soul was covered,
And he drinks fiery wine,
And beckons to the black valley.
And I realized that he
I must concede victory
Listening to your
Already like someone else's delirium.
The “Epilogue” consists of two parts, first returns us to the beginning of the poem, we again see the image of a prison queue, and in the second, final part it develops the theme of the Monument, well known in Russian literature according to Derzhavin and Pushkin, but never in either Russian or in world literature, such an unusual image has not arisen as Akhmatova’s - the Monument to the Poet, standing, according to his will and testament, at the Prison Wall. This is truly a monument to all victims of repression:
And if ever in this country
They are planning to erect a monument to me,
I give my consent to this triumph,
But only with the condition - do not put it
Not near the sea where I was born:
The last connection with the sea is severed,
Not in the royal garden near the treasured stump,
Where the inconsolable shadow is looking for me,
And here, where I stood for three hundred hours
And where they didn’t open the bolt for me...
Akhmatova’s “Requiem” is a truly folk work, not only in the sense that it reflected and expressed a great folk tragedy, but also in its poetic form, close to folk folk tales. “Woven” from simple, “overheard,” as Akhmatova writes, words, he expressed his time and the suffering soul of the people with great poetic and civic power.
“Requiem” was not known either in the 30s or in subsequent years, but it forever captured its time and showed that poetry continued to exist even when, according to Akhmatova, the poet lived with his mouth clenched.
Akhmatova’s military lyrics are also of interest as an important detail of the literary life of that time, the searches and discoveries of that time. Critics wrote that the intimate and personal theme during the war years gave way to patriotic excitement and anxiety for the fate of humanity. It is characteristic that her war lyrics are dominated by a broad and happy “we”.
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our watch.
And courage will not leave us.
Courage.
Akhmatova’s poems from the very end of the war are filled with sunny joy and jubilation. May spring greenery, the thunder of joyful fireworks, children raised to the sun in happy mother's arms...
Throughout the years of the war, although sometimes with long interruptions, Akhmatova worked on the “Poem without a Hero,” which is essentially a Poem of Memory.
3. "Third Glory" by Akhmatova.
Akhmatova’s “third glory” came after Stalin’s death and lasted ten years. (Anna Andreevna still managed to see the beginning of a new suspicion towards her, which lasted two decades).
This was not only all-Union glory, but also foreign glory. She was awarded the Etna-Taormina literary prize in Italy, and in England she was awarded an honorary doctorate from the University of Oxford.
At that time, Anna Andreevna willingly communicated with young poetry, and many of its representatives visited her and read their poems to her.
The majesty that was noted early in her by everyone who met her was reinforced in those years by her advanced age. In communication she was unusually natural and simple. And she amazed me with her wit.
In Akhmatova’s later poetry, the most consistent motif is farewell to the entire past, not even to life, but specifically to the past: “I have given up on the black past...”.
And yet, she did not have such a decisive and all-denying break with the “first manner,” as Akhmatova was inclined to believe. Therefore, we can take any line - from early or late creativity, and we will unmistakably recognize its voice - divided, distinct and powerful, intercepted by tenderness and suffering.
In her later lyric poetry, Akhmatova relies not on the direct meaning of the word, but on its inner strength, which lies in poetry itself. She gets, with the help of her fragments of witchcraft reticence, with the help of her poetic magic, to the subconscious - to that area that she herself has always called the soul.
All of Akhmatova’s poems of recent years are almost identical both in their meaning and in their appearance to the broken and half-doomed human world.
However, the dense darkness of her later poems is not pessimistic: it is tragic. In her last poems, especially about nature, one can see
beauty and charm.
In recent years, Akhmatova worked very intensively: in addition to original poems, she translated a lot, wrote memoir essays, prepared a book about Pushkin... She was surrounded by more and more new ideas.
She didn't complain about her age. She was resilient like a Tatar, making her way to the sun of life from under all the ruins, despite everything - and remained herself.
And I go where nothing is needed,
Where the sweetest companion is only a shadow,
And the wind blows from the deep garden,
And under your foot is a grave step.
The beauty of life constantly overcame the darkness of her last poems.
She left us poetry, where there is everything - the darkness of life, and the dull blows of fate, and despair, and hope, and gratitude to the sun, and “the charm of a sweet life.”
III. The connection of Akhmatova’s poetry with time, with her life
people.
Anna Andreevna Akhmatova died in March 1966. No one from the then leadership of the Writers' Union showed up. She was buried near Leningrad in the village of Komarovo in a cemetery among a pine forest. There are always fresh flowers on her grave; both youth and old age come to her. For many it will become a necessity.
Anna Akhmatova’s path was difficult and complex. Starting with Acmeism, but having already found herself much broader than this rather narrow direction, she came over the course of her long and intensely lived life to realism and historicism. Her main achievement and her individual artistic discovery were, first of all, love lyrics. She truly wrote new pages in the Book of Love. The powerful passions raging in Akhmatova’s love miniatures, compressed to the point of diamond hardness, were always depicted by her with majestic psychological depth and accuracy.
Despite all the universal humanity and eternity of the feeling itself, Akhmatova shows it with the help of the sounding voices of a specific time: intonation, gestures, syntax, vocabulary - everything tells us about certain people of a certain day and hour. This artistic precision in conveying the very air of time, which was originally a folk property of talent, then, over many decades, was purposefully and hardworkingly polished to the degree of that genuine, conscious historicism that amazes all those who read and, as it were, rediscovering the late Akhmatova - the author " Poems without a Hero" and many other poems that recreate and intersperse various historical eras with free precision.
She was a poet: “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 have no equal.
Akhmatova's poetry turned out to be not only a living and developing phenomenon, but also organically connected with the national soil and national culture. We could see more than once that it was precisely the ardent patriotic feeling and awareness of her blood connection with the multi-layered firmament of national culture that helped the poetess choose the right path in the most difficult and critical years.
Poetry of Anna Akhmatova - an integral part of modern Russian and world culture.
IV.
Bibliography
1.Anna Akhmatova / Edited by. Edited by N. N. Skatov. Collection cit.: - M., 1990.
2.Anna Akhmatova / Comp. Black. Collection op. – M., 1986.
3. Chukovskaya L.K. Notes about Anna Akhmatova. Book 3. – M., 1989.
5. Pavlovsky. A. I. Anna Akhmatova: Life and creativity. – M., 1991.
6. Vilenkin. V. In the one hundred and first mirror. – M., 1987.
7. Zhirmunsky V. Anna Akhmatova. – L., 1975.
8. Luknitskaya V. From two thousand meetings: a story about a chronicler. – M., 1987.
Anna Akhmatova is an outstanding poetess of the last century. She wrote many poems that many people know and love, as well as the poem “Requiem” about Stalin’s repressions. Her life was very complex, full of dramatic events, like many of our compatriots, whose youth and maturity occurred in the difficult years of the first half of the 20th century.
Anna Akhmatova (the real name of the poetess is Anya Gorenko) was born on June 23, according to the new style, 1889. The birthplace of the future poetess is Odessa. In those days this city was considered Russian Empire. Akhmatova's biography began in large family, the parents had six children in total, she was born third. Her father is a nobleman, a naval engineer, and Anya’s mother was distantly related to another future famous poet -
Anya received her primary education at home, and went to the gymnasium at the age of ten in Tsarskoe Selo. The family was forced to move here due to the father's promotion. Summer holidays the girl spent in Crimea. She loved to wander barefoot along the shore, throw herself into the sea straight from the boat, and walk without a hat. Her skin soon became dark, which shocked the local young ladies.
The impressions received at sea served as an impetus for the creative inspiration of the young poetess. The girl wrote her first poems at the age of eleven. In 1906, Anna moved to the Kyiv gymnasium, after which she attended the Higher Women's Courses and Literary and Historical Courses. The first poems were published in domestic magazines of that time in 1911. A year later, the first book, “Evening,” was published. These were lyrical poems about girlish feelings, about first love.
Subsequently, the poetess herself would call her first collection “poems of a stupid girl.” Two years later, the second collection of poems, “The Rosary,” was published. It had a large circulation and brought popularity to the poetess.
Important! Anna replaced her real name with a pseudonym at the request of her father, who was against the daughter disgracing their family name with her literary experiments (as he believed). The choice fell on my great-grandmother's maiden name. According to legend, she came from the family of the Tatar Khan Akhmat.
And it was for the best, because the real name was inferior in comparison with this mysterious pseudonym. All of Akhmatova’s works since 1910 were published only under this pseudonym. Her real name appeared only when the poetess's husband, Nikolai Gumilyov, published her poems in a domestic magazine in 1907. But since the magazine was unknown, few people paid attention to these poems at that time. However, her husband predicted great fame for her, recognizing her poetic talent.
A. Akhmatova
The biography of the great poetess by date is described in detail on the Wikipedia website. It contains a brief biography of Akhmatova from the day of Anna’s birth until her death, describing her life and work, as well as Interesting Facts from her life. This is very important, because for many the name Akhmatova means little. And on this site you can see a list of works that you would like to read.
Continuing the story about Akhmatova’s life, one cannot help but talk about her trip to Italy, which changed her fate and significantly influenced her further work. The fact is that in this country she met the Italian artist Amedeo Modigliani. Anna dedicated many poems to him, and he, in turn, painted her portraits.
In 1917, the third book, “The White Flock,” was published; its circulation exceeded all previous books. Her popularity grew every day. In 1921, two collections were published at once: “The Plantain” and “In the Year of the Lord 1921.” After this there comes a long pause in the publishing of her poems. The fact is that the new government considered Akhmatova’s work “anti-Soviet” and imposed a ban on it.
Poems by A. Akhmatova
Since the 20s, Akhmatova began to write her poems “on the table”. In her biography, difficult times came with the advent of Soviet power: the poetess’s husband and son were arrested. It is always difficult for a mother to watch her children suffer. She worried a lot about her husband and son, and although they were soon released on short term, but then the son is arrested again, and this time for a long time. The most important torment was yet to come.
Briefly, we can say that the unfortunate mother stood in line for a year and a half in order to see her son. Lev Gumilyov spent five years in prison, all this time his exhausted mother suffered with him. Once in line, she met a woman who, recognizing Akhmatova as a famous poetess, asked her to describe all these horrors in her work. So the list of her creations was supplemented by the poem “Requiem”, which revealed the terrible truth about Stalin's policies.
Of course, the authorities did not like this, and the poetess was expelled from the Union of Writers of the USSR. During the war, Akhmatova was evacuated to Tashkent, where she was able to publish her new book. In 1949, her son was arrested again, and Akhmatova’s biography again saw a dark streak. She asked a lot for the release of her son, the most important thing is that Anna did not lose heart and did not lose hope. In order to appease the authorities, she even betrayed herself and her views: she wrote a book of poems “Glory to the World!” Briefly it can be described as an ode to Stalin.
Interesting! For such an act, the poetess was reinstated in the Writers' Union, but this had little effect on the outcome of the case: her son was released only seven years later. Upon leaving, he quarreled with his mother, believing that she had done little to free him. Until the end of their lives, their relationship remained tense.
In the mid-50s, a brief white streak began in Akhmatova’s biography.
Events of those years by dates:
In 1966, Akhmatova’s health deteriorated significantly, and her close friend, the famous actor Alexei Batalov, began to ask high-ranking officials to send her to a sanatorium near Moscow. She got there in March, but fell into a coma two days later. The poetess’s life was cut short on the morning of March 5; three days later her body was taken to Leningrad, where a funeral service took place in St. Nicholas Cathedral.
Buried great poetess at the cemetery in Komarovo, Leningrad region. A simple cross was placed on her grave, according to her will. Her memory is immortalized by her descendants, Akhmatova’s birthplace is marked with a memorial plaque, and the street in Odessa where she was born is named after her. A planet and a crater on Venus are named after the poetess. A monument was erected at the site of her death in a sanatorium near Moscow.
Anna was married many times. Her first husband was the famous Russian poet Nikolai Gumilev. They met when she was still in high school and corresponded for a long time.
Nikolai immediately liked Anna, but the girl saw him only as a friend, nothing more. He asked for her hand several times and was refused. Anna's mother even called him a "saint" for his patience.
Once, when Anna, suffering from unhappy love for an acquaintance, even wanted to commit suicide, Nikolai saved her. Then he received her consent to propose marriage for the hundredth time.
They got married in April 1910, and Anna’s maiden name, Gorenko, was retained during the marriage. The newlyweds went on a honeymoon to Paris, then to Italy. Here Anna met a man who changed her destiny. It is clear that she did not marry out of love, but rather out of pity. Her heart was not occupied, when suddenly she met the talented Italian artist Amedeo Modigliani.
A handsome, ardent young man captivated the poetess’s heart, Anna fell in love, and her feeling was reciprocated. A new round of creativity began, she wrote him numerous poems. She visited him in Italy several times, and they spent a long time together. Whether her husband knew about this remains a mystery. Perhaps he knew, but he remained silent, afraid of losing her.
Important! The romance of two young talented people ended due to tragic circumstances: Amedeo found out that he was sick with tuberculosis and insisted on breaking off the relationship. He died soon after.
Despite the fact that Akhmatova gave birth to a son from Gumilyov, their divorce took place in 1918. In the same year, she became involved with Vladimir Shileiko, a scientist and poet. In 1918 they got married, but three years later Anna broke up with him.
In the summer of 1921, it became known about the arrest and execution of Gumilyov. Akhmatova did not take this news easily. It was this man who recognized the talent in her and helped her take her first steps in creativity, even though she very soon overtook her husband in popularity.
In 1922, Anna entered into a civil marriage with art critic Nikolai Punin. She lived with him for quite a long time. When Nikolai was arrested, she was waiting for him, petitioning for his release. But this union was not destined to last forever - in 1938 they separated.
Then the woman met the pathologist Garshin. He already wanted to marry her, but just before marriage he dreamed of his late mother, who begged him not to marry a witch. For Anna's mystery, her unusual appearance, excellent intuition, many called her a “witch,” even her first husband.
There is a well-known poem by Gumilyov dedicated to his wife, which is called “The Witch”.
Useful video: biography and creativity of A. 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 the multifaceted world of the 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 Andreevna Akhmatova is one of the most prominent poets of the 20th century. Her writing talent has captured every heart and inspired many people.
Anna Akhmatova was born on June 11, 1889 in Odessa. Anna received her primary education at the Mariinsky Gymnasium in Tsarskoe Selo. Anna Akhmatova continued her further education in Kyiv, at the famous Fundukleevskaya women's gymnasium. I attended women’s courses, as well as historical and literary lectures.
Anna Akhmatova began writing in 1911, presenting her first poem to the public. Her first collection was published in 1912, a year after her debut, and it was called “Evening”. Her native surname was Gorenko, however, for the pseudonym Anna Andreevna used the surname of her great-grandmother because of disagreements with her father on this basis.
The second collection was not long in coming and in 1914 she published her second book, a collection called “Rosary Beads”. The circulation was huge - 1000 copies - which was already wonderful news for a young, aspiring poetess. It was “The Rosary” that helped Anna Akhmatova gain real popularity and acquire admirers of her talent, hard work and singing soul.
Three years later, without keeping us waiting for a relatively long time, a new collection was published, to which Anna Akhmatova gave the name “White Flock”. By this time, the poetess had reached the peak of her creativity, tours and literary readings began, Anna performed a lot, met famous people, acquired loyal friends into her circle, and gained new experience.
In 1910, as is known, Anna Akhmatova became engaged to the poet Nikolai Gumilev. Their noble, intelligent couple was replenished in 1912 with a son, Lev Nikolaevich, who in the conscious years of his life formulated philosophical concepts and worked in the scientific field.
The marriage with Nikolai Gumilyov did not last long: in 1918 they divorced. The sad events of the war took her ex-husband to the front. In the works of Anna Akhmatova one can find many poems that were dedicated to her ex-husband; there is even a note of sadness and longing for the old days.
Her next husband was the scientist V. Shileiko, with whom she did not live very long, and after the execution of Nikolai Gumilyov in 1921, she separated. But the poetess’s heart could not be free, and in 1922 she began an amazingly warm relationship with the art critic Punin, with whom she spent a lot of time happy years. Her last collection was published in 1925.
The life and work of Anna Akhmatova amazes with experiences, difficult moments, but with the extraordinary beauty of talent, which was able to grow on this seemingly unfavorable soil. Anna Akhmatova was remembered for her extremely soul-quivering poem “Requiem”, dedicated to fate Russian people, whom she loved with all her heart.
The poetess died on March 5, 1966 in a sanatorium near Moscow, where she was undergoing treatment. She was buried at the Komarovskoye cemetery near Leningrad, however, she was not buried for a moment in the hearts of her beloved followers and admirers.
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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 short biography. Childhood and youth. Love in the life of A. A. Akhmatova 2. Life and work of the poetess. First publications. First success. World War I; "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 of Bolsheviks in 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 this, 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 sold out 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. Even though 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, 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 Tsarskoye Selo, where the gymnasium school year took place, that is, autumn, winter and spring, alternated between her and the 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 with and fell in love with ancient Chersonesos, its white ruins. The love for poetry lasted throughout Akhmatova’s life. She began writing poetry, by her own admission, quite early, at the age of eleven: “No one encouraged me at home. 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. she became his wife. In 1905, Anna Andreevna's parents divorced, and she and her mother moved south, to Evpatoria, then to Kyiv, where in 1907 she graduated from the Kiev-Fundukleevsky gymnasium. 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. The 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 capture her imagination with various spectacular madness - for example, on her birthday he brought her a bouquet of flowers picked under the windows 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 quick 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 the 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 of Bolsheviks in 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 represent my connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of 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 Tsarskoe 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 issue 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, a true creator’s 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 strongly 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 my soul modern man there is a small place for real and sincere lyrics, which at all times makes the palette of our feelings much richer.
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