In the poem "I don't care odic ratis"(1940), which is included in the cycle "Secrets of the Craft", the theme of poetry is heard, poetic craft. In the very first stanza, the idea sounds that poetry should not be squeezed into the framework of strict genre canons (“Not like people have”), their charm is in naturalness and freshness:
For me, in poetry everything should be out of place,
Not like people do.
The following lines by Akhmatova became well known:
When would you know from what rubbish
Poems grow without shame.
They ingeniously denote the irrational essence of the creative process, its insubordination to the creator himself. Metaphorically calling the poet’s thoughts and life impressions “garbage”, Akhmatova in the second and third stanzas strung emphatically prosaic objects that bring poems to life: “a yellow dandelion near the fence”, burdock and quinoa, an angry hail, the smell of tar. And then there are lines that begin in a very Pushkinian way: “And the verse is already sounding. ". In Pushkin's poem "Autumn" there are similar words: "A minute - and the verses will flow freely." This similarity is not accidental. Akhmatova shared Pushkin's opinion on fundamentally free creativity.
However the main idea The poem is defined in its final lines:
And the verse already sounds, fervent, gentle,
For the joy of you and me.
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Analysis of Akhmatova’s poem “I don’t need odic ratis. »
Analysis of Akhmatova’s poem “I don’t need odic rati” Creativity A. Akhmatova - unique phenomenon in Russian poetry. And although history knew many poetesses even before Akhmatova, she was the only one who managed to become the voice of her era, and then step over all time limits. Laconic and outwardly simple, Akhmatova's poems are extremely saturated with poetic thought and are distinguished by depth and strength of feeling. After the very first book of poems, Akhmatova began to be perceived as a brilliant artist of female love in all its manifestations.
Later, other traditional themes and motifs of Russian poetry sounded in her lyrics, and they also sounded traditional in many ways, since the origins of Akhmatova's work are in classical Russian literature, and above all in the work of Derzhavin and Nekrasov, Pushkin and Lermontov. Like any poet, A. Akhmatova often refers to the topic of poetic craft. However, despite the obvious echo in her poems with classical poetry, the poetess's view is largely original. Consider in this regard A. Akhmatova's poem “ I don’t need odic rati" This short poem was written in 1940 and is part of a cycle called " Secrets crafts”, created over several years. The very first stanza gives the poetic narrative an intonation of sincerity.
Recognition of the lyrical heroine sounds very subjective: “ I don’t need anything", " For me" In general, the first stanza prompts us to think, especially its last two lines: For me, everything in poetry should be out of place, Not like people. “Inopportunely” means “at the wrong time”, “at the wrong moment”. In other words, poetry, according to the author, should surprise us with unexpectedness, freshness of thought.
And then we seem to “hear” something similar to the sigh of a lyrical heroine: If only you knew from what rubbish Poems grow, knowing no shame It is difficult to unequivocally say that “litter” is used metaphorically here. Thoughts of the poet, life impressions, or maybe life itself? however, we are more fascinated by the line: “Poems grow, knowing no shame ...” It contains both the animation of poetic creation and a certain independence of the creative process from the will of the creator.
And then such unexpected and at the same time logically justified comparisons: Like a yellow dandelion near the fence, Like mugs and quinoa. In general, Akhmatova had amazing ability see the unusual in the world around her everyday life.In her poems, everything turned into poetry, in other words, everything was worthy of a poetic word, even "the mysterious mold on the wall." The ellipsis at the end of this line is perceived as a pause filled in by the creative process.
And then there are lines that begin in a very Pushkinish way: “And the verse already sounds ...” In Pushkin’s poem “Autumn” we find similar words: “A minute - and the verses will flow freely.” This similarity is not accidental. Akhmatova clearly shared the opinion of Alexander Sergeevich about basically free creativity. By the time these poems were created, their authors had long been recognized masters of the word, and therefore we cannot help but share their opinions.
Final lines Akhmatov's poems, charged with the energy of the author, sound especially emotional. In general, Akhmatova’s poetic narrative is imbued with a mood of vivacity and optimism. This is largely facilitated by the poetess chosen poetic size iambic (by the way, the most popular size in Russian versification). And the omissions of stress found in each line give the poem a shade of reflection, poetic reflection.
It cannot be said that Akhmatov's poems are not distinguished by the richness of the means of expression used by the author. The poetess clearly preferred small volume and simplicity poetic speech. And at the same time, her poems, in the words of Pushkin, "captivated by the charm of naked simplicity." And behind this routine artistic speech Akhmatova is hiding deep meaning, which not least contributes to compositional harmony Akhmatov's poem, beginning and ending with the same word "me". This harmony gives poetic thought a special integrity, completeness.
Surprisingly, the poverty of verbal vocabulary does not deprive the poem of a sense of the fullness of being. In the poetic text, the spring breath of life is clearly felt. We see the “yellow dandelion near the fence”, we “breathe” the “fresh smell of tar”. In general, we most often associate the birth of the new with the springtime ("poems grow"). However, the main idea of the poem sounds in its final lines: And the verse already sounds, fervent, gentle, To the delight of you and me. Thus, the main purpose of poetry, according to the author, is the ability to give people joy, the joy of contact with the creations of high art.
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Analysis of Akhmatova’s poem “I don’t need odic rati…”
This poem cannot be attributed to the intimate lyrics of the poetess. Here we do not see the plot, concrete action, situations, opposition of heroes, there is no description of the case, a unique life conflict and real emotional experience.
The poem expresses a special and unique human experience. Akhmatova overcomes the “non-aestheticism” of everyday things in order to make her poem sound joyful, gentle and provocative, elevating the soul of the reader.
Before us appears natural and realistic nature. Akhmatova reveals her poetic world more deeply, which consists in a close connection of spiritual harmony and the surrounding reality. With this work, the poetess proves the erroneous opinion of those who have always considered her poetry inseparable from intimate lyrics.
The separateness, individuality, isolation of the poem carries such an energy that activates the entire figurative structure of her poetry. As we can see, images of nature are created with the help of some nouns with epithets, thanks to which our imagination instantly recreates these pictures: the cry "angry", the smell "fresh", the mold "mysterious".
This poem is a monologue of the poetess, which contains logically sustained complex and simple sentences with simple punctuation. Thus, it becomes possible to follow the course of Akhmatova's thought. Shortened lines at the end of each stanza create a special rhythm of the poem, so we clearly understand what idea the author wants to pay attention to, what worries him.
The last line of the poem reveals another motive of the poetess - the motive of striving for happiness, the transition of tragedy into love of life, which manifests itself in many of her other poems.
For me, the analyzed poem is the key to revealing the multifaceted poetic world Akhmatova. It constantly fascinates, surprises and captivates unusual world in which complex emotional experiences, expressed through simple details, in our ordinary life are of no value to us.
They open only to the inquisitive gaze of real geniuses, to which Anna Andreevna Akhmatova belongs. I never cease to admire her dedication to her craft and marvel at her sensitive perception of reality.
Analysis of Akhmatova's poem I don't need anything wild
Analysis of Akhmatova's poem "I don't need odic rati"
copied from the internet
The work of A. Akhmatova is a unique phenomenon in Russian poetry. And although history knew many poetesses even before Akhmatova, she was the only one who managed to become the voice of her era, and then step over all time limits. Laconic and outwardly simple, Akhmatov's poems are extremely saturated with poetic thought and are distinguished by the depth and strength of feeling.
After the very first book of poems, Akhmatova began to be perceived as a brilliant artist of female love in all its manifestations. Later, other traditional themes and motifs of Russian poetry sounded in her lyrics, and they also sounded traditional in many ways, since the origins of Akhmatova's work are in classical Russian literature, and above all in the work of Derzhavin and Nekrasov, Pushkin and Lermontov. Like any poet, A. Akhmatova often refers to the topic of poetic craft. However, despite the obvious resemblance to classical poetry in her poems, the poetess's view is largely original. Consider in this regard the poem by A. Akhmatova “I don’t need odic rati. »
This short poem was written in 1940 and is part of a cycle called "Secrets of the Craft", which was created over several years. The very first stanza gives the poetic narrative an intonation of sincerity. Recognition of the lyrical heroine sounds very subjective: “I don’t need anything. ", "As for me. » In general, the first stanza prompts us to think, especially its last two lines:
For me, in poetry everything should be out of place,
Not like people do.
“Inopportunely” means “at the wrong time”, “at the wrong moment”. In other words, poetry, according to the author, should surprise us with unexpectedness, freshness of thought. And then we seem to “hear” something similar to the sigh of the lyrical heroine:
When would you know from what rubbish
Poems grow without shame.
It is difficult to unambiguously say that “litter” is used metaphorically here. Thoughts of the poet, life impressions, or maybe life itself? however, we are more fascinated by the line: “Poems grow, knowing no shame ...” It contains both the animation of poetic creation and a certain independence of the creative process from the will of the creator. And then such unexpected and at the same time logically justified comparisons:
Like a yellow dandelion by the fence
Like burdock and quinoa.
In general, Akhmatova had an amazing ability to see the unusual in the world of everyday life around her. In her poems, everything turned into poetry, in other words, everything was worthy of a poetic word, even "the mysterious mold on the wall." The ellipsis at the end of this line is perceived as a pause filled in by the creative process. And then there are lines that begin in a very Pushkinish way: “And the verse already sounds ...” In Pushkin’s poem “Autumn” we find similar words: “A minute - and the verses will flow freely.” This similarity is not accidental. Akhmatova clearly shared Alexander Sergeevich's opinion about basically free creativity. By the time of the creation of these poems, their authors were already long-recognized masters of the word, and therefore we cannot help but share their opinions.
The final lines of Akhmatov's poem, charged with the energy of the author, sound particularly emotional. In general, Akhmatova's poetic narrative is imbued with a mood of vivacity and optimism. This is largely facilitated by the iambic meter chosen by the poetess (by the way, the most popular meter in Russian versification). And the omissions of stress found in each line give the poem a shade of reflection, poetic reflection.
One cannot but say that Akhmatov's poems are not distinguished by the richness of the means of expression used by the author. The poetess clearly preferred the small volume and simplicity of poetic speech. And at the same time, her poems, in the words of Pushkin, "captivated by the charm of naked simplicity." Moreover, behind this ordinariness of Akhmatova's artistic speech lies a deep meaning, which is not least facilitated by the compositional harmony of Akhmatova's poem, which begins and ends with the same word "me". This harmony gives poetic thought a special integrity, completeness.
Surprisingly, the poverty of verbal vocabulary does not deprive the poem of a sense of the fullness of being. In the poetic text, the spring breath of life is clearly felt. We see "yellow dandelion near the fence", we "breathe" "fresh smell of tar". In general, we most often associate the birth of the new with the springtime ("poems grow").
However, the main idea of the poem sounds in its final lines:
And the verse already sounds, fervent, gentle,
For the joy of you and me.
Thus, the main purpose of poetry, according to the author, is the ability to give people joy, the joy of contact with the creations of high art.
“I don’t need odic rati ...” - Akhmatova’s program poem. He is quoted very often. At the same time, not only in works dedicated to Anna Andreevna, but also in works related to other literary figures and poetry in general.
History of creation
The poem was written in 1940, included in the cycle "Secrets of the Craft". In addition to him, there are nine more lyrical works, each of which is dedicated to the theme of the poet and poetry. The poem “I don’t need odic ratis ...” was first published by the Zvezda magazine in issue 3/4 for 1940. The period of writing this work is relatively daylight hours in the life of Akhmatova. At the end of 1939 Soviet authority began to favor her. The poetess received a proposal to prepare books for publication for two publishing houses. In addition, she was accepted into the Writers' Union, the collection "From Six Books" was published, Anna Andreevna's poems began to appear in the magazines "Star", "Leningrad" and "Literary Contemporary".
Lyrical hero
In the poem "I don't need odic rati..." the lyrical hero is a poet who talks about creativity. He proclaims the refusal to write works that have an indirect relationship to real life. He is not attracted by the prospect of creating odes and elegies. The “litter” of everyday life is the material from which poems should be born. At the same time, there is no place for anything superfluous in the finished works, they are distinguished by exquisite simplicity. Important point- the lyrical hero receives genuine pleasure from doing creative work, as evidenced by the last lines. They say that the verse sounds to the delight not only of the reader, but also of the poet himself.
Theme and plot
The poem has no plot. Focus on thoughts lyrical hero. The main theme of the work is the theme of the poet and poetry. Often the poem "I don't need odic rati ..." is perceived as Akhmatova's manifesto. First of all, his second stanza, which speaks of the lyrics growing from the litter. As the main source of inspiration for the poet, it is stated here simple life, nature. In order to notice poetry in everyday life, to discern beauty, real talent is needed.
Some researchers tend to interpret Akhmatova's poem differently. In their opinion, the semantic originality of the work lies in the fact that with the help of it, Anna Andreevna declares not a return to nature and not a search for inspiration in everyday life, but suggests turning to culture. For example, literary critic Roman Timenchik points out that the passage about “mysterious mold on the wall” is a reference to Leonardo da Vinci. The Italian genius of the Renaissance called for examining "walls stained with various stains" in order to see there "a semblance of various landscapes." In addition, other researchers found references to the work of Pushkin and Kuzmin in the poem "I don't need odic rati ...".
Size, rhymes and tropes
The poem is written in iambic. The rhyme is used cross, rhymes are found both male and female. The work contains many alliterations for voiced consonants. Among them - "r", "h", "b". Among other funds artistic expressiveness- comparisons (verses grow like mugs and quinoa), metaphors ("odic rati"), epithets (the verse is "gentle" and "fervent"). Thanks to the chosen paths and the absence of dark colors, the poem turned out to be bright, light, cheerful.
Literary direction
In her memoirs, Akhmatova wrote that "in 1910, a crisis of symbolism clearly emerged." Because of this, aspiring poets had to choose other paths. Some of them belonged to the Futurists, some to the Acmeists. Anna Andreevna preferred the second option. Acmeism opposed itself to symbolism. As the main goals, its creators designated the image of the objective world, the use of bright and precise words, as well as distinct images. Over time, Akhmatova became cramped within the acmeist framework. Her lyrics began to develop in line with Russian classical poetry. Since the poem “I don’t need odic rati ...” is a sample mature creativity Anna Andreevna, then it does not belong to any literary movement.
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A. A. AKHMATOVA
I don't need odic ratis
And the charm of elegiac undertakings.
For me, in poetry everything should be out of place,
Not like people do.
When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.
An angry cry, a fresh smell of tar,
Mysterious mold on the wall...
And the verse already sounds, fervent, gentle,
For the joy of you and me.
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Akhmatova is one of the few poetesses, because almost everyone believed that "Being a poet is absurd for a woman". Akhmatova's husband, Nikolai Gumilyov, also adhered to this point of view. But after all, talent does not look at who you are - a man or a woman - but simply finds a “shelter” with a person who can convey to the reader all the experiences, his own and the whole country, feelings, a person who can realize the purpose of this gift.
The seventh veil of fog has fallen, -
The one that brings spring. -
This is the epigraph to the cycle "Secrets of the Craft". This cycle showed that for Akhmatova, creativity is inseparable from life: without life, an important manifestation of which is love, there would be no poetry. Love is a feeling born of life itself. In turn, the process of creativity is equated to the processes that occur in life, in nature. The duty of the poet is not to invent, but simply, having heard the song of time, write it down. Poem "I don't need odic ratis" helps to understand what is being done and done in life:
When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.
This "litter" becomes fertile ground for "ripening" the truth of poetry, which raises a person with it ...
I don’t know why, but when I read this poem, I imagined an old rickety house, around which there is the same dilapidated fence. But he, the fence, is hardly visible because of the mugs. Cheerful children run around the house, laughing loudly. Parents shout at them, asking them not to make noise, but the guys do not listen, laughing louder and louder. Oddly enough, children are among this "outback" where everything is so dilapidated, but dear to the heart, will grow wonderful people. The same thing happens with poems: they are born from rubbish, but grown on the fresh smell of tar:
An angry shout, a fresh smell of tar
Mysterious mold on the wall...
And these already sounds, fervent, gentle,
For the joy of you and me.
Visual and expressive means-tropes increase the aesthetic impact on the reader, emphasize the splendor of the language. With the help of personifications, Akhmatova was able to most accurately show how poems are born, "grow": they do not need to be invented, but only, having heard, write down, and only then will they pour out a song for people ( "verse sounds"). Understand that Akhmatova dearer poetry, although born from rubbish, but pleasing to the heart, because both the smell of tar and mold on the wall remind of something personal, mysterious, epithets help (odic rati, elegiac undertakings, an angry shout, a fresh smell, mysterious mold).
Melodiousness, expressiveness of the poem is given by the cross rhyme:
I don't need odic ratis
And the charm of elegiac undertakings
For me, in poetry everything should be out of place
Not like people do.
With a characteristic stylistic figure, such as the non-union that is present in the third stanza, Akhmatova shows the fleeting moment of the birth of the verse. This moment can be lost, but if this does not happen, then the poem, inspired by life itself, will delight with enthusiasm and tenderness.
And the charm of elegiac undertakings. For me, in verse everything should be out of place, Not like people do. If only you knew from what litter Poems grow, knowing no shame, Like a yellow dandelion near a fence, Like burdocks and quinoa. An angry cry, a fresh smell of tar, A mysterious mold on the wall ... And the verse already sounds, fervent, gentle, To the delight of you and me.
Analysis:
The poem "I don't need odic rati ...", written in 1940, is one of the central ones in the program cycle "Secrets of the Craft". It belongs to the hand of the already mature poetess Anna Akhmatova, who is considering her artistic experience.
The poem cannot be attributed to the lyrics of an intimate psychological series. Here we will not find a plot, a confrontation between the characters (“I” and “he”), there is no description of the case, specific situation, actions that line up in a picture of a real spiritual movement, a unique life conflict. All this is present in her early poems, such as "Clenched her hands under dark veil…”, “Song of the last meeting”, “My husband whipped me patterned…” and others. Here, the thought is pushed by the image, and the image gives rise to the idea, which lies in the fact that it is not “odic rati”, not “elegiac undertakings” that are important for the poet. Poetry arises not from a desire to write anything, but from a special and unique human experience. The reason for its creation is often not what is known to everyone, but what is revealed from the prose of life “inopportunely”. The poet overcomes the "non-aestheticism" of everyday things in order for the verse to sound provocatively, joyfully and tenderly, elevating the soul of both the poet and the reader.
Images of nature help A.A. Akhmatova to reveal this idea. She opposes “Odic armies” and “elegiac undertakings” with “litter”, from which poems grow: “yellow dandelion near the fence”, “burdocks and quinoa”, “fresh smell of tar”, “mysterious mold on the wall”.
Nature appears to us natural, realistic, but this does not mean that Akhmatova thereby tries to oppose her work to the tastes of the aesthetic public. These images only help to understand her poetic position, which consists in a close connection peace of mind the poet and the reality around him. Using them, Akhmatova shows how reality breaks into her life and what joy it brings to her.
With this poem, the poetess proves the fallacy of the opinion of those who considered her poetry inseparable from the sphere intimate experiences. Separateness, isolation of the poem “I don’t need odic rati” carries an energy that activates the entire figurative structure of Akhmatova’s poetry. Even in the first book "Evening" she was attracted by the "stuffy smell of tar" and "the smell of warm dead quinoa", even in "The Rosary" she listened to how "burdocks rustle in the ravine". Now all these threads are summarized in one three-line poem, which has acquired an unusual figurative density. Akhmatova achieves this with logical and well-chosen enumerative phrases:
Like a yellow dandelion by the fence
Like burdock and quinoa.
….
An angry cry, a fresh smell of tar,
Mysterious mold on the wall...
Images of nature are created, as we see in the above lines, with the help of several nouns with epithets, which allows our imagination to vividly recreate these pictures: the smell of "fresh", the cry of "angry", the mold "mysterious".
The poem is a monologue of the poetess, containing logically sustained simple and complex sentences with simple punctuation. This makes it possible to follow the development of Akhmatova's thought. A shortened line at the end of each stanza creates a special rhythm of the verse, allowing you to understand what thought the author wants to pay attention to, what is important to him.
The last line of the poem "... To the joy of you and me" clarifies another motive of Akhmatova's poetry - the motive of striving for joy, the transition of tragedy into love of life, which manifested itself in many of her poems.
Size - iambic
Own: the theme of the poet and poetry. collection "The Run of Time", cycle "Secrets of the Craft".
size: iambic
the poetess rejects the ode and elegy, protesting against the predetermination of the verse. the birth of a verse must be a mystery. at the same time, there must be life in the verse. everything in life can be worthy of a verse. Akhmatova makes you see beauty in the most insignificant. gki
When in anguish of suicide
The people of the German guests were waiting,
And the harsh spirit of Byzantium
He flew away from the Russian Church,
When the Neva capital,
Forgetting your greatness
Like an intoxicated whore
Didn't know who was taking it
I will wash the blood from your hands,
I will take out black shame from my heart,
I will cover with a new name
The pain of defeat and resentment."
But indifferent and calm
I covered my ears with my hands
So that this speech is unworthy
The mournful spirit was not defiled.
Autumn 1917 th for her
Analysis
own: included in the collection "Plantain". Year of publication 1921.
the poem itself in 1917
in the verses of this collection there is a boundless stream of experiences glorifying love. Another theme of this collection is the theme of the motherland.
the poem is a connection with the motherland. is constructed as a monologue with the author's remarks. the heroine hears a voice tempting her with a calm and blissful life in a foreign land. the voice is reminiscent of the temptation of the devil. this voice reminds the heroine of parody, insults, promises to erase the past from her memory. the heroine's response is the second part of the poem, which contrasts with the first. part begins with the union "but".
the heroine does not want to listen to the devil's voice. calls speech unworthy. does not want to defile himself with temptation. her rebuke does not stigmatize anyone and does not contain loud phrases. and this suggests that Akhmatova is sure that she is right. (Odessa associations - sirens).
(See figurative and expressive means.)
Akhmatova uses a sublime style.
the idea is to affirm in devotion to the motherland in a difficult hour for her.
Size: iambic
Motherland
And there are no more tearless people in the world,
Haughtier and simpler than us.
1922
We do not carry in treasured amulets on the chest,
We do not compose verses sobbingly about her,
She does not disturb our bitter dream,
Doesn't seem like a promised paradise.
We do not do it in our soul
The subject of buying and selling,
Sick, distressed, silent on her,
We don't even remember her.
Yes, for us it is dirt on galoshes,
Yes, for us it is a crunch on the teeth.
And we grind, and knead, and crumble
That unmixed dust.
But we lay down in it and become it,
That is why we call it so freely - ours.
Analysis:
the epigraph is Akhmatova's poem about the motherland, which emphasizes the importance of the motherland in Akhmatova's lyrics.
the poetess rejects loud, feigned, pompous feelings towards the motherland. uses vocabulary high style, which conveys the real feelings of people "promised paradise".
a person does not always realize what his native land is, perceiving it as "dirt on ears" and "crunching on the teeth", but we are one with the earth.
the first part is iambic.
the second is amphibrach.
Akhmatova uses the pronouns we and us, therefore she speaks not on her own behalf, but on behalf of the people.
essence: the earth does not need to be carried in amulets, it is already its own, because we are leaving for it.
Tearful autumn like a widow In black robes, all hearts are foggy... Going through her husband's words, She won't stop crying.Analysis:
In the poem there is another technique characteristic of Akhmatov's lyrics - the poetess does not talk about what happened directly, she does it with the help of talking details. AT this poem one of these details is the figure of autumn. In general, autumn is always associated with something sad, dreary and gloomy. So it is here: autumn, like a messenger
bitterness and longing, is compared with an inconsolable widow, acquires features that are characteristic of both a natural phenomenon and a person. Thanks to this detail, the reader can learn about the state of mind of the heroine, penetrate into the depths of her experiences.
Akhmatova's muse is the muse of memory. It is the memory that does not give the heroine the opportunity to forget everything, start a new quiet life:
“... Going through her husband’s words, / She will not stop crying ...” Memory removes old actions and addictions from oblivion, keeps in mind everything that has fallen to the heroine, constantly makes you reconsider and rethink what you have experienced. And so it will be forever, the memory will always return it to the past. But still, a small flame of hope flickers in the soul of the heroine: “And
it will be so until the quietest snow / Takes pity on the mournful and tired ... ”This is evidenced by the use of softer, lighter tones by Akhmatova than those that were at the beginning of the poem: black is replaced by white, nebula turns into silence (“the quietest snow”). The heroine hopes that just as a dirty, gloomy autumn is replaced by a cold, fresh winter,
so her tired, tormented soul will “cool down”, gain peace and the end of her torment and suffering will come. But, as you know, the heart never forgets, so both!
whether her hopes will rush into reality - time will tell. But the heroine is sure that even for a minute “there were oblivion and there was no oblivion”, which brings her the memory of dear person, she would give her life, and that "it is not enough to give life for this."
Anna Andreevna Akhmatova's poems about love are almost always imbued with a feeling of sadness, but the main thing that makes them so heartfelt is sympathy, compassion in love. When you read these verses, a way out of the closed world opens before you, selfish love, love-fun to authentically great love for people and in the name of love.
Size: 5 iambic
seaside sonnet
Everything here will outlive me
Everything, even dilapidated starlings
And this air, spring air,
Marine voyager.
And it seems so easy
Whitening in the thicket of emerald,
I won't tell you where...
There among the trunks is even lighter,
And everything looks like an alley
At the Tsarskoye Selo pond.
Analysis:
philosophical subject, problem solving life and death, rock. In general, "Primorsky Sonnet" is an example of the traditions of Russian classical literature XIX century. In it, in the face of near death, in the view of the lyrical heroine, death, the poet, in Pushkin's style, calmly accepts life as such, with its inevitable outcome.
In the first two lines (Everything here will outlive me // Everything, even dilapidated starlings...) an anaphoric repetition of the pronoun “everything” is used, which expresses the absoluteness of the statement. Man cannot exist forever. During his life, he sees how other people die, flowers, animals, collapse from the old age of the building. After some time, a new one appears in place of the disappeared. And human death replaces new life. Such is the law of being.
To your death lyrical heroine is calm and philosophical. She feels like a part of a vast world and does not feel sorry for herself, does not regret the beauty of eternal nature. The acuteness of perception of what is left is very great, and everything, except for the "dilapidated starlings", is seen in best light.
Epithets are indicative: the air is “spring, / the sea has made the flight”, the cherry is “blooming”, the month is “light” and pours “radiance”, the thicket is “emerald”. The inversion used by the author creates the effect of greater solemnity, smoothness of the verse.
The second quatrain seems to contradict initial lines: life is not eternal, but "the voice of eternity is calling." Probably, the lyrical heroine believes in the afterlife, unknown, but not at all frightening: why be afraid of what cannot be avoided? Therefore, "... it seems so easy, / ... The road will not say where ...".
From these words breathes peace, peace of mind. They can be uttered not by an ardent youth, eager to try his luck, throw himself into a pool of passions, but a person who is wise with experience, who knows the price happy moments spent with loved ones, and bitter moments without relatives and homeland. The easy road leading away from all this is even brighter: “There among the trunks it is even lighter, / And everything looks like an alley / By the Tsarskoye Selo pond.”
The final verse is not just about the park and the dear town for Akhmatova, where she spent her childhood and youth. She remembers what no longer exists, what she considered irretrievably lost as a result of the destruction of the war years.
Tsarskoye Selo and Pushkin - cross-cutting images in the work of Akhmatova and are associated with the theme of poetry, memory, continuity, spiritual and creative connection poets of the 19th and XX centuries. The 20th century that has come artistic language talks about the last century, about the most valuable thing in it, which has received enduring significance. At the sight of a landscape that seemed similar to Tsarskoye Selo, the poet is preparing to reconnect with everything that no longer exists, but that exists in eternity, which is why it “calls” so powerfully. This is a completely different attitude to death than in the early poems of Akhmatova, where the author expected her soon, or in poems about lost loved ones. The new attitude to death is hard-won, but decent life, although this is not mentioned in the poem, only the sum of everything is given.
The sonnet is built according to the ideal idea of the internal composition of this solid form. The first quatrain (quatrain) is the thesis that “everything will outlive me” (man is not eternal). The second quatrain is an antithesis about calling eternity, the next two three lines (the first and second tercet) are eternity itself. The lightness and relaxedness of reading, achieved by iambic tetrameter, corresponds to the whole character of this truly classical work.
Summer 1915
Analysis:
Anna Akhmatova once admitted that she does not know how to be friends with women whom she considers envious, selfish and stupid. However, in her life there was still one whom, although with a stretch, she still considered her friend. This is the hope of Chulkov, the wife of the famous Russian writer who helped Akhmatova publish her first poetry collections. It was with this woman that the poetess shared her creative plans and in 1915 she even dedicated the poem “Before spring there are such days ...” to her.
The reason for writing this work was a long-standing dispute between Akhmatova and Chulkova, during which the wife of the writer suggested that the poetess try herself in the genre of landscape lyrics in order to objectively assess her creative potential. Chulkova was embarrassed by the fact that Akhmatova, being married woman, writes poems about love for other men that exist only in her imagination. Therefore, in the early spring of 1915, while on the estate of Slepnevo, which belonged to the family of Nikolai Gumilyov, the wife of the poetess, Akhmatova decided to follow the advice of her friend. However, she did not consider it necessary to describe the process of awakening nature from hibernation. The poetess was much more worried about the feelings that she experienced when looking at Lou, who was “resting under dense snow” and “fun-dry” trees, rustling from the slightest gust of wind.
On such days, as the poetess admitted, her worldview becomes completely different, as if she feels everything that surrounds her in a new way. “And the body marvels at its lightness, and you don’t recognize your home,” Akhmatova notes. It is precisely such changes in the soul, and by no means a warm and gentle wind, that are a sure sign of the coming spring, which seems to renew the poetess from the inside, filling her with incomprehensible joy and expectation of a miracle.
It is on such days that Akhmatova feels different and understands that life is making another round, and the past is leaving without regret. And even the old song, “that I was tired of before”, now sounds in a completely new way and is filled with a completely different meaning, which is in tune with the mood and feelings. For Akhmatova, spring is primarily associated with deep emotional experiences in which there is a place for awareness of the transience of life, rethinking one's own actions, new ideas and hopes. And this is what gives her the strength to live on, not looking back and not reproaching herself for those mistakes that can no longer be corrected.
Size 5 iambic
I am not with those who left the earth To be torn to pieces by enemies. I will not heed their rude flattery, I will not give them my songs. But the exile is eternally pitiful to me, Like a prisoner, like a sick person. Your road is dark, wanderer, Someone else's bread smells of wormwood. And here, in the deaf haze of the fire, Destroying the remnant of youth, We did not deflect a single blow from ourselves. And we know that in the later assessment, every hour will be justified... But there are no people in the world more tearless, haughtier and simpler than us.
July 1922, Petersburg
Analysis:
They are filled with pathos. At first, it is not even clear what position the poetess takes. Either she is sorry that she did not emigrate with other writers and poets abroad, or she does not accept those people who left our country during the years of horror and upheaval, and distinguishes herself from them, thereby dividing the whole society into two clans: pseudo-patriots. It seems to her that they are not worthy to live in Russia and draw on its natural and spiritual wealth: But one cannot consider Akhmatova's position from the negative side. Yes, she condemns those who left and, in her opinion, betrayed their Motherland and a certain spiritual choice has already been made for her - emigration is impossible. But Akhmatova gives, as it were, her own assessment of what is happening. She is overwhelmed with feelings of bitterness and pain for native land, in her soul there is a drop of pity. This is evidenced by the next stanza, from which the reader learns that Anna Andreevna, in fact, feels sorry for these exiles, she compares them with prisoners, the sick. The meaning of the word\"exile \" is not a category of people expelled or repressed for any reason. Here is a completely different semantic country. However, I believe that one should not be so critical of these exiles. To some extent, they are not to blame - they were forced by the situation in Russia. No matter how sorry the poetess of the exiles is, she does not bode well for them, their future fate is not determined. Even if a person lives abroad, he still won’t find true happiness here, so everything. Meanwhile, the rhythm of the poem changes dramatically, just like a river flows calmly and unexpectedly on its way. Here, it would seem, lies, as expected, semantic the center of the work, but it is not. One should not deny the full depth of these strong lines, showing the atmosphere that prevailed in the country after the revolution. I would note the pronoun\"we \". The shoulders of the balance of the stanza are concentrated in it, the Russian people are expressed in it, all the patriots of Russia, who stood up to defend their homeland. Akhmatova and shows what this true patriot. Semantic center moved towards the end of the poem. The last lines contain a conclusion and a reminder to people that the lyrical narration of the poem is more haughty and simpler than us\"I am not with those who left the earth ...\" The idea is no less interesting from the point of view compositional construction. It is based on iambic versification, beloved by acmeists. Within each stanza, it is not difficult to notice the exact cross-rhyming. On this loud, evaluative. Only through the alternation of male and feminine rhymes the poetess manages to do this. musical and acoustic point of view. Another feature found in versification is an unequal number of syllables between stresses, which creates a special moral and psychological burden.
Size - iambic
Poems about Petersburg
1
Again Isakiy is in a vestment Of cast silver. The horse of Great Peter is freezing in formidable impatience. The wind is stifling and stern. From the black pipes it sweeps away the fumes... Ah! The sovereign is dissatisfied with his new capital. 2 The heart beats evenly, measuredly. What a long years to me! After all, under the arch on Galernaya Our shadows are forever. Through lowered eyelids I see, I see, you are with me, And in your hand forever My unopened fan. Because we stood next to each other in a blissful moment of miracles, in the moment when over the Summer Garden the pink moon has risen, - I don't need expectations at the hateful window and tedious dates. All love is quenched. You are free, I am free, Tomorrow is better than yesterday, Over the dark-water Neva, Under a cold smile
Emperor Peter. 1913
Analysis:
Love in "Poems about Petersburg" is calm, unshakable, free love, and therefore happy. Love is quenched. But the participant in the love of two is Petersburg, it determines its incorruptibility: “After all, under the arch on Galernaya our shadows are forever.” Akhmatova wrote that there were several Petersburgs in her mind. One of them was associated with the name of F.M. Dostoevsky, and another - maybe this one, which is being born now, in these verses. This St. Petersburg gives bliss that quenches love, and reliably keeps the memory of it. The Summer Garden, Isakiy, "the horse of the great Peter", Galernaya - all the majestic places of the city are associated with the moments of her dates with her beloved. She enjoys talking about it. She seems to relive the moments spent with her beloved. Although her love is "satisfied", she has not yet experienced it. Everything is ahead. And a month over the Summer Garden - "pink is risen", and "tomorrow is better than yesterday."
All this sanctifies love and bears witness to it before eternity. That is why it turns out to be possible to call poems about love in St. Petersburg poems about St. Petersburg itself as a cradle high love and a treasure trove of love memory. These lines are the answer to the question: why does the story of satisfied love turn into a declaration of love for St. Petersburg?
The real image of the city is conveyed by the measured rhythm of the verse, and "the heart beats evenly, measuredly." This emphasizes the harmonious harmony between state of mind heroines and the formation of Petersburg spaces. Everything is strict, high, unshakable, for centuries. And the vocabulary is archaically high: “clothing”, “terrible impatience”, “blissful moment of miracles”.
True, it should be noted that in these verses there is also a combination of colloquial or narrative intonation with pathetic exclamations, in some places closer to recitative folklore - to ditties and lamentations: “Ah, the sovereign is dissatisfied with his new capital”, “What do I need for many years!”.
The Neva is always mentioned in poems about Petersburg. Here she is “dark-water”, and this immediately somehow alarms, sobers. It was typical for the poetic thinking of the 10s to identify the Neva with Leta, later used by Akhmatova in A Poem Without a Hero. Consequently, human life in St. Petersburg is conceived on the threshold between eternal memory and complete oblivion. Therefore, there are words here that denote an acute experience of the passage of time: “impatience”, “heart beats”, “long years”, “forever”, “forever”, “moment”, “resurrected”, “expectations”, “tomorrow”, “ yesterday".
But Petersburg, "beloved with bitter love", is not all here yet. The trumpets blacken ominously, the “stuffy and harsh” wind sweeps away the cinders from them - and against this background Isakiy from “cast silver” and “the horse of the great Peter freezes in formidable impatience”, Bronze Horseman- the nightmare of the Pushkin hero, "the cold smile of Emperor Peter." Everything is inspired by the thought of eternal beauty and eternal peace, of blissful love and retribution - everything seems to be on the border of life and death, unforgettableness and death. Petersburg is the city of Akhmatova, the capital of her poetry. He enters into her poems on the rights eternal hero. Poems about Petersburg are imbued with a cordial closeness to the city, a sense of eternal connection with it.
SIZE - CHOREI
COURAGE
We know th about is now on the scales
And what is happening now.
The hour of courage has struck on our clocks,
And courage will not leave us.
It's not scary to lie dead under the bullets,
It's not bitter to be homeless,
And we will keep you Russian speech,
Great Russian word.
We will carry you free and clean,
And we will give to our grandchildren, and we will save from captivity
Analysis:
This poem was written after the start of the war. Anna Akhmatova met the war in Leningrad. Her poem "Courage" is a call to defend one's Motherland. The title of the poem reflects the Author's call to citizens. They must be courageous in defending their state. Anna Akhmatova writes: "We know what is now on the scales." At stake is the fate of not only Russia, but the whole world, because this is World War. The hour of courage struck on the clock - the people of the USSR threw down their tools and took up arms. Further, the author writes about an ideology that really existed: people were not afraid to throw themselves under bullets, and almost everyone was left homeless. After all, Russia must be preserved - Russian speech, the Great Russian word. Anna Akhmatova gives a covenant that the Russian word will reach her grandchildren pure, that people will come out of captivity without forgetting it. The whole poem sounds like an oath. The solemn rhythm of the verse helps in this - amphibrach, four-foot. Punctuation marks are very modest: only commas and periods are used. Only appears at the end Exclamation point. Trails are also rarely used. Only the exact Akhmatov epithets are key: "free and pure Russian word." This means that Russia must remain free. After all, what a joy to keep the Russian language, but to become dependent on Germany. But it is needed and clean - without foreign words.
Analysis: year of creation 1942.
this is a call to defend the great Russian word.
symbol of the universal scales.
this poem can be taken as an oath of allegiance addressed to the future.
Size - diversified amphibrach
MARINA IVANOVNA TSVETAEVA
