Anna Akhmatova did not like being called a poetess, she preferred the word "poet". I consider Akhmatova to be a Poet, a Poet with a capital letter. Akhmatov's lyrics underwent changes as she matured, but some themes appear in her poems throughout the entire career of the poet.
The lyrics of Anna Akhmatova of the initial period are love lyrics. The lyrical heroine of her poems goes through various stages of love relationships. The state of mind of Akhmatova's heroine in the poems is not reproduced at the moment. It appears in the poems as already experienced, at the moment when the heroine is able to assess what happened with her “cold head”. Akhmatova's heroine does not just talk about what happened, she gives an assessment of what happened after some time, meaningfully. And, of course, draw conclusions. It is in these conclusions that we, the readers, feel a special philosophy of life that emerged as a result of love experiences. So, in the poem "I learned to live simply, wisely ..." we see the end of a love story. A woman abandoned by a loved one talks about how she was able to survive this drama. She learned to “live simply, wisely”, turned to God and found comfort and solace in him: “Look at the sky and pray to God.” She managed, through efforts over her own will and feelings, in a clearly not joyful time of the year - autumn (here there is a parallel “autumn is the cold season” and “autumn is the period of cooling of love feelings”) to compose “jolly poems” that life is beautiful .
In order to calm down after a love drama, the heroine developed a special life strategy, a kind of philosophy: learn to notice simple things, see the beauty of nature, appreciate it, think, turning to the Creator, about the eternal. The lyrical heroine almost reached her goal:
And if you knock on my door, I don't think I'll even hear it.
Any events that occurred in the life of the lyrical heroine are experienced, evaluated and perceived philosophically by her. Otherwise, I think, it simply cannot be - from any event in life a person must learn some lesson, which should become part of life philosophy.
Ways of knowing oneself, the world, native land, people are diverse. Akhmatova comprehended being thanks to an intuitive feeling at first, and in the later period of her work thanks to the feeling of her blood belonging to her native country.
In the poem "Native Land" she wrote about the land as if in the literal sense of the word, but gave it a deep philosophical meaning:
Yes, for us it is dirt on galoshes. Yes, for a pass it's a crunch on the teeth,
And we grind, and knead, and crumble That pi is not involved in anything. But we lie down in it and become it. That is why we call it so freely - ours.
The native land, the point of support for Akhmatova, has always been the place with which many bright moments in her life are associated. This place is Petersburg.
All her life Akhmatova connected with St. Petersburg, with Tsarskoye Selo. With all her heart she was forever attached to the city, about which she once said:
Was a blissful cradle
Dark city by a formidable river
And a solemn marriage bed,
Over which wreaths were held
Your young seraphim, -
A city beloved by bitter love.
During her difficult years of separation from the city, caused by the war and evacuation, she wrote:
Separation) I’m not on the neck, imaginary: I’m inseparable from you ...
In Akhmatov's poems, we meet the signs of the city: bridges, iron fences, tower spiers, the Summer Garden - and all of them are certainly connected with something cherished for her. Each of these features of the city's appearance is a detail of its fate. The connection that arises between the lyrical heroine and the city can be called intimate - Petersburg is both a witness and a participant in her fate:
He talked about summer and
That being a poet to a woman is absurd. How I remembered, the high royal house And the Peter and Paul Fortress!
In this case, the signs of the city remain in the memory of the heroine as a sign of separation.
Akhmatova very often confesses her love for this city in her poems. Petersburg for her is the center of the greatness of the whole country, the embodiment of man-made beauty.
But we will not exchange for anything the lush, Granite city of fame and misfortune, The shining moons of wide rivers, - Sunless gloomy gardens And the voice of the muse is barely audible.
Anna Andreevna Akhmatova is an artist of a truly philosophical disposition, since it is precisely philosophical motives that form the ideological and content core of all her poetry. Whatever topic the poetess touches, whatever form she uses in creating her poetic images, everything bears the imprint of deep authorial reflections.
However, attention is drawn to the fact that the term "philosophical" in relation to Akhmatova's poetry is introduced by literary critics very carefully. So, analyzing the category of memory, E. S. Dobin notes: “Akhmatova’s memory has become, I would say, a philosophical value. If this word had not been devalued by critics, who sometimes see "philosophy" in the most uncomplicated maxim. At the same time, in the scientific world, the idea of the undoubted importance of studying this lyrical layer is persistently supported. A. I. Pavlovsky states on this occasion: “The philosophical side of Akhmatova’s lyrics ... was not seriously written about. Meanwhile, it is of undoubted interest. At the same time, only late Akhmatov's poetry is often declared philosophical, excluding the thought-forming factors of an earlier period. This is the position of V. Ozerov. “But, paying tribute to these really new and penetrating verses,” the critic emphasized, “it is impossible to single out or, even more so, to oppose them to the late philosophical lyrics of A. Akhmatova.”
All of the above indicates that the designated layer of A. Akhmatova's lyrics still remains a "blank spot" in Akhmatova studies, so we consider it necessary to dwell on the analysis of the main philosophical motives of the poetess.
Her view of the world was peculiar and quite consistent. As an acmeist, in her early period she was an opponent of the dissolution of the living, corporeal and material world in those mystical categories that were characteristic of the symbolists. Akhmatova recognized the world as real and objectively existing. It was concrete and multicolored for her, it should be transferred to the lines of poetry, trying to be accurate and truthful at the same time. Therefore, she considered literally everything that makes up everyday life and surrounds a person suitable for artistic depiction: a midnight vault, a tiny blade of grass, chamomile or burdock. It is the same in feeling - any of the human emotions can be artistically explored, enshrined in the word and passed on to future centuries. The power and might of art seemed to her enormous and hardly even observable. Akhmatova loved to convey this surprise to the reader when she had the opportunity to once again be convinced of the fantastic incorruptibility of human culture, especially such a fragile and imperishable material as the word is.
Of course, most of the early love lyrics are deeply intimate. However, already in it tendencies of immersion and deepening into the world of reflection on the foundations of human existence are outlined. For the first time we hear them in the poem "I learned to live simply, wisely ...":
I learned to live simply, wisely,
Look up to the sky and pray to God
And wander long before evening,
To tire out unnecessary anxiety.
The lyrical heroine reflects on the perishability and transience of life. In this poem, Akhmatova uses the technique of describing the inner world of the hero through the surrounding nature. A touchingly purring fluffy cat, a fire that caught fire on the sawmill tower reflect the heroine’s clear and “wise” worldview, and the signs of autumn (a drooping bunch of mountain ash, rustling burdocks) reflect light melancholy and sadness associated with the awareness of the perishability of everything that exists. The whole poem is, as it were, an answer to the question: how should a person live? You can even derive a formula: nature, faith and solitude.
A turning point in the work of A. A. Akhmatova can be called the poem "Everything is plundered, betrayed, sold." It testifies to the final transition of the author from the psychology of a love "novel in verse" to philosophical and civil motives. The personal pain and tragedy of the wounded soul of A. Akhmatova merge with the fate of the entire Russian people. Seeing the bitterness and injustice of the era, the author tries to point out the way out, the path to the revival of spirituality. This is how the motives of faith in immortality and supreme justice appear, the motive of Christian forgiveness, as well as the hope for a bright and wonderful future, for the eternal renewal of life and the victory of spirit and beauty over weakness, death and cruelty.
In a later period of creativity, A. Akhmatova places the idea of the need for harmony between the world and man, society and man, man and time at the center of her artistic worldview. At the same time, the poetess "does not abstract from the objective reality, but goes to a new level of artistic representation, concentrates the action, layers on it dialogues with her opponents, monologues-appeals to the world, time, people" .
More and more often A. Akhmatova thinks about the problems of our time. The tragedy of modernity, according to the poetess, lies in the interrupted connection of times, in the oblivion of the previous era:
When an era is buried
The grave psalm does not sound,
Nettle, thistle
Decorate it...
And the son does not recognize the mother,
And the grandson will turn away in anguish.
Under these conditions, the task of the poet is not only to state the fatal break in times, but also to glue together “the vertebrae of two centuries” with “his blood”.
Akhmatova’s memory becomes the basis for the connection between the past and the present not only as something in a person that makes it possible to correlate him with history, but also as a deeply moral principle, opposed to oblivion, unconsciousness and chaos. So the motive of memory becomes a kind of prism through which the key ideas and images of her poetry are refracted.
No wonder this word appears in the titles of many poems: “The memory of the sun in the heart is weakening ...”; "Voice of Memory"; "You are heavy, love memory..."; “I will take this day out of your memory…”; "In memory of a friend"; “And in memory, as if in patterned styling ...”; "And in the black memory, fumbling, you will find ..."; "Memory cellar".
We emphasize that in Akhmatova's poetry the semantics of "memory" covers a wide semantic space, all manifestations of memory: from memory, as an individual, "psychophysiological" gift, to memory, as a historical and moral category. It is no coincidence that K. Chukovsky, Yu. Levin, V. Toporov considered the motive of memory to be fundamental for the work of Akhmatova.
In early lyrics, memory is realized as a natural, organic property of human consciousness, which allows the poet to artistically capture the world (“I see everything. I remember everything”), to embody the past, as a continuing and emotionally experienced being, in the present. Her "mechanisms" serve as the plot frame of "lyrical short stories".
In the late Akhmatova, the motive of memory becomes the semantic basis that holds together the disparate episodes of one human destiny, and the episodes of the destiny of the people, which reunites the broken connection of times, that is, it serves the purpose of "gathering" the world together.
Let us characterize the main trends in the implementation of the motive of memory in the poems of A. A. Akhmatova.
In the poem “A dark-skinned youth wandered along the alleys”, the poetess speaks about Pushkin and his time, while the motive of memory is the semantic concept. For Akhmatova, memory is what opposes decay, death, oblivion. Memory is synonymous with loyalty.
In the poem "It is getting dark, and in the sky dark blue ..." memory acts as a catalyst for the joys of life.
And if I have a difficult path,
Here's the light load I can handle
Take with you, so that in old age, in illness,
Perhaps in poverty - to remember
Sunset furious, and fullness
Mental strength, and the charm of a sweet life.
The poem is marked 1914-1916. At that time, Akhmatova was not even thirty years old. A light consolation burden was what would be stored in memory. I wanted the memory to turn into only a beneficent side. Only the custodian of the cloudless, gratifying that can be gleaned from being. Memory is a faithful companion, the "guardian angel" of existence.
But memory is not only a keeper. She discovers things in a new way, overestimates. Memory is the wise sister of life, dividing its burden.
Like a white stone in the depths of a well,
There is one memory in me.
I can't and don't want to fight
It is fun and it is suffering.
And the poet cherishes this duality. In the distance of time, sadness is cleared, and I want to keep it: “So that wondrous sorrows live forever, you are turned into my memory.”
Memory becomes the comforter of all those who mourn and a kind of "law of conservation of phenomena", but only the phenomena experienced, passed through the feeling.
It's like everything I have inside of me
Struggled all my life, got life
Separate and embodied in these
Blind walls, into this black garden...
E. S. Dobin called the Akhmatov category of memory “an analogue of the folk-tale “living water”. This is a gift of returning life to phenomena, events, feelings that have gone into the past.
Memory is comprehended by Akhmatova as a certain generalizing figurative category. This is the continuous life of the soul. It can be called the spontaneously creative side of the spirit, every minute reviving the past. But besides this, memory has a second side - a dramatic one. Not so, it turns out, the burden of memory is light. And not only "the fullness of spiritual strength and the charm of a sweet life" he includes. According to Akhmatova, memory is diverse and quite often traces of the past remain, like scars from wounds.
Oh, who would have told me then
That I inherit all of this:
Felitsu, swan, bridges,
And all Chinese inventions
Palace through galleries
And lindens of wondrous beauty.
And even my own shadow
All distorted with fear
And a penitential shirt
And sepulchral lilac.
However, it was even more tragic when “the iron curtain of the change of times fell and blocked the path of the life-giving memory of the past.”
And, once waking up, we see that we forgot
We even have a secluded path to that house,
And, choking with shame and anger,
We run there, but (as happens in a dream)
Everything is different there: people, things, walls,
And no one knows us - we are strangers.
We didn't get there...
For Akhmatova, here memory is a mirror of being, it illuminates the tragic side of the irreversible course of life, but at the same time, losses enhance the sense of the values of the experienced, the values of the immortal.
Thus, memory becomes, as it were, a through thread of being. It projects endless connections with time and environment. A continuous line connects the steps of man's ascent and descent. What has been gained and lost, what has been achieved and what has disappeared is recorded. E. S. Dobin notes that “Akhmatov's memory is not a tape of shots that simply capture pieces of the past. This is a synthetic activity of the soul, analyzing, comparing, evaluating, which is equally located in the sphere of feelings and in the sphere of thoughts. Memory is the accumulator of experience and experiences.
It should be noted that the motive of memory, being the leading one in the creative concept of A. A. Akhmatova, is nevertheless close to such eternal categories as life, death, love, me and the world, me and we.
The motive of death, one way or another present in many of her poems, is most clearly revealed in the later work of the poetess: funerals, graves, suicides, the death of the gray-eyed king, the dying of nature, the burial of the entire era.
Death is interpreted by Akhmatova in the Christian and Pushkin traditions. In Christian ones - as a natural act of being, in Pushkin - as the final act of creativity. Creativity for Akhmatova is a feeling of unity with the creators of the past and the present, with Russia, with its history and the fate of the people. Therefore, in the poem "Late Answer", dedicated to Marina Tsvetaeva, it sounds:
We are with you today, Marina,
We walk through the capital at midnight,
And there are millions behind us
And there is no more silent procession,
And around the funeral bells
Yes Moscow wild moans
Blizzards, our sweeping trail.
In some works of Akhmatova, dedicated to the motive of death, the image of a ladder appears:
As if there is no grave ahead
And the mysterious stairs take off.
So in the works of the poetess, the theme of immortality is outlined. This motif appears in the poems about victory and is further strengthened. It is significant, for example, the poem "And the room in which I am sick", ending with the lines:
My soul will fly to meet the sun
And a mortal will destroy the dream.
In later verses, the motive of immortality is revealed in verses about music:
And the listener then in his immortality
Suddenly begins to believe unconditionally.
But this motive is especially clearly revealed in a poem about his own painful state at the end of life:
The disease torments three months in bed,
And I don't seem to be afraid of death.
An accidental guest in this terrible body
I, as if through a dream, seem to myself.
At the same time, it should be noted that in Akhmatova’s late lyrics, the most stable motive is farewell to all the past, not even to life, but to the past: “I put a black cross on the past ...”. In the poem "At the Smolensk Cemetery" she, as it were, sums up the past era. The main thing here is the feeling of a great watershed that ran between two centuries: the past and the present. Akhmatova sees herself standing on this shore, on the shore of life, not death:
This is where it all ended: dinners at Danon's,
Intrigues and ranks, ballet, current account ...
In these lines we are talking about an imaginary human existence, limited by an empty fleeting minute. In this one phrase, the essence of imaginary, and not genuine, human life is captured. This "life," Akhmatova argues, is equal to death. True life appears in her, as a rule, when a sense of the history of the country, the people enters the verse.
One of the best works of the period of the 1950s and 60s is the poem “Seaside Sonnet”, in which, according to researchers, “the classical transparency of the form, “lightness”, felt almost physically in the verbal texture, testifies to conquered suffering, to the comprehension of higher harmony natural and human existence".
"Primorsky Sonnet" is a work about death in which Akhmatova sums up life. The lyrical heroine perceives death without a tragic anguish: not as a deliverance from unbearable pains of life (cf. "Requiem"), but as "the call of eternity", "an easy road", reminiscent of one of the most dear places to her on earth - "the alley at Tsarskoye Selo pond "and. The proximity of death ("Everything here will outlive me, / Everything, even dilapidated starlings") creates a special existential mood in her, in which the world - in its most everyday manifestations - is perceived as a "God-given palace", and every lived moment is like a gift.
Summing up, we consider it important to note that Akhmatova's lyrics can undoubtedly be considered philosophical. The poetess is characterized not by an enumeration of well-known truths, but by a craving for a deep, effective knowledge of the human essence and the universe. In her work, "scattered grains of the material and spiritual are fused, diverse phenomena are built together, in unity and consonance." The motive of memory, being a cross-cutting, meaning-forming one, as well as the motives of life and death, allow Akhmatova "to go far beyond the immediately visible horizon and cover vast spaces of experiences, looking into the unknown lands of feelings and thoughts" .
The lyrics of Akhmatova from the period of her first books (" Evening”, “Rosary”, “White Flock”)- almost exclusively lyrics of love. Her innovation as an artist initially manifested itself precisely in this traditionally eternal, repeatedly and, it would seem, played out theme to the end. Sound and rhythmic richness (“and for a century we cherish the barely audible rustle of steps”). Anna Akhmatova achieved great mastery in this kind of art, in a lyrical novel - a miniature, in the poetry of “geysers”. The tragedy of ten years is told in one brief event, one gesture, look, word (v. "Confusion"). Quite often, Akhmatova's miniatures were, in accordance with her favorite manner, fundamentally unfinished. They looked not so much like a small novel in its, so to speak, traditional form, but rather like a page accidentally torn out of a novel, or even part of a page that has neither beginning nor end and forcing the reader to think out what happened between the characters before (“Do you want to know How was it all?.."). book. "Evening"- one of the most characteristic features of Akhmatova's poetic manner has already been expressed in it in an obvious and consistent form. Akhmatova always preferred a "fragment" to a coherent, coherent and narrative story. He gave an excellent opportunity to saturate the poem with sharp and intense psychologism; in addition, oddly enough, the fragment gave the depicted a kind of documentary: after all, we really have before us either an excerpt from an accidentally overheard conversation, or a dropped note that was not intended for prying eyes. We thus accidentally peek into someone else's drama, as if against the author's intentions. Often, Akhmatova's poems resemble a fluent and "raw" entry in a diary (the article "He loved three things in the world"). Love Theme occupies a central place in Akhmatova's poetry. Early love lyrics are a kind of lyrical diary. However, the depiction of romantically exaggerated feelings is not characteristic of her poetry. Akhmatova speaks of simple human happiness and earthly, ordinary sorrows: separation, betrayal, loneliness, despair - everything that is close to many, that everyone is able to experience and understand. Love in the lyrics of A. Akhmatova appears as a “fateful duel”, it is almost never portrayed serenely, idyllically, but, on the contrary, in an extremely crisis expression: at the moment of breakup, separation, loss of feeling or the first stormy blindness with passion. Usually her poems are the beginning of a drama or its climax. The lyrical heroine Akhmatova pays with "torment of a living soul" for her love. The combination of lyricism and epicness brings the poems of the poetess closer to the genres of the novel, short story, drama, lyrical diary. One of the secrets of her poetic gift lies in the ability to fully express the most intimate in herself and the world around her. In Akhmatova's poetry, the string tension of feelings and the unmistakable accuracy of their sharp expression are striking. This is where their strength lies. Amazing psychological persuasiveness is achieved using a very capacious and concise reception of an eloquent detail (a glove, a ring, a tulip in a buttonhole, and others). While preserving the high significance of the idea of love associated with symbolism, Akhmatova returns to it a living and real, by no means abstract character. The soul comes to life "not for passion, not for fun, for earthly great love." The personal (“your voice”) goes back to the general. The peculiarity of Akhmatov's love lyrics, full of reticence, hints, going into the distant depths of subtext, gives it a true originality. The heroine of Akhmatov's poems, who most often speaks as if to herself in a state of impulse or semi-delusion, naturally does not consider it necessary, and cannot additionally explain and interpret everything that is happening to us. Only the main signals of feelings are transmitted, without decoding, without comments, hastily. Hence the impression of extreme intimacy, extreme frankness and heartfelt openness of these lyrics, which seems unexpected and paradoxical, if we recall its simultaneous codedness and subjectivity. Akhmatova has poems that are “made” literally from everyday life, from everyday simple life - right down to the green washstand, on which a pale evening beam plays. The words spoken by Akhmatova in her old age, that poems “grow from rubbish”, that even a spot of mold on a damp wall, and burdock, and nettle, and a damp fence, and dandelion can become the subject of poetic inspiration and image. The most important thing in her craft - realism, the ability to see poetry in everyday life - was already embedded in her talent by nature itself. Poems of the period of 20-30 years are more psychological. If in The Evening and The Rosary the love feeling was depicted with the help of extremely few material details, now, without refusing to use an expressive subject stroke, Akhmatova, for all her expressiveness, has become more plastic in the direct depiction of psychological content. In the lyrical heroine of Akhmatova's poems, in the soul of the poetess herself, there constantly lived a burning, demanding dream of love, truly high, not distorted by anything.
The theme of the poet and poetry Akhmatova’s work throughout her life had to refute the idea that “it’s absurd for a woman to be a poet. She did not want to be just a woman whose existence is limited only by love experiences (“No, prince, I am not that ...”). Muse is not only a friend, but also a rival; love and poetry rule over the soul of the heroine in turn: either the Muse takes away the “golden ring” - a gift from her lover, then love interferes with the manifestation of a poetic gift (And - I can’t take off, // And I was winged from childhood). The relationship between the heroine and her Muse is far from being cloudless. “The muse left along the way,” writes Akhmatova: the earthly world is too miserable for her, it seems to be a grave where there is nothing to breathe. Sometimes the Muse loses her cheerful disposition, her strength. In anticipation of the heavenly guest, “life seems to be hanging by a thread,” and honors, freedom, and youth are forgotten. Muse is insomnia and the voice of conscience, whose burden the heroine has to bear all her life; it is an excruciating fever and burden, but unfortunately not too often. The poet's gift is his God-given wealth, but the poet is doomed not to hoard it, but to squander it. The task of the poet is ungrateful, but noble. Like Christ, the poet goes through the world alone to do his good deed. And he is doomed to recognize "the disciples' malicious mockery and indifference of the crowd." Sometimes the poetess perceives her gift as a tragic mark of fate, predicting catastrophes and the death of loved ones (“I called death to my dear ones ...”).
Features of poems about the Motherland step by step Akhmatova's lyrics, at first chamber, intimate-confessional, acquired a high civic sound. I could not help thinking about my homeland, which was engulfed by terrible events. Already during the years of the First World War, which the poetess perceived as a national tragedy, motives of self-sacrifice and love for the Motherland entered her work. In the poems of the collection " white flock, where Akhmatova first turned to the theme of the Motherland, one feels the proximity of an inevitable catastrophe, a premonition of a tragedy in the life of Russia. The poetess immediately determined the main thing for herself - to be together with her country on all its paths and crossroads (“I had a voice. He called comfortingly ...”). Russia has always remained the only abode for the poetess. To remain faithful to the Motherland - this is what Akhmatova saw as her main civic duty. Together with her country, she experienced all the disasters that befell Russia (“Prayer”). Sat Feature travel k ”- war and revolution are comprehended in it not in the historical and philosophical, but in the personal and poetic terms. The civil verses of this book, connected with the problem of moral and life choices, are far from accepting the revolution, but at the same time they lack political hatred. In one of the poems of 1922, Akhmatova wrote: “I am not with those who threw the earth to be torn to pieces by enemies.” The fate of the exile seemed to her not only unworthy, but also pathetic. She preferred, staying in her homeland, to take the blows of fate with her. Together with her country, she experienced all the disasters that befell Russia. Akhmatova's poems during the Second World War are a kind of formula of angry, militant patriotism (A cycle of poems about the Leningrad blockade: it formulates its task: To mourn you, my life is saved).
The path of Anna Andreevna Akhmatova was difficult and difficult. The self-awareness of the Silver Age, reflected in her work, carried a sense of catastrophism, an acute foreboding of the loss of the former integrity. Each decade felt like a rollback from the old harmony, from the golden age of Russian poetry. But, at the same time, it brought the comprehension of new deep connections with their culture, history, led to the continuation of the classical heritage of Russian literature.
One of the most important traditions of the bygone century was the prophetic line of the poet, the extraordinary significance
Poetic word, revelation. Hence the almost religious service to the Truth, the Absolute. In the broad sense of the word, the poet seemed to lose his own destiny, becoming a medium connecting different worlds.
Throughout her career, Akhmatova was a poet who deeply absorbed the fate of her country. Her citizenship is not publicistic, it is naturally inherent in the inner appearance of the lyrical heroine, that “person” that either merges with the personality of the author, or moves away from her, like the protagonist of a drama. In the dynamic and extraordinarily tense world of the soul of Akhmatov's heroine, artistry and observation, severe introspection, sincerity and great charm of immediacy are combined.
In a number of poems, Akhmatova managed to convey the "common" feeling of misfortune. The scale of the misfortunes that have fallen is so significant that her lyrical heroine is not happy with life, death beckons her with the opportunity to forget the shocks of earthly troubles. The aspiration to other worlds in Akhmatov's poetic world is so great that, it seems, this poet is closer to the Symbolists than to the Acmeists.
In Akhmatova's poems, especially close attention is paid to suffering. Her lyrical heroine has not lost her faith in God, she has no sin of doubt in the highest essence of being. The lyrical heroine is distinguished by a “philosophical” approach to understanding being and her destiny. Almost always with her is the presence of God's face or the bright face of the heavenly ambassador - an angel. Indicative in this regard is the poem “Pray for the beggar, for the lost…” from the collection “Rosary”.
Akhmatova captured the tragic height of the spirit of her generation. Hunger, death, loss, a broken life, a ruined way of life - all these trials have no power over the soul, which is sensitive to the divinely perfect, gracious principles of life. The starry sky, the beauty of nature, the enchanting smells of summer remind us of what can be eliminated even in terrible times of betrayal and hungry longing. The ability to hear the spring breath of life, to contemplate in the transparent July skies is a real grace and joy.
The greatness of the era is also emphasized in the title of the song “Anno Domimi”, which means “in the year of God”. Akhmatov's "we" here represents the generation of witnesses to war communism. To notice how “the miraculous approaches the ruined dirty houses” was not given to everyone, but the desire for a miracle is present at least secretly in the soul of everyone. This expands Akhmatov's "we", including in them almost the whole of humanity:
And I think that I survived
I'm alone under these skies
For what the first wanted
Drink deadly wine.
In Akhmatova's poetry, her own hopelessness is connected with the national, with the eternal tragedy of the Russian land, which is losing and wasting its vitality with depressing generosity. The history of Russia is dissolved in everything external and internal, in everything that makes up the life and destiny of modernity.
The vulgar, harsh, cruel, already declared in post-October poems, becomes a consistent impulse of the poet's verse speech, its nature. A. Akhmatova lived and worked with a feeling of tragedy, a break in the titanic plates of times, an acute change in eras.
The idea of a spiritual connection with the motherland that permeates her poetry is expressed in the willingness to sacrifice even happiness and intimacy with the dearest people for her sake (“Prayer”), which later so tragically came true in Akhmatova’s life. She rises to biblical heights in the description of a mother doomed to see her son's suffering on the cross (“Requiem”).
In the inseparability of the personal fate and the fate of the people and the country - the true greatness of that love for man and the world around us, which sounds in the poems of Anna Akhmatova (“And I do not pray for myself alone ...”). Thus, her poetry becomes not only a confession of a woman in love, it is a confession of a man who lives with all the troubles, pains and passions of his time and his land.
The poet's intimate lyrics are not limited to depicting the relationship of lovers. She always has an inexhaustible interest in the inner world of a person. The mighty passions raging in Akhmatov's love miniatures, compressed to a diamond hardness, were always depicted by her with the greatest psychological depth and philosophy.
In her work, A. A. Akhmatova defended her position, the essence of which is service. This is manifested in love, in social position, in understanding the historical break:
Not with those I who will leave the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.
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MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION
MOU SOSH № 13 NOVOPOKROVSKY DISTRICT STATION KALNIBOLOTSKY
ESSAY
discipline: "Literature"
on the topic:
"Beautiful" and "eternal" in the poetry of A. Akhmatabouthowl"
Completed by: 11th grade student
MOU secondary school No. 13
Slavets Olga
Checked: teacher Nedilko I.N.
Art. Kalnibolotskaya, 2006
- Introduction 3
- Chapter 1. The influence of the philosophy of culture of acmeism on the creation of "eternal" images in the work of A. Akhmatova 5
- 1.1. The value system of the philosophy of acmeism, reflected in the poetry of A. Akhmatova 5
- 1.2. Aesthetics of the philosophy of acmeism and its embodiment in the concept of "beautiful" and "eternal" A. Akhmatova 6
- Chapter 2. The embodiment of "eternal" themes in the poetry of A. Akhmatova 9
- 2.1. Happiness Theme 9
- 2.2.Love theme 13
- 2.3. The theme of the poet and poetry 14
- 2.4. The theme of the poet and the citizen 15
- 2.5. Image of Petersburg 15
- Chapter 3
- Conclusion 22
- References 23
- Introduction
- The relevance of the topic of our study is due to the fact that the culture of the Russian "Silver Age", which has recently become the subject of close attention not only of cultural experts, not only art historians and professional aestheticians, but also of the widest sections of the reading public, at the same time has not yet become a subject, uniting their common interests. We see a real process: sincere attention and semi-instinctive searches for analogies of "that" and "that" end of the centuries - and the almost complete absence of a single idea uniting these searches.
- These are the efforts of the total cultural consciousness, both specialized and "ordinary", to engage in "reflection to the foundations": at the end of the 20th century, when a significant reassessment of values is taking place, to find a kind of starting point: both temporary and "normative". Any culture, no matter how complex and indirect ways it develops, has its own model of the world, its own relationship with previous cultural epochs. The case of Russian culture of the 20th century is unique in its own way: the complete revision now taking place in the public consciousness could lead to relativism, if it were not in itself an interesting cultural syndrome: the search for a way out of a situation of uncertainty. In part, it repeats what happened at the beginning of the 20th century, in the "silver age" of Russian literature - the situation is perceived as problematic and ambiguous, diverse cultural codes are turned on, appeals to "culture" and "traditions" are made with a variety of goals. The "Silver Age" becomes for us, in the language of analogies, the "key" to the "box" of the 20th century.
- Our study is one of the attempts to see a certain regularity in such searches, to understand the reflection of culture on itself, to realize the solid regularity of the seemingly multidirectional foundations of the poetic systems of the great poets of the "Silver Age" - especially those of them whose creative life has continued in our time. . Therefore, the theme "Eternal images" of culture in the work of Anna Akhmatova" seems to be an excellent occasion for such a daring, but not aimless attempt.
- The purpose of our study is to reveal the essence of the problem of "beautiful" and "eternal" in the works of A. Akhmatova.
- Tasks:
- - to study and analyze the literature on the topic of the essay;
- analyze the poetry of A. Akhmatova.
Chapter 1. Influence of philosophy culture of acmeism on the created a research of "eternal" images in the work of A. A X matte
1.1. The value system of the philosophy of acmeism, reflected in the poetry of A. Akhmatova
The era of the tenth years, designated by contemporaries themselves as a time of crisis ("crisis of symbolism"), marked the entry into the "non-calendar" (A. Akhmatova) twentieth century. There came a revision of the traditional humanitarian values of the new European culture, there was a feeling of a "crisis of humanism" (A. Blok) - a very ambiguous phenomenon in its essence, which led to a feeling of the fragility of time.
The "breakdown" of traditional values, embodied in the most diverse types of reactions - everyday, philosophical, aesthetic - was associated in the minds of contemporaries with the theme of the coming chaos - and various possibilities for overcoming it. Culture itself was unconditionally recognized as one of the cosmos-creating forces. The philosophy of culture, the place of the poet in culture have become the subject of deep disagreements between representatives of various creative systems that are in conflict - symbolism and acmeism. In the philosophy of culture of symbolism, life as a level of being belonged to the empirical world. Therefore, it is only a conditional value until it is re-surrendered according to the laws of aesthetic creativity, only then it acquires the status of a cultural value. Therefore, for symbolism, artistic creativity is higher than life. But life, in order to be recreated into a cultural value, must be deprived of its organic nature: creativity requires the sacrifice of "living life", the creator himself in the spirit of the requirements of the aesthetics of "romantic genius".
This position was based on those ascending to Vl. Solovyov and Schelling, as well as to modern neo-Kantianism, ideas about the existence of objective forces that stand above individually directed wills and desires. Ultimately - to the belief, so beloved in the Russian tradition, in the subordination of the individual, the subject to some higher goals, ignoring his private existence. "Thus, in the philosophy of creativity of Russian symbolism, the tragic antinomy of life and creativity, which comes from the traditions of romanticism, is resumed; the creative act, which in the romantic consciousness is supposed to be saving in relation to culture, turns out to be destructive, destructive in relation to the life of the creator himself."
1.2. Aesthetics of the philosophy of acmeism and its embodiment in the concept of "pr e red" and "eternal" A. Akhmatova
The theme of overcoming chaos in the philosophy of culture of acmeism was interpreted differently. It was no coincidence that the great connoisseur and researcher of German romanticism V. Zhirmunsky, the author of the work "German Romanticism and Modern Mysticism" (1914), became one of the first theorists who fundamentally distinguished the deep goals of the aesthetics of symbolism and acmeism. The pathos of his article "The Overcomers of Symbolism" is that the "external" overcoming of chaos is not the overcoming of deep chaos. The high "thematism" of the poetry of Russian symbolism claimed to "remove" chaos by including the poetic subject - and with it the reader - in the awareness of the problem of "non-finite" of any artistic (read: cultural) text, in the "movement" of both of them into a holistic and deep "chaotism" of being. Acmeists did not defeat chaos with the form, which is the highest task of art, but deliberately expelled it, along with the "dropsy of big themes" (N. Gumilyov) from the circle of their aesthetic interests, which gave their poetic texts artistic completeness, but, according to an impartial researcher, impoverished "the significance and value of a poetic work", while poetry "lives not only by its artistic reality, but by a whole range of non-artistic experiences caused by aesthetic experience."
There was a conscious narrowing of the world to the world of a private subject. This is the result summed up in an earlier article by Zhirmunsky.
Zhirmunsky is right in naming the processes taking place in Russian lyrics at the beginning of the 20th century. But they require correlates in the world of culture.
As a modern researcher accurately noted, "... mythology, literature, history are different levels through which the development of thought passes. They exist simultaneously with other levels of its development. The images associated with them are included in the hierarchy of different types of means expressing the same same common motives. A kind of system of mirrors appears, aimed at the same content. "
The idea common to the entire culture of the 1910s is the idea of rehabilitating a private person, a subject; it is the theme of "ordinary consciousness" powerfully asserting its rights. (Isn’t this the reason for our own obvious interest in this period of Russian history?) The “Euclidean geometry” of the old world was retreating, complex processes of changing paradigms were taking place in culture, habitual assessments and criteria were changing, the theoretical “enlightenment” mind of the Enlightenment age was retreating in the intelligentsia consciousness in the face of the complexity of the new time, philosophy sought to combine the pathos of traditional European "humanitarian" subjectivity with the rights of life, recognized in reality above theory. Everything was mixed up, the system of assessments and hierarchies was lost, there was no correspondence in the traditional consciousness between the realities of a particular world, the surrounding subject, the world itself and the norms of moral life. "Everything was mixed up in the Oblonskys' house..." - for the umpteenth time...
Husserl's phenomenology tried to combine both lines in itself: the tradition of the subject empathizing with the theory and the world around him. Russian Husserlianism (it has hardly been studied and has not even been named at least at the level of influences and relationships - for example, the powerful and most interesting line of Husserl-Bakhtin) included a rehabilitated "everyday worldview", Husserl's "life world" as a powerful help in cultural, aesthetic , poetic and sometimes political disputes about the essence of the movement of the era.
"It is the ordinary type of life activity of an individual, who in theoretical reflection does not rise above the awareness of the immediacy of his being, limited by the horizons of practical activity, and was the real social basis, the generalization of which was Husserl's concept of the "life world". ... The world of ordinary understanding, i.e. "the life world" becomes for him the last criterion of truth, it is not science that judges the "life world", but the self-evidence of the given in the "life world" turns out to be a judge in relation to the objective propositions of science. The attitude to the world within the framework of ordinary understanding is not reflected, it does not himself into knowledge and activity.That is why Husserl<...>considered his own concept as the theory of all forms of human activity ..., self-knowledge, self-determination and self-realization of the mind as a kind of synthesis that does not decompose into theory and practice. "This is how the movement towards the restoration of" the trampled dignity of human subjectivity" took place within the framework of phenomenology" (L.G. Ionin).
But it occurs, as we could see, not only in the bosom of phenomenology. Husserl's "Life World", the philosophy and poetics of V. Rozanov shocking contemporaries, the philosophy of the culture of acmeism stand here in the same row.
Chapter 2 The embodiment of "eternal" themes in the poetry of A. Akhmatova
2.1. Happiness Theme
Defining the outline of the poetic system of I. Annensky, the poet who actually laid the "acmeist foundation" of Russian poetic culture, L. Ginzburg notes two points. First: "The promise of happiness changes the relationship between the lyrical subject and reality." And the second - situationally giving an acmeistic picture of the world - ... a person reaching for a world that is not given to him. The feeling of "a world that is not given" to a person, inherent as a foretaste of Annensky's acmeistic worldview, turns into a persistent quality of all "Hyperboreans". If symbolism "gathered" its cosmos into metaphorical rows, seeing deep commonalities and reflections in everything, then the principle of the poetics of acmeism is the principle of gathering, concentration, concentration around the subject of his world, his personal cosmos. This is the principle of associative metonymic connections, links, hooks, which, as it were, connect the gaps in the world fabric. The feeling of oneself and surrounding objects of the world "on an equal footing", having equal opportunities for self-identification, gives way to the need to cultivate chaos, to master the world with the help of an act of nomination, to be true "Adamists", giving names to things - as on the first day of creation.
As for the principle of concentration, in three early - and best - articles on acmeism - Zhirmunsky, Nedobrovo and B. Eikhenbaum - it is fixed in different ways: Zhirmunsky, starting from the opposition of the romantic, "metaphorical" and classical, "metonymic" lines in development poetry, associated acmeism with the classical style - which in the Russian tradition has always entailed the awareness of the culture of this style as "high" and quite perfect. (Later, this was precisely what gave rise to talk about the imaginary "realism" of the poems by Akhmatova and Mandelstam, which is not there: the acmeist text is oriented to other criteria.) "Classic" implied collecting, i.e. concentration.
Nedobrovo, speaking about the embodiment in A. Akhmatova's poems of "proud human well-being", fastened by the "firm word of the law", wrapping it like a shell, in his own way declared the idea of concentration.
B. Eikhenbaum, coming from the evolution of poetic devices and genre forms, which, in his opinion, give rise to natural paradigm shifts, fixed the problem of the equal size of verse and word, the elements of rhythm and the elements of the word, or, more precisely, the verse word and the objective word, proclaiming victory in verse - prose. And this was also a kind of understanding of the idea of the concentration of the world, the need for architectonic overcoming of chaos by means of art itself, in which the poet-master was likened to an architect building a building of culture from stones.
"One of the most cardinal conquests of the literary language, which is indebted to the acmeists, was a sharp shift in the boundaries between poetry and prose (and both of them) and life - the external world, extra-textual being," acting out ", as Mandelstam would say, in the work ... The essence of the acmeist reforms in this respect - in the interiorization in the space of the poem ... elements of prose, but not for the sake of its primarily conspicuous features, such as "plot", the presence of many heroes, plot composition, etc., but for the sake of maximum compression of the world works". This compressed world of the work is for the culture of acmeism the key to the possibility of "gathering" chaos into space - let it be micro, not macro. In the 1922 article "The End of the Novel", Osip Mandelstam, who thought a lot about the fate of culture in connection with the fate of the new European subject, wrote: "... the measure of the novel is a human biography ... The further fate of the novel will be nothing more than the history of dispersing biography , as forms of personal existence, even more than dispersal - the catastrophic death of biography ... Now Europeans are thrown out of their biographies, like balls from billiard pockets, and the laws of their activity, like the collision of balls on a billiard field, are governed by one principle: the angle of incidence is equal to the angle reflections".
It is worth comparing this statement with the point of view of N. Nedobrovo, who, giving his assessment of the early lyrics of Akhmatova, already in an article of the fifteenth year, astutely noted that although her lyrics are a kind of beating against world boundaries (compare with the "fundamentally" different feeling of chaos in the symbolist traditions!) but at the same time she has a rare quality: "Akhmatova has the gift of heroic illumination of man"16. As one of the main advantages of the young poetess, N. Nedobrovo also noted her search for "people with a biography" (i.e., one of the paradigmatic features of the new culture, the disappearance of which O. Mandelstam complained about in 1922): events in Russia, we proudly said: "this is history." Well, history once again confirmed that its major events are only great when seeds grow in excellent biographies for sowing the people's soil. We should thank Akhmatova, who is now restoring her dignity of a person: when we run our eyes from face to face and meet this or that look, she whispers to us: “this is a biography.” Already?
So, Akhmatova's themes are: "beating the world's borders" (i.e., a sense of chaos) and the pathos of courageous transformation, ideally having "people with a biography" (gathering reality into space - an organized world).
The ability to combine the perception of the world as a chaotic state of diverse "substances of existence" with a clear idea of gathering the world into a single beam, a focused beam that highlights a sector that is necessarily interesting for a new poet - and thus "collecting", "naming" history, is a rare quality, fully inherent in Akhmatova. Imprinted in an indirect way in various observations of researchers, it became the reason why Akhmatova's poetic system was the very iron regularity of the foundations that was mentioned above.
The creation of a "narrative integrity" of life implied a different, non-symbolist (still close to the classical romantic paradigm) vision of the world. Moreover, it was not realistic. A modern researcher aptly called Akhmatova's style "running classicism", contrasting it (and not comparing it!) to the classical style.
All the same V. Zhirmunsky in his early work of the twenties wrote about the deep content of the so-called "style evolution". The evolution of style, as a unity of artistic and expressive means or techniques, is closely connected with a change in the artistic and psychological task, aesthetic skills and tastes, but also - "the whole worldview of the era." (underlined by me. - N.P.)
Researchers of the twenties and the beginning of the century, unlike us, saw in the work of Akhmatova what in the language of cultural studies is called a "sample" - a typical example of a new cultural paradigm. The world of the classical paradigm has disintegrated - the mirror has crumbled into a scattering of fragments, each of which is also a reflection of the world, but in a different way. In the culture of the 1910s, in addition to the idea of concentration, the image of gathering, gathering, and hence, as the main motives of this image, the motives of a bunch of letters, private notes, notes collected in a casket, casket, packing appear.
In the traditions of the culture of acmeism, one indisputable condition was created: each text written by the poet was perceived as included in the "world poetic text" - a certain supreme absolute of culture, opposing the world of chaos with its harmony and beautiful architectonics. The inclusion did not mean that a specific text was only a part - it was an analogue of the entire system and, as it were, used the material of the entire world culture not as a model, but as material for creating a new object of art. In the acmeist text, the text was also set on self-knowledge, because "... the specificity of the acmeist text is that its structure can reproduce its genesis."
The installation of the text on self-knowledge (let us note this as the main quality of the acmeist text) led to a change in the role of the lyrical subject: he ceased to be, as in the "romantic" lyrics of symbolism, a medium of transcendental forces, and turned into a kind of theatrical "person", consciously "epicizing" ( according to a different interpretation - "prosaic") what used to be called "lyrical thematism".
The ideal of the author's position in this case appeared as an arbiter's position (R. Timenchik), taken out of the given text, appealing to the cultural and linguistic tradition (Hence the illusion of realism and classicism of the text).
Considering the position "text within the text", Yu.M. Lotman notes the following points: the game (understood according to J. Huizinga), doubling, the motive of the mirror - and the theme of duality associated with it. However, this observation applies to any, as the researcher believes, cultural text. Without dwelling on the necessary, from our point of view, clarifications, we note that the main principle is much more significant: the principle of clarifying the subordination of texts, the idea of a hierarchy of texts that helps to streamline the relationship of cultural elements. How was this hierarchy realized in Akhmatova's poetry? What was its relationship with cultural tradition? What did the change of rhythms in the verse mean? And, most importantly, what united all these questions? Let's start with the last one.
2.2. Love Theme
Love is undoubtedly the most sublime, the most poetic of all feelings, because the poet is always "dictated by feeling" - and which of the feelings can be compared with love in terms of the power of influence? Love motives in Akhmatova's lyrics are presented in all their diversity: meetings and partings, betrayal and jealousy, self-sacrifice and selfishness of those who love, unrequited passion and painful happiness of reciprocity. For Akhmatova, as once for Tyutchev, love is a union of two souls, replete with internal tragedies:
Their combination, combination,
And their fatal merger,
And ... a fatal duel.
And as an epigraph to his most intimate, "love" collection, the author takes an excerpt from a poem by another of his predecessors in the field of love collisions, Baratynsky:
Forgive me forever! but know that the two guilty,
Not one, there are names
In my poems, in love stories.
Love becomes for Akhmatova an integral part of human existence, the basis of humanistic values; only with it are possible "both divinity, and inspiration, and life, and tears," as Pushkin once wrote. That is, in the words of another poet who became a classic during his lifetime - Blok: "Only a lover has the right to be called a man."
2.3. The theme of the poet and poetry
Poet and poetry - a topic that Russian lyricists liked to think about, because "a poet in Russia is more than a poet." The heroine of Akhmatova rises above the power of life circumstances, realizing her fate as a special, visionary one:
No, prince, I'm not the one
Who do you want to see me
And for a long time my lips
They do not kiss, but prophesy.
The six-winged seraphim, who appeared to Pushkin, also comes to the heroine; Lermontov's prophet, persecuted by his fellow citizens, is again doomed to human ingratitude in her poems:
Go alone and heal the blind
To know in the dark hour of doubt
The pupils' malevolent mockery
And the indifference of the crowd.
2.4. The theme of the poet and the citizen
Civic lyrics are an integral part of Akhmatova's work. The opposition "poet" and "citizen" simply did not exist for her: the poet initially cannot but be with his country, with his people. The poet is "always with people when a thunderstorm roars," and this thesis of his predecessor Akhmatov confirms with all his work. The words calling on the heroine to leave her land, "deaf and sinful", are assessed by her as unworthy of the high spirit of poetry.
For Akhmatova, who inherited the great tradition of Russian classics, the call of duty is above all:
Some look into gentle eyes,
Others drink until the sun's rays
And I'm negotiating all night
With an indomitable conscience.
2.5. Petersburg image
The image of Petersburg is familiar to us from the works of Pushkin, Nekrasov, Gogol. For them, it is a city of contrasts, "magnificent" and "poor" at the same time; a city where anything can happen; a city rejected and denounced, but at the same time loved. This is a kind of symbolic embodiment of the whole world, the universal city. From the very beginning, it appears in the work of Akhmatova. Having absorbed the air of the Neva embankments, imprinting in her soul the bright and harmonious correctness of its architecture, she, following others, turns the details of the St. Petersburg landscape into an immutable poetic reality. Akhmatova's Petersburg is a controversial, but unusually attractive city:
But we won’t exchange magnificent
Granite city of glory and misfortune,
Wide rivers shining ice,
Sunless, gloomy gardens...
The sense of proportion, restraint, and strict completeness of thought that characterize the best examples of Russian classical poetry are also characteristic of Akhmatova's lyrics. She does not splash out her emotions on the reader, does not expose her soul in a fit of feelings, but "simply, wisely" tells about her experiences. Here is how the author writes about the love confusion of his heroine:
Ten years of fading and screaming
All my sleepless nights
I put in a quiet word
And she said it - in vain.
You left, and it became again
My heart is empty and clear.
The pain and despair of the heroine are obvious - but how restrained, without anguish it is shown, and at the same time how psychologically accurate and exhaustive the denouement is given. There are not many landscape descriptions in Akhmatova's poems. The landscape for her is usually just a background, just an occasion for reasoning, for describing a state of mind. The parallelism of what is happening in the soul and nature is a favorite motif of classical poetry. We are accustomed to likening natural phenomena to human actions - the storm "cries like a child", the thunder "frolics and plays." In Akhmatova's poem "Three Autumns", the heroine, referring to her favorite time of Russian poetry, distinguishes three stages in it, corresponding to three stages of human maturity:
It became clear to everyone: the drama is ending,
And this is not the third autumn, but death.
Chapter 3The meaningful meaning of rhythm inincarnation"vechfoot» and "beautiful"A. AXmatte
At the level of rhythm in Akhmatova's poetry, the same "beating against world borders" is recorded. The symbolist attitude to musicality, both at the euphonic and cultural-philosophical levels (the world orchestra of history), is replaced here by a different kind of attitude: to the intonational structures of everyday speech, to the syncopated rhythms of modern urbanism.
If we recall the meaningful semantic meaning of rhythm in the culture of the beginning of the century, recall that the rhythmic organization and the compositional design of material associated with it in culture, starting from myth and ending with a modern work of art, is the beginning that singles out and arranges from chaos - space, then the rhythm of Akhmatov Dolnikov becomes a reflection of the rhythm of existence of the torn world of traditional values. Mandelstam is profoundly right: "..the attitude for the artist is a tool and means, like a hammer in the hands of a bricklayer, and the only real thing is the work itself."
Defining her own poetic worldview, her "arbiter's position", Akhmatova uses the concepts of "reflection in mirrors", "someone's dream", "nonsense", in every possible way emphasizing the idea of "fraud", illusory and precariousness, "fragility" of life, existence in a kind of Looking-Glass, filled with images of "persons" - twins.
"The conceivable space for the lyrical plot is only the consciousness of the poet (emphasized by me - N.P.), ... his inner experience, regardless of whether it is a personal experience or about the affairs and objects of the outside world."
This "conceivable space" in the new poetics (I repeat persistently!) turned out to be a new type of poetic consciousness, containing both a sense of the fragmentation and chaos of world existence, and the need for the heroic everyday pathos of gathering. (Later, in relation to the "lost generation" they will say about this: "tragic stoicism", having lost an important shade of everyday life in the definition). So it was with Akhmatova. "Shards of a mirror", "sheets of folding", "fallen leaves", a shaky and fragile foundation, on which, feeling its fragility, the subject of culture tries to build the house of his private existence, are strengthened by strong piles driven into the very foundation, braces that connect seams of construction, clutches, giving a sense of security. Akhmatova's cultural tradition becomes - as it should be in the bosom of an acmeist text - an element of architectonics.
Very conditionally - in Pushkin, early - in the spirit of classicism - an appeal to tradition as a recognition of the canon and thus inclusion in the same high cultural hierarchy; in the spirit of romanticism - destroying the old canons, romanticism created its own - and traced its own traditions - i.e. took other samples and clichés from the previous culture. Pushkin's romanticism assumed inclusion in new areas of culture for Russia, including poetic: the thematicism of "Byronism", then picked up by Lermontov and outlived by him in Grushnitsky, the exoticism of the oriental theme as an introduction to the foreignness of culture due to the effect of a sharp removal, etc. . Mature Pushkin suggests a special, non-conditional conversation.
Just as conditionally - Blok: a fan of traditions - the search for predecessors in philosophical and poetic cultural creativity - a feature that is highly characteristic of the romantic-symbolist direction; the naming of names - Pushkin, Shakespeare, Fra Filippo Lippi and others - as a magic spell - with the function of protecting one's space and the right to inner freedom - to one's "air" of culture, to hearing music. Wed Blok's: "But what will happen to us if the music leaves us?"
It is interesting to compare with this the opinion about the role of tradition and culture in Mandelstam, a person closer to Akhmatov's philosophy of culture: "Few people, like Mandelstam, perceived the ambivalence of time with such force: few people saw its catastrophic side so clearly, few tried with such ardor to resist this catastrophicity..." "The spiritual structure of the poet," Mandelstam wrote about Blok (but, as almost always, thinking of himself), "is conducive to disaster. Cult and culture, on the other hand, presuppose a hidden and protected source of energy, a uniform and expedient movement: "Love that moves the sun and the rest of the luminaries" Poetic culture arises from the desire to prevent a catastrophe, to make it dependent on the central sun of the entire system, whether it be love, which Dante spoke of, or music, which Blok finally came to. .. Mandelstam tried to get to the sources of the modern catastrophe, which manifested itself as a slow slide of the last years of the 19th century and an incorrigible cataclysm the zmom of the 20th century".
However, Akhmatova's appeal to tradition also exists for other purposes. These goals are diverse, and we are interested in identifying a more specific and narrow topic: the culturological functions of the "eternal images" of culture in the poetry of Anna Akhmatova. In turn, this is connected with the task: to understand the functional meaning of the cultural values of the past in the life of a person engaged in art and creating a new cultural-poetic paradigm.
In the work of Akhmatova, hierarchical ideas are realized, as mentioned above, at all levels. There is an "inside position" in relation to the old values subjected to verification.
Firstly, these are the eternal images of the myth - and, above all, the eternal Text - the Word with a capital letter - the Logos - the Bible. These are, of course, "biblical verses", where Akhmat's principle of the "triple bottom" - the combination of three time layers, the fan of time (A. Bergson) - is especially evident. Through the "neo-ornamentalist" (S. Averintsev) use of the situation of the myth, the poet brings together temporary situations in the psychological experience so characteristic of her, localized in time and space, signified by a landscape or an object. And here, using the words of N. Struve, Akhmatov's constant "victory of being over non-being, an ontological surplus value given by suffering, conveyed by language almost not updated, although still as tragic," takes place.
Secondly, Akhmatova "introduces" into eternity, realizing already as high examples, existing on an equal footing with the era of the classics, the images of poets - her contemporaries: Blok, Pasternak, Tsvetaeva, Annensky, Mandelstam. The fact that she has an impeccable poetic ear, in this case, is only one of the reasons for such an "input". For the poet Akhmatova, the main principle here remains the principle of metonymic cultural linkage, as a result of which the era is called "according to the poet".
"He conquered both time and space.
They say: Pushkin's era, Pushkin's Petersburg. And this has no direct relation to literature (I emphasized - N.P.), it is something completely different. In the palace halls, where they danced and gossiped about the poet, his portraits hang and his books are kept, and their poor shadows are banished from there forever. They say about their magnificent palaces and mansions: Pushkin has been here, or Pushkin has not been here. Everything else is of no interest to anyone. "(Compare her own regrets, extremely rare for her: "...they will not call Akhmatova / Neither the street, nor the stanza" (1946))
"Hidden quotations" from the poetry of fellow poets, to whom the verses are dedicated, are recognized as identification marks of culture. ("And again autumn brings down Tamerlane ..." - in a poem about Boris Pasternak; "I will bow over them, as if over a bowl ...", dedicated to Osip Mandelstam ...) There is, as it were, the introduction of people who are really present in Akhmatov's " living world", into the world of great culture and history. At the same time, she performs such a manipulation not only with poets, but also with her fellow contemporaries, who are also perceived as part of culture, a sign of the era (poems dedicated to Nedobrovo, Lozinsky, Yu. Anrep, Bulgakova, O. Sudeikina, T. Vecheslova, etc. .)
Part of the explanation for this is given in Akhmatov's late 1963 poem "Everything in Moscow is saturated with verses ...", where the formula for the numbness of contemporaries is an attempt to approach Mandelstam's "I forgot the word ..." to the same extent as an attempt to give in this way time formula:
Let silence reign over us
Let us settle apart with rhyme,
Let silence be a secret sign
Those who are with you, but seemed to be me,
Are you going to marry in secret?
With virgin bitter silence,
That in the darkness the underground granite sharpens
And the magic closes the circle
And in the night above the ear death prophesies,
Drowning out the loudest sound."
(Compare also the rejected Tyutchev's: "... blowing up, disturb the keys, feed on them - and be silent.")
Conclusion
So, in the process of preparing our abstract, we came to the following conclusions:
The beginning of the 20th century in Russia was a time of unprecedented flourishing of poetry, rightfully called the "silver age" - following the "golden" age of Pushkin. This is the period of the emergence of many new trends in Russian art: symbolism, futurism, acmeism and others. As a rule, each of them aspired to be a new art; most of them belonged to modernism. One of the characteristic features of the latter is the desire to break with the art of the previous era, the rejection of tradition, the classics, the setting and solution of new artistic tasks, with new artistic means. And in this respect, acmeism, in line with which Akhmatova's early work developed, was no exception. However, much in the author's creative destiny was predetermined by the inclination towards the classically strict and harmoniously verified tradition of Russian poetry of the 20th century. And above all, of great importance in the formation of Akhmatova as a poet was her classical education, her childhood spent in Tsarskoe Selo, her upbringing given in the best traditions of Russian noble culture.
In her lyrics, Akhmatova develops traditional themes: love, creativity, nature, life, history.
A. Akhmatova's poetry matured, feeding on the great tradition of Russian literature of the 19th century - a humanistic, sublime, bright tradition. "High freedom of the soul", fidelity to ideals, humanistic pathos, courageous truthfulness of the image, the tension of spiritual life, the attraction to the classical, clear, strict and proportionate style - all that is characteristic of Russian poetry of the last century reappears precisely in Akhmatov's line, imperious and gentle at the same time.
