DEPARTMENT OF EDUCATION

MUNICIPAL EDUCATIONAL INSTITUTION "SAMKAR SECONDARY EDUCATIONAL SCHOOL".

______________________________________________________________

abstract

Topic: "The main periods of creativity

Anna Akhmatova"

Alexandra Viktorovna,

11th grade student

Supervisor:

Utarbaeva

Vera Ortanovna

I. Introduction. "Women's Poetry" by Anna Akhmatova. __________________3

II. The main periods of Anna Akhmatova's work.

1. Akhmatova's triumphal entry into literature - the first stage

her creativity. ____________________________________________5

2. The second era of creativity - the post-revolutionary twenty years.10

3. "Third glory" Akhmatova.________________________________18

III. Conclusion. The connection of Akhmatova's poetry with time, with the life of her

people __________________________________________________________20

IV. Bibliography ________________________________________________21

I. "Women's Poetry" by Anna Akhmatova.

The poetry of Anna Akhmatova is "women's poetry". At the turn of the 19th and 20th centuries, on the eve of the great revolution, in an era shaken by two world wars, perhaps the most significant “female” poetry in all the world literature of that time, the poetry of Anna Akhmatova, arose and developed in Russia. The closest analogy that arose already among her first critics was the ancient Greek love singer Sappho: the young Anna Akhmatova was often called Russian Sappho.

The accumulated spiritual energy of the female soul for centuries found an outlet in the revolutionary era in Russia, in the poetry of a woman born in 1889 under the modest name of Anna Gorenko and under the name of Anna Akhmatova, who gained universal recognition in fifty years of poetic work, now translated into all the main languages ​​\u200b\u200bof the world.

Before Akhmatova, love lyrics were hysterical or vague, mystical and ecstatic. From here, in life, a style of love with halftones, omissions, aestheticized and often unnatural love spread. This was facilitated by the so-called decadent prose.

After the first Akhmatov books, they began to love "in Akhmatov's way." And not just women. There is evidence that Mayakovsky often quoted Akhmatova's poems and read them to his loved ones. However, later, in the heat of controversy, he spoke of them with derision. This circumstance played a role in the fact that Akhmatova was cut off from her generation for a long time, because Mayakovsky's authority in the pre-war period was indisputable.

Anna Andreevna highly appreciated Mayakovsky's talent. By the tenth anniversary of his death, she wrote the poem "Mayakovsky in 1913", where she recalls "his stormy heyday."

Everything you touched seemed

Not the same as before

What you destroyed was destroyed

There was a sentence in every word. Apparently she forgave Mayakovsky.

Much has been written about Anna Akhmatova and her poetry in the works of the leading scientists of our country. I would like to express words of respect and love for the great talent of Anna Andreevna, to recall the stages of her creative path.

A variety of materials, brought together, outline the image of a man and a poet that evokes a feeling of gratitude and respect. So in "Notes on Anna Akhmatova" Lidia Chukovskaya shows us on the pages of her diary a famous and abandoned, strong and helpless woman - a statue of sorrow, orphanhood, pride, courage.

In the introductory article to the book "Anna Akhmatova: I am your voice ..." David Samoilov, a contemporary of the poet, conveys the impressions of meetings with Anna Andreevna, shows important milestones in her creative path.

The creative path of Anna Akhmatova, the features of her talent, the role in the development of Russian poetry of the twentieth century are described in the book "Anna Akhmatova: Life and Work",

II. The main periods of Anna Akhmatova's work.

1. Akhmatova's triumphal entry into literature is the first stage of her work.

Anna Akhmatova's entry into literature was

sudden and victorious. Perhaps her husband, Nikolai Gumilyov, with whom they married in 1910, knew about her early formation.

Akhmatova almost did not go through the school of literary apprenticeship, in any case, the one that would have happened before the eyes of teachers - a fate that even the greatest poets did not escape - and in literature she appeared immediately as a fully mature poet. Although the road was long and difficult. Her first poems in Russia appeared in 1911 in the Apollon magazine, and the poetic collection Evening was published the next year.

Almost immediately, Akhmatova was unanimously placed among the greatest Russian poets by critics. A little later, her name is increasingly compared with the name of Blok himself and is singled out by Blok himself, and after some ten years one of the critics even wrote that Akhmatova "after the death of Blok, undoubtedly, belongs to the first place among Russian poets." At the same time, we have to admit that after Blok's death, Akhmatova's muse had to be widowed, because Akhmatova Blok played a "colossal role" in the literary fate of Akhmatova. This is confirmed by her verses addressed directly to Blok. But the point is not only in them, in these "personal" verses. Almost the whole world of Akhmatova's early, and in many respects, late lyrics is connected with Blok.

And if I die, who will

My poems will write to you

Who will help to become ringing

Words not yet spoken.

On the books donated by Akhmatova, Blok simply wrote “Akhmatova - Blok”: equal to equal. Even before the release of Evening, Blok wrote that he was worried about the poems of Anna Akhmatova and that they "the further the better."

Shortly after the release of The Evening (1912), the observant Korney Ivanovich Chukovsky noted in it a trait of “stateliness”, that royalty, without which there are no memories of Anna Andreevna. Was this stateliness the result of her unexpected and noisy fame? You can definitely say no. Akhmatova was not indifferent to fame, and she did not pretend to be indifferent. She was independent of fame. After all, even in the most deaf years of Leningrad apartment confinement (about twenty years!), When she was not even heard of, and in other years of reproach, blasphemy, threats and the expectation of death, she never lost the greatness of her appearance.

Anna Akhmatova very early began to understand that it is necessary to write only those poems that if you do not write, you will die. Without this shackled obligation there is not and cannot be poetry. And yet, in order for the poet to be able to sympathize with people, he needs to go through the pole of his despair and the desert of his own grief, learn to overcome it alone.

Character, talent, the fate of a person are molded in youth. Akhmatova's youth was sunny.

And I grew up in patterned silence,

In the cool nursery of the young age.

But in this patterned silence of Tsarskoye Selo and in the dazzling blueness of ancient Chersonese, tragedy followed her relentlessly.

And the Muse was both deaf and blind,

In the ground decayed with grain,

So that again, like a Phoenix from the ashes,

On the air rise blue.

And she rebelled and again took up her own. And so the whole life. What did not fall to her lot! And the death of sisters from consumption, and she herself has blood in her throat, and personal tragedies. Two revolutions, two terrible wars.

After the publication of her second book, The Rosary (1914), Osip Mandelstam predicted prophetically: "Her poetry is close to becoming one of the symbols of the greatness of Russia." Then it might seem paradoxical. But how exactly did it come true!

Mandelstam saw greatness in the very nature of Akhmatov's verse, in the very poetic matter, in the "royal word." "Evening", "Rosary" and "White Flock" - the first books of Akhmatova were unanimously recognized as books of love lyrics. Her innovation as an artist initially appeared precisely in this traditionally eternal, repeated and, it would seem, played out theme to the end.

The novelty of Akhmatova's love lyrics caught the eye of contemporaries "almost from her first poems published in Apollo, but, unfortunately, the heavy banner of acmeism under which the young poetess stood, for a long time seemed to drape in the eyes of many her true, original shape. Acmeism - a poetic trend began to take shape around 1910, that is, around the same time when she began to publish her first poems. The founders of acmeism were N. Gumilyov and S. Gorodetsky, they were also joined by O. Mandelstam and V. Narbut, M. Zenkevich and other poets, who proclaimed the need for a partial rejection of some precepts of "traditional" symbolism. The Acmeists set themselves the goal of reforming symbolism. The first condition of acmeist art is no mysticism: the world must appear as it is - visible, material, carnal, living and mortal, colorful and sounding, that is, sobriety and sound realism of the view of the world; the word must mean what it means in the real language of real people: specific objects and specific properties.

The early work of the poetess outwardly quite easily fits into the framework of acmeism: in the poems "Evenings" and "Rosary" one can immediately easily find that objectivity and clarity of outlines, which N. Gumilyov, S. Gorodetsky, M. Kuzmin and other.

In the depiction of a material, material environment, connected by a tense and undiscovered connection with a deep subterranean bubbling of feeling, was the great master Innokenty Annensky, whom Anna Akhmatova considered her teacher. Annensky extraordinary poet, who grew lonely in the wilderness of poetic time, miraculously raised verse before the Blok generation and turned out to be, as it were, his younger contemporary, for his first book came out belatedly in 1904, and the second - the famous "Cypress Casket" in 1910, a year after his death author. For Akhmatova, The Cypress Casket was a real shock, and it permeated her work with a long, strong creative impulse that went many years ahead.

By a strange coincidence of fate, these two poets breathed the air of Tsarskoye Selo, where Annensky was the director of the gymnasium. He was the forerunner of new schools, unknown and unconscious.

... Who was a harbinger, an omen,

He took pity on everyone, breathed languor into everyone -

So later Akhmatova will say in the poem "Teacher". Poets most often learn not from predecessors, but from forerunners. Following her spiritual forerunner Annensky, Akhmatova honored the entire previous rich world of human culture. So Pushkin was a shrine for her, an inexhaustible source of creative joy and inspiration. She carried this love through her whole life, not even being afraid of the dark jungle of literary criticism, she wrote articles: “Pushkin’s Last Tale (about the Golden Cockerel)”, “On Pushkin’s Stone Guest”, and other well-known works by Akhmatova the Pushkinist. Her poems dedicated to Tsarskoye Selo and Pushkin are permeated with that special color of feeling, which is best called love, - not the one, however, somewhat abstract, which accompanies the posthumous glory of celebrities in a respectful distance, but very lively, direct, in which there is also fear, and annoyance, and resentment, and even jealousy ...

Pushkin once glorified the famous Tsarskoye Selo statue-fountain, forever glorifying:

Having dropped the urn with water, the maiden broke it on the rock.

The maiden sits sadly, idle holding a shard.

Miracle! Water will not dry up, pouring out of a broken urn;

The Virgin, above the eternal stream, sits forever sad!

Akhmatova with her “Tsarskoye Selo Statue” answered irritably and annoyed:

And how could I forgive her

The delight of your praise in love ...

Look, she's happy to be sad

So pretty naked.

She, not without revenge, proves to Pushkin that he was mistaken when he saw in this dazzling beauty with bare shoulders some kind of eternally sad maiden. Her eternal sadness has long passed, and she secretly rejoices in the enviable and happy female fate bestowed on her by Pushkin's word and name ...

The development of Pushkin's world lasted all his life. And, perhaps, Pushkin's universalism responded most of all to the spirit of Akhmatov's creativity, that universal responsiveness of his, about which Dostoevsky wrote!

The fact that the love theme in the works of Akhmatova is much wider and more significant than its traditional framework was perspicaciously written in a 1915 article by a young critic and poet N.V. Undobrovo. He, in fact, was the only one who understood before others the true scale of Akhmatova's poetry, pointing out that the distinguishing feature of the personality of the poetess is not weakness and brokenness, as was usually believed, but, on the contrary, exceptional willpower. In Akhmatova's poems, he saw "a lyrical soul rather harsh than too soft, rather cruel than tearful, and clearly dominating rather than oppressed." Akhmatova believed that it was N.V. Nedobrovo guessed and understood her entire further creative path.

Unfortunately, with the exception of N.V. Not good, the criticism of those years did not fully understand the true reason for her innovation.

So the books about Anna Akhmatova published in the twenties, one by V. Vinogradov, the other by B. Eikhenbaum, almost did not reveal to the reader Akhmatova's poetry as a phenomenon of art. V. Vinogradov approached Akhmatova's poems as a kind of "individual system of linguistic means." In essence, the learned linguist was little interested in the concrete, living and deep dramatic fate of a loving and suffering person confessing in verse.

The book of B. Eikhenbaum, in comparison with the work of V. Vinogradov, of course, gave the reader more opportunities to get an idea about Akhmatova - an artist and a person. The most important and, perhaps, the most interesting thought of B. Eikhenbaum was the consideration of the "romance" of Akhmatov's lyrics, that each book of her poems is, as it were, a lyrical novel, which also has Russian realistic prose in its genealogical tree.

Vasily Gippus (1918) also wrote interestingly about the "romance" of Akhmatova's lyrics:

“I see the key to Akhmatova’s success and influence (and her echoes have already appeared in poetry) and at the same time the objective significance of her lyrics is that this lyrics has come to replace the dead or dormant form of the novel. The need for a novel is obviously an urgent need. But the novel in its former forms, the novel, like a smooth and full-flowing river, began to occur less frequently, began to be replaced by swift streams (“novella”), and then by instantaneous geysers. In this kind of art, in the lyrical miniature novel, in the poetry of "geysers" Anna Akhmatova achieved great skill. Here is one of those novels:

As simple courtesy dictates,

He came up to me and smiled.

Half kind, half lazy

He touched his hand with a kiss.

And mysterious ancient faces

eyes looked at me

Ten years of fading and screaming.

All my sleepless nights

I put in a quiet word

And I said it in vain.

You left. And it became again

My heart is empty and clear.

Confusion.

The novel is over, - V. Gippus concludes his observations: - “The tragedy of ten years is told in one brief event, in one gesture, look, word ...”

A kind of result of the path traveled by Akhmatova before the revolution should rightfully be considered her poem “I had a voice. He called consolingly…”, written in 1917 and directed against those who, in a time of severe trials, were about to leave their homeland:

He said, "Come here

Leave your land deaf and sinful,

Leave Russia forever.

I will wash the blood from your hands,

I will take 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.

This poem immediately drew a clear line between both emigrants, mainly “external”, that is, those who really left Russia after October, as well as “internal”, who did not leave for some reason, but were fiercely hostile towards Russia, who entered the a different way.

In the poem “I had a voice. He called consolingly ... ”Akhmatova essentially (for the first time) acted as a passionate civil poet of patriotic sound. The strict, elevated, biblical form of the poem, which makes one remember the prophets-preachers, and the very gesture of the one who banishes from the temple - everything in this case is surprisingly proportionate to its majestic and harsh era, which began a new chronology.

A. Blok was very fond of this poem and knew it by heart. He said: “Akhmatova is right. This is an unworthy speech, To run away from the Russian revolution is a shame.

In this poem there is no understanding of it, there is no acceptance of the revolution as in Blok and Mayakovsky, but the voice of that intelligentsia sounded enough in it, which went through torments, doubted, searched, rejected, found and made its main choice: remained together with its country, with his people.

Naturally, Akhmatova's poem “I had a voice. He called consolingly ... "was perceived by a certain part of the intelligentsia with great irritation - about the same as A. Blok's poem "The Twelve" was perceived. This was the pinnacle, the highest point reached by the poetess in the first era of her life.

2. The second era of creativity - post-revolutionary

twenty years.

The lyrics of the second era of Akhmatova's life - the post-revolutionary twenty years were constantly expanding,

absorbing new and new areas that were not previously characteristic of her, and the love story, without ceasing to be dominant, nevertheless occupied only one of the poetic territories in it. However, the inertia of the reader's perception was so great that Akhmatova, even in those years, when she turned to civil, philosophical and journalistic lyrics, was perceived by the majority exclusively as an artist of love feelings. But this was far from the case.

At the very beginning of the second period, two books by Akhmatova were published - "Plantain" and "Anno Domini". They served as the main subject of discussion and controversy regarding Akhmatov's work and its suitability for Soviet readers. The question arose as follows: is being in the Komsomol, not to mention the ranks of the party, compatible with reading Akhmatova's "noble" poems?

A remarkable woman spoke in defense of Akhmatova - a revolutionary, a diplomat, the author of many works devoted to the idea of ​​\u200b\u200bfemale equality A.M. Kollontai. The critic G. Lelevich objected to her. His article is one of the sharpest and most unfair in the numerous literature about Akhmatova. She completely crossed out any meaning of her lyrics, except for the counter-revolutionary one, and in many respects, unfortunately, determined the tone and style of the then critical speeches addressed to the poetess.

In her diary entries, Akhmatova wrote: “After my evenings in Moscow (spring 1924), a decision was made to stop my literary activity. They stopped publishing me in magazines and almanacs, and they stopped inviting me to literary evenings. I met M. Shaginyan on the Nevsky. She said: "Here you are, what an important person: there was a decision of the Central Committee (1925) about you: do not arrest, but do not publish either." The second Decree of the Central Committee was issued in 1946, when it was also decided not to arrest, but not to print.

However, the property of the articles, which unexpectedly and sadly united A.M. Kollontai and G. Lelevich, - a property that was essentially characteristic of all those who wrote about Akhmatova in those years and later, was ignoring the civic theme that made its way through her poems. Of course, she did not appear with the poetess very often, but no one even mentioned such a beautiful image of journalistic verse as the poem “I had a voice. He called consolingly…” But this work was not lonely either! In 1922, Anna Akhmatova wrote a remarkable poem "I am not with those who left the earth ...". It is impossible not to see certain possibilities in these works, which unfolded in full and brilliant force only later in the Requiem, in the Poem Without a Hero, in historical fragments and in the philosophical lyrics that conclude The Flight of Time.

Since Akhmatova, after the first, in her words, Resolution of the Central Committee could not be published for fourteen years (from 1925 to 1939), she was forced to translate.

At the same time, apparently, on the advice of N. Punin, whom she married after V. Shuleiko, the architecture of Pushkin's Petersburg. N. Punin was an art critic, an employee of the Russian Museum and, presumably, helped her with qualified advice. This work was very fascinated by Akhmatova because it was connected with Pushkin, the study of whose work she intensively engaged in these years and achieved such success that she began to enjoy serious authority among professional Pushkinists.

To understand Akhmatova’s work, her translations are also of no small importance, not only because the poems she translated, by all accounts, convey the meaning and sound of the original to the Russian reader with exceptional accuracy, becoming at the same time facts of Russian poetry, but also because, for example, in the pre-war years, translation activity often and for a long time immersed her poetic consciousness in the vast worlds of international poetry.

Translations to an important extent also contributed to the further expansion of the boundaries of her own poetic worldview. Thanks to this work, a sense of kinship with the entire previous multilingual culture arose and asserted itself again and again in her own work. The loftiness of the style, which was repeatedly mentioned by many who wrote about Akhmatova, stems to a large extent from her constant feeling of obliging neighborhood with great artists of all eras and nations.

The 30s turned out to be for Akhmatova at times the most difficult trials in her life. She witnessed the terrible war waged by Stalin and his henchmen against their own people. The monstrous repressions of the 30s, which fell upon almost all of Akhmatova's friends and like-minded people, destroyed her family hearth: first, her son, a student at Leningrad University, was arrested and exiled, and then her husband, N.N. Punin. Akhmatova herself lived all these years in constant expectation of arrest. In the long and woeful prison lines to hand over the package to her son and find out about his fate, she spent, according to her, seventeen months. In the eyes of the authorities, she was an extremely unreliable person: the wife, although divorced, of the “counter-revolutionary” N. Gumilyov, who was shot in 1921, the mother of the arrested conspirator Lev Gumilyov, and, finally, the wife (though also divorced) of the prisoner N. Punin.

Husband in the grave, son in prison,

Pray for me...

she wrote in "Requiem", filled with grief and despair.

Akhmatova could not help but understand that her life was constantly hanging by a thread, and like millions of other people, stunned by unprecedented terror, she listened anxiously to any knock on the door.

OK. Chukovskaya, in her Notes on Anna Akhmatova, writes with such caution, she read her poems in a whisper, and sometimes she did not even dare to whisper, since the torture chamber was very close. “In those years,” explains L. Chukovskaya in her preface to “Notes ...”, “Anna Andreevna lived, fascinated by the dungeon ... Anna Andreevna, visiting me, read me verses from the Requiem, also in a whisper, but at her place in the Fountain House she didn’t she even dared to whisper: suddenly, in the middle of a conversation, she fell silent and, pointing with her eyes at the ceiling and walls, took a piece of paper and a pencil, then loudly said something secular: “Do you want tea?” or "You're very tanned," then she scrawled a piece of paper in quick handwriting and handed it to me. I read the poems and, remembering, silently returned them to her. “Today is early autumn,” Anna Andreevna said loudly and, striking a match, burned the paper over the ashtray.

It was a ritual: hands, a match, an ashtray - a beautiful and sorrowful ritual ... "

Deprived of the opportunity to write, Akhmatova, at the same time, paradoxically, experienced the greatest creative rise in those years. In her grief, courage, pride and creative burning, she was alone. The same fate befell the majority of Soviet artists, including, of course, her closest friends - Mandelstam, Pilnyak, Bulgakov ...

During the 1930s, Akhmatova worked on the poems that made up the poem "Requiem", where the image of the Mother and the executed Son are correlated with the gospel symbols.

Biblical images and motifs made it possible to expand the temporal and spatial limits of the works to the maximum extent in order to show that the forces of Evil that have taken the upper hand in the country are quite comparable with the largest human tragedies. Akhmatova does not consider the troubles that have occurred in the country to be either temporary violations of the law that could be easily corrected, or delusions of individuals. The biblical scale forces events to be measured by the largest measure. After all, it was about the warped fate of the people, millions of innocent victims, about apostasy from the basic universal moral norms.

Of course, a poet of such a disposition and way of thinking was certainly an extremely dangerous person, almost a leper, whom it is better to beware of until they are put in jail. And Akhmatova perfectly understood her rejection in the dungeon state:

Not the lyre of a lover

I'm going to captivate the people -

Ratchet of the Leper

Sings in my hand.

And you'll have time to get drunk

And howling and cursing.

I will teach you to shy

You brave ones from me.

In 1935, Akhmatova wrote a poem in which the theme of the poet's fate, tragic and lofty, was combined with an appeal to power:

Why did you poison the water

And mixed bread with my mud?

Why the last freedom

Are you turning into a nativity scene?

For the fact that I remained faithful

My sad homeland?

Let it be. Without executioner and chopping block

There will be no poet on earth.

We have penitential shirts,

Us with a candle to go and howl.

What high, what bitter and solemnly proud words - they stand dense and heavy, as if they were cast from metal in reproach to violence and in memory of future people. In her work of the 30s, there really was a take-off, the scope of her verse expanded immeasurably, absorbing both great tragedies - the outbreak of the Second World War, and another war, the one that was unleashed by the criminal government against its own people.

The main creative and civic achievement of Akhmatova in the 30s was the creation of her poem "Requiem", dedicated to the years of the "great terror".

“The Requiem consists of ten poems, a prose Preface called by Akhmatova “Instead of a Preface”, a Dedication, an Introduction and a two-part Epilogue. The "Crucifixion" included in the "Requiem" also consists of two parts. In addition, the poem is preceded by an epigraph from the poem “So it was not in vain that we had troubles together ...” This poem was written in 1961 as an independent work, not directly related to the “Requiem”, but in fact, internally, of course, connected with it.

Akhmatova, however, did not include it entirely in the poem, since the stanza “No, and not under an alien firmament ...” was important to her, since it successfully set the tone for the entire poem, being its musical and semantic key. When the issue of including the "Requiem" in the book was being decided, the epigraph became perhaps the main obstacle for both the editors and the censors. It was believed that the people could not be in some kind of "misfortune" under Soviet rule. But Akhmatova, to the proposal of A. Surkov, who oversaw the publication of the book, refused to remove the epigraph and was right, since he, with the force of a chased formula, uncompromisingly expressed the very essence of her behavior - as a writer and citizen: she really was together with the people in their trouble and she really never sought protection from “alien wings” - neither then in the 30s, nor later, during the years of the Zhdanov massacre, she perfectly understood that if she gave in the epigraph-key, other concessions would be required from her. For these reasons, "Requiem" was first published only 22 years after the death of the poet - in 1988. About the vital basis of the "Requiem" and its inner purpose, Akhmatova spoke in a prose Prologue, which she called "Instead of a Preface":

“In the terrible years of the Yezhovshchina, I spent seventeen months in prison queues in Leningrad. Somehow, someone "recognized" me. Then the woman with blue lips standing behind me, who, of course, had never heard my name in her life, woke up from the stupor characteristic of all of us and asked in my ear (everyone there spoke in a whisper):

Can you describe this?

And I said

Then something like a smile flickered across what had once been her face.

In this small informational passage, an era visibly looms. Akhmatova, standing in the prison queue, writes not only about herself, but about everyone at once, speaks of "the numbness characteristic of all of us." The preface to the poem, like the epigraph, is the second key, it helps us understand that the poem was written, like Mozart's "Requiem" once, "on order." A woman with blue lips (from hunger and nervous exhaustion) asks her about this as her last hope for some triumph of justice and truth. And Akhmatova takes on this order, such a heavy duty.

"Requiem" was created not at the same time, but in different years. Most likely, Akhmatova initially hardly had a clear idea of ​​\u200b\u200bwriting exactly a poem.

The dates under the poems that make up the "Requiem" are different, they are connected by Akhmatova with the tragic peaks of the sad events of those years: the arrest of her son in 1935, the second arrest in 1939, the sentencing, the troubles in the case, the days of despair ...

Simultaneously with the "Requiem", verses from "Skulls", "Why did you poison the water ...", "And I'm not a prophetess at all ..." and others that correlate with the poem not indirectly, but directly directly, which allows us to treat them as a kind of commentary "Requiem". Particularly close to him are the "Skulls", which are, as it were, a musical echo that sounds immediately after the lines of the poem.

Speaking about the "Requiem", listening to its harsh and hysterical mourning music, mourning millions of innocent victims and their own sorrowful life, one cannot but hear the echo with many other works of Akhmatova of that time. So, for example, "Dedication" was written simultaneously with the poem "The Way of All the Earth": they have a common date - March 1940. The poem "The Way of All the Earth" - the image of a funeral sleigh in the center, with the expectation of death, with the bell ringing of Kitezh, is a lament-poem, that is, also a kind of requiem:

great winter

I've been waiting a long time

Like a white schema

She accepted.

And in a light sleigh

I calmly sit...

I am to you, Kitezhans,

I'll be back before night.

Behind the ancient parking

One transition...

Now with a kite

Nobody will go

Neither brother nor neighbor

Not the first groom, -

Only a coniferous branch

Yes sunny verse

Dropped by a beggar

And raised by me...

In the last dwelling

Calm me down.

It is impossible not to see in the poem elements of a memorial service, in any case, farewell mourning.

If we put both texts side by side - the poems "The Way of All the Earth" and "Requiem", one cannot fail to see their deep relationship. In the current editions, as if obeying the law of internal cohesion, they are printed side by side; chronology dictates the same.

But there is a difference - in "Requiem" it immediately strikes a wider register and the same "we", which predetermines its epic basis:

Mountains bend before this grief,

The great river does not flow

And behind them "convict holes"

And deadly sadness.

For someone the fresh wind blows,

For someone, the sunset basks -

We don't know, we're the same everywhere

We hear only hateful rattle of keys

Moments of periodic returns to the "Requiem", which was created gradually, sometimes, after long breaks, each time was determined by its own reasons, but, in fact, it never - as a plan, duty and goal - never left consciousness. After the extensive "Dedication", revealing the address of the poem, follows the "Introduction",

directly to those who are mourned by women, that is, to those who go to hard labor or to be shot. Here the image of the City arises, in which there is absolutely no former beauty and splendor, this is a city attached to a giant prison.

It was when I smiled

Only the dead, glad for peace,

And dangled with an unnecessary pendant

Near the prisons of their Leningrad.

And only after the “Introduction” the specific theme of the “Requiem” begins to sound - lamentation for the Son:

They took you away at dawn

Behind you, as if walking away,

Children were crying in the dark room,

At the goddess, the candle swam.

Icons on your lips are cold,

Death sweat on the brow... Don't forget!

I will be like archery wives,

Howl under the Kremlin towers.

Akhmatova, as we see, gives the scenes of arrest and farewell a broad meaning, referring not only to her farewell to her son, but to many sons, fathers and brothers with those who stood with her in the prison queue.

Under the poem "They took you away at dawn ..." Akhmatova puts the date "Autumn 1935" and the place - "Moscow". At this time, she turned to Stalin with a letter to pardon her son and husband.

Then, in the Requiem, a melody unexpectedly and sadly appears, vaguely reminiscent of a lullaby, which prepares another motive, even more terrible, the motive of madness, delirium and complete readiness for death or suicide:

Already madness wing

Soul covered half

And drink fiery wine

And beckons to the black valley.

And I realized that he

I must give up the victory

Listening to your

Already as if someone else's delirium.

The "Epilogue" consists of two parts, first it returns us to the beginning of the poem, we again see the image of the prison queue, and in the second, final part it develops the theme of the Monument, well known in Russian literature on Derzhavin and Pushkin, But never - neither in Russian, nor in world literature - there was no such an unusual image as that of Akhmatova - the Monument to the Poet, standing, according to his desire and testament, at the Prison Wall. This is truly a monument to all the victims of repression:

And if ever in this country

They will erect a monument to me,

I give my consent to this triumph,

But only with the condition - do not put it

Not near the sea where I was born:

The last connection with the sea is broken,

Not in the royal garden at the treasured stump,

Where the inconsolable shadow is looking for me,

And here, where I stood for three hundred hours

And where the bolt was not opened for me ...

Akhmatova's "Requiem" is a truly folk work, not only in the sense that it reflected and expressed the great folk tragedy, but also in its poetic form, close to folk whims. “Weaved” from simple, “overheard,” as Akhmatova writes, words, he expressed his time and the suffering soul of the people with great poetic and civic power.

"Requiem" was not known either in the 30s or in subsequent years, but it forever captured its time and showed that poetry continued to exist even when, according to Akhmatova, the poet lived with his mouth shut.

Akhmatova's military lyrics are also of interest as an important detail of the then literary life, searches and finds of that time. Criticism wrote that the intimate-personal theme in the war years gave way to patriotic excitement and anxiety for the fate of mankind. Characteristically, her military lyrics are dominated by a broad and happy "we".

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our clocks.

And courage will not leave us.

Courage.

Poems from the very end of the war are filled with Akhmatova's sunny joy and jubilation. May spring greenery, thunder of joyful salutes, children raised to the sun in happy mother's arms...

All the years of the war, although sometimes with long interruptions, Akhmatova worked on "A Poem without a Hero", which is in fact a Poem of Memory.

3. "Third Glory" Akhmatova.

Akhmatova's "third glory" came after Stalin's death and lasted ten years. (Anna Andreevna still had time to catch the beginning of a new suspicion towards her, which lasted two decades).

It was glory not only all-Union, but also foreign. She was awarded the Etna-Taormina literary prize in Italy, and in England she was awarded the title of honorary doctor of Oxford University.

At that time, Anna Andreevna willingly communicated with young poetry, and many of her representatives visited her and read their poems to her.

The majesty, early in her noted by all who met her, was reinforced in those years by her advanced age. In communication, she was unusually natural and simple. And she amazed me with her wit.

In the late poetry of Akhmatova, the most stable motive is farewell to the whole past, not even to life, but to the past: “I put a black cross on the past ...”.

And yet, she did not have such a decisive and all-negative break with the “first manner”, as Akhmatova was inclined to believe. Therefore, one can take any line - from early or late works, and we unmistakably recognize its voice - divided, distinct and powerful, intercepted by tenderness and suffering.

In her late lyrics, Akhmatova does not rely on the direct meaning of the word, but on its inner strength, which lies in poetry itself. With the help of her fragments of magical inconsistencies, with the help of her poetic magic, she gets to the subconscious - to that area that she herself has always called the soul.

All of Akhmatova's poems of recent years are almost identical both in their meaning and in their appearance to the broken and semi-doomed human world.

However, the dense darkness of her later poems is not pessimistic: it is tragic. In her last poems, especially about nature, one can see

beauty and charm.

In recent years, Akhmatova worked very intensively: in addition to original poems, she translated a lot, wrote memoir essays, prepared a book about Pushkin ... She was surrounded by more and more new ideas.

She did not complain about her age. She was resilient as a Tatar, making her way to the sun of life from under all the ruins, in spite of everything - and remained herself.

And I go where nothing is needed,

Where the sweetest companion is only a shadow,

And the wind blows from a deaf garden,

And under the foot of the grave step.

The charm of life constantly overcame the darkness of her last poems.

She left us poetry, where there is everything - the darkness of life, and the deaf blows of fate, and despair, and hope, and gratitude to the sun, and "the charm of a sweet life."

III. The connection of Akhmatova's poetry with time, with the life of her

people.

Anna Andreevna Akhmatova died in March 1966. No one from the then leadership of the Writers' Union showed up. She was buried near Leningrad in the village of Komarovo in a cemetery among a pine forest. Fresh flowers always lie on her grave, both youth and old age come to her. For many, it will become a necessity.

The path of Anna Akhmatova was difficult and difficult. Starting with acmeism, but having already turned out to be much wider than this rather narrow direction, she came over the course of her long and intensely lived life to realism and historicism. Her main achievement and her individual artistic discovery was, above all, love lyrics. She really wrote new pages in the Book of Love. The mighty passions raging in Akhmatov's love miniatures, compressed to a diamond hardness, were always portrayed by her with majestic psychological depth and accuracy.

For all the universal humanity and eternity of the feeling itself, Akhmatova shows it with the help of the sounding voices of a specific time: intonations, gestures, syntax, vocabulary - everything tells us about certain people of a certain day and hour. This artistic accuracy in the transmission of the very air of time, which was originally a folk property of talent, then, over the course of many decades, purposefully and industriously polished to the degree of that genuine, conscious historicism that amazes all those who read and, as it were, rediscover the late Akhmatova - the author " Poems without a Hero” and many other poems recreating and interspersing various historical epochs with free accuracy.

She was a poet: “I did not stop writing poetry, For me in them my connection with time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that have no equal.

Akhmatov's poetry turned out to be not only a living and developing phenomenon, but also organically connected with the national soil and domestic culture. We could see more than once that it was precisely the ardent patriotic feeling and awareness of her blood connection with the multi-layered firmament of national culture that helped the poetess choose the right path in the most difficult and critical years.

The poetry of Anna Akhmatova is an integral part of modern Russian and world culture.

IV. Bibliography

1.Anna Akhmatova / Under the general. edited by N. N. Skatov. Sobr. cit.: - M., 1990.

2. Anna Akhmatova / Comp. Chernykh. Sobr. op. - M., 1986.

3. Chukovskaya L. K. Notes about Anna Akhmatova. Book 3. - M., 1989.

5.Pavlovsky. AI Anna Akhmatova: Life and work. - M., 1991.

6. Vilenkin. B. In the one hundred and first mirror. - M., 1987.

7. Zhirmunsky V. Anna Akhmatova. - L., 1975.

8. Luknitskaya V. Of two thousand meetings: a story about a chronicler. - M., 1987.

Anna Akhmatova is an outstanding poetess of the last century. She wrote many poems that many know and love, as well as the poem "Requiem" about Stalin's repressions. Her life was very difficult, full of dramatic events, like many of our compatriots, whose youth and maturity fell on the difficult years of the first half of the 20th century.

Anna Akhmatova (real name of the poetess - Anya Gorenko) was born on June 23, according to the new style of 1889. The birthplace of the future poetess is Odessa. In those days, this city was considered the Russian Empire. Akhmatova's biography began in a large family, her parents had six children in total, she was born the third. Her father is a nobleman, a naval engineer, and Ani's mother was distantly related to another future famous poet -

Anya received her primary education at home, and went to the gymnasium at the age of ten in Tsarskoe Selo. The family was forced to move here due to the promotion of the father. The girl spent her summer holidays in the Crimea. She loved to wander barefoot along the shore, throw herself into the sea directly from the boat, go without a hat. Her skin soon became swarthy, which shocked the local young ladies.

The impressions received at sea served as an impetus for the creative inspiration of the young poetess. The girl wrote her first poems at the age of eleven. In 1906, Anna moved to the Kyiv Gymnasium, after which she attended the Higher Women's Courses and the Literary and History Courses. The first poems were published in domestic magazines of that time in 1911. A year later, the first book "Evening" was released. These were lyrical poems about girlish feelings, about first love.

Subsequently, the poetess herself will call her first collection "poems of a stupid girl." Two years later, the second collection of poems, The Rosary, was published. It had a large circulation and brought popularity to the poetess.

Important! Anna replaced her real name with a pseudonym at the request of her father, who was against the fact that her daughter would dishonor their surname with her literary experiments (as he believed). The choice fell on the maiden name of the great-grandmother. According to legend, she came from the clan of the Tatar Khan Akhmat.

And it was for the best, because the real name lost in comparison with this mysterious pseudonym. All works by Akhmatova since 1910 were published only under this pseudonym. Her real name appeared only when the poetess's husband, Nikolai Gumilyov, published her poems in a domestic magazine in 1907. But since the magazine was unknown, few people paid attention to these verses at that time. However, her husband prophesied great fame for her, seeing her poetic talent.

A. Akhmatova

Rise of popularity

The biography by date of the great poetess is described in detail on the Wikipedia website. It contains a brief biography of Akhmatova from the day Anna was born until the moment of death, describes her life and work, as well as interesting facts from her life. This is very important, because for many the name of Akhmatova means little. And on this site you can see a list of works that you want to read.

Continuing the story of Akhmatova's life, one cannot help but talk about her trip to Italy, which changed her fate and significantly influenced her future work. The fact is that in this country she met with the Italian artist Amedeo Modigliani. Anna dedicated many poems to him, and he, in turn, painted her portraits.

In 1917, the third book, The White Flock, was published, its circulation surpassed all previous books. Its popularity grew every day. In 1921, two collections were published at once: Plantain and In the Year of the Lord 1921. After that, there is a long pause in the publishing house of her poems. The fact is that the new government considered Akhmatova's work "anti-Soviet" and imposed a ban on it.

Poems by A. Akhmatova

Hard times

From the 1920s, Akhmatova began to write her poems "on the table." Hard times came in her biography with the advent of Soviet power: the husband and son of the poetess were arrested. It is always hard for a mother to watch her children suffer. She worried a lot about her husband and son, and although they were soon released for a short time, but then her son was arrested again, and this time for a long time. The most important torment was yet to come.

Briefly, we can say that the unfortunate mother stood in line for a year and a half in order to see her son. Lev Gumilyov spent five years in prison, all this time his exhausted mother suffered with him. Once, in line, she met a woman who, recognizing a famous poetess in Akhmatova, asked her to describe all these horrors in her work. So the list of her creations was replenished with the poem "Requiem", which revealed the terrible truth about Stalin's policy.

Of course, the authorities could not like this, and the poetess was expelled from the Writers' Union of the USSR. During the war, Akhmatova was evacuated to Tashkent, where she was able to publish her new book. In 1949, her son was again arrested, and a black streak again set in in Akhmatova's biography. She asked a lot for the release of her son, most importantly, that Anna did not lose heart, did not lose hope. In order to appease the authorities, she even went on a betrayal of herself, her views: she wrote a book of poems “Glory to the world!”. Briefly, it can be described as an ode to Stalin.

Interesting! For such an act, the poetess was reinstated in the Writers' Union, but this had little effect on the outcome of the case: her son was released only seven years later. On leaving, he quarreled with his mother, believing that she had done little to secure his release. They had a strained relationship until the end of their lives.

Useful video: interesting facts of the biography of A. Akhmatova

last years of life

In the mid-50s, a brief white streak began in Akhmatova's biography.

Events of those years by dates:

• 1954 - participation in the Congress of the Writers' Union;
• 1958 - publication of the book "Poems";
• 1962 - "Poem without a Hero" was written;
• 1964 - Awarded in Italy;
• 1965 - publication of the book "The Run of Time";
• 1965 - Awarded an honorary doctorate from the University of Oxford.

In 1966, Akhmatova's health deteriorated significantly, and her close friend, the famous actor Alexei Batalov, began to ask high-ranking officials to send her to a sanatorium near Moscow. She got there in March, but fell into a coma two days later. The life of the poetess was cut short on the morning of March 5, three days later her body was taken to Leningrad, where a funeral service was held in St. Nicholas Cathedral.

The great poetess was buried at the cemetery in Komarovo, Leningrad Region. A simple cross is erected on her grave, according to her will. Her memory is immortalized by descendants, Akhmatova's place of birth is marked with a commemorative plaque, the street in Odessa, where she was born, is named after her. A planet and a crater on Venus are named after the poetess. A monument was erected at the place of her death in a sanatorium near Moscow.

Personal life

Anna has been married many times. Her first husband was the famous Russian poet Nikolai Gumilyov. They met when she was still in high school, and corresponded for a long time.

Anna immediately liked Nikolai, but the girl saw in him only a friend, nothing more. He several times asked for her hand and was refused. Anna's mother even called him a "saint" for his patience.

Once, when Anna, suffering from unhappy love for one acquaintance, even wanted to commit suicide, Nikolai saved her. Then he received her consent to the marriage proposal for the hundredth time.

They got married in April 1910, Anna's maiden name, Gorenko, was kept in the marriage. The newlyweds went on a honeymoon trip to Paris, then to Italy. Here Anna met a man who changed her fate. It is clear that she did not marry for love, but rather out of pity. Her heart was not busy, when suddenly she met the talented Italian artist Amedeo Modigliani.

A handsome passionate young man captivated the heart of the poetess, Anna fell in love, and her feeling was reciprocal. A new round of creativity began, she wrote numerous poems to him. Several times she came to him in Italy, they spent a lot of time together. Whether her husband knew about this remains a mystery. Perhaps he knew, but was silent, afraid of losing her.

Important! The romance of two young talented people ended due to tragic circumstances: Amedeo found out that he had tuberculosis and insisted on breaking off relations. Soon he died.

Despite the fact that Akhmatova gave birth to a son from Gumilyov, in 1918 they divorced. In the same year, she became friends with Vladimir Shileiko, a scientist and poet. In 1918, they married, but three years later Anna broke up with him.

In the summer of 1921, it became known about the arrest and execution of Gumilyov. Akhmatova did not take the news well. It was this person who saw talent in her and helped her take the first steps in her work, even if very soon she overtook her husband in popularity.

In 1922, Anna entered into a civil marriage with art historian Nikolai Punin. She lived with him for a long time. When Nicholas was arrested, she was waiting for him, petitioning for his release. But this union was not destined to last forever - in 1938 they broke up.

Then the woman agreed with the pathologist Garshin. He wanted to marry her already, but just before the marriage he dreamed of his dead mother, begging him not to marry a sorceress. For the mystery of Anna, her unusual appearance, excellent intuition, many called her a "sorceress", even her first husband. There is a poem by Gumilyov dedicated to his wife, which is called “The Sorceress”.

The great poetess died alone, without a husband, without a son. But she was not alone at all, she was full of creativity. Before her death, her last words were "I'm going to the sun."

Useful video: biography and creativity of A. Akhmatova

Anna Andreevna Akhmatova (in marriage she took the names of Gorenko-Gumilyov and Akhmatova-Shileiko, she bore the name Gorenko as a girl) is a Russian poetess and translator of the 20th century. Akhmatova was born on June 23, 1889 in Odessa. The future significant figure of Russian literature was born in the family of a retired mechanical engineer Andrei Gorenko and Inna Stogova, who was related to the Russian Sappho Anna Bunina. Anna Akhmatova died on March 5, 1966 at the age of 76, after spending the last days in a sanatorium in the Moscow region.

Biography

The family of the outstanding poetess of the Silver Age was revered: the head of the family was a hereditary nobleman, the mother belonged to the creative elite of Odessa. Anna was not the only child, besides her, Gorenko had five more children.

When her daughter was one year old, her parents decided to move to St. Petersburg, where her father got a good position in the State Control. The family settled in Tsarskoye Selo, the little poetess spent a lot of time in the Tsarskoye Selo Palace, visiting places where Alexander Sergeevich Pushkin had previously visited. The nanny often took the baby for walks around St. Petersburg, so Akhmatova's early memories are thoroughly saturated with the northern capital of Russia. Gorenko's children were taught from an early age, Anna learned to read the alphabet of Leo Tolstoy at the age of five, and even earlier she learned French, attending lessons for older brothers.

(Young Anna Gorenko, 1905)

Akhmatova received her education in a women's gymnasium. It was there, at the age of 11, that she began to write her first poems. Moreover, the main impetus for the creativity of the young person was not Pushkin and Lermontov, but the odes of Gabriel Derzhavin and the funny works of Nekrasov, which she heard from her mother.

When Anna was 16 years old, her parents decided to divorce. The girl was painfully worried about moving with her mother to another city - Evpatoria. Later, she admitted that she fell in love with St. Petersburg with all her heart and considered it her homeland, although she was born in another place.

After completing her studies at the gymnasium, the aspiring poetess decides to study at the Faculty of Law, but she did not stay long as a student of the Higher Women's Courses. The creative personality quickly got tired of jurisprudence and the girl moved back to St. Petersburg, continuing her studies at the Faculty of History and Literature.

In 1910, Akhmatova married Nikolai Gumilyov, whom she met in Evpatoria and corresponded for a long time during her studies. The couple got married quietly, choosing a small church in a village near Kyiv for the ceremony. The husband and wife spent their honeymoon in romantic Paris, and after returning to Russia, Gumilyov, already a famous poet, introduced his wife to the literary circles of the northern capital, acquaintances with writers, poets and writers of that time.

Just two years after marriage, Anna gives birth to a son - Lev Gumilyov. However, family happiness did not last long - after six years, in 1918, the couple filed for divorce. In the life of an extravagant and beautiful woman, new applicants for a hand and heart immediately appear - the revered Count Zubkov, the pathologist Garshin, and the art critic Punin. Akhmatova marries the poet Valentin Shileiko for the second time, but this marriage did not last long either. Three years later, she breaks off all relations with Valentine. In the same year, the first husband of the poetess, Gumilyov, was shot. Although they were divorced, Anna was greatly shocked by the news of the death of her ex-husband, she was very upset by the loss of a once close person.

Akhmatova spends her last days in a sanatorium near Moscow, suffering from severe pain. Anna was seriously ill for a long time, but her death still shook the whole country. The body of the great woman was transported from the capital to St. Petersburg, where they were buried in the local cemetery, modestly and simply: without special honors, with a wooden cross and a small stone slab.

creative path

The first publication of poems took place in 1911, a year later the first collection “Evening” was published, released in a small edition of 300 copies. The first potential of the poetess was seen in the literary and art club, where Gumilev brought his wife. The collection found its audience, so in 1914 Akhmatova published her second work, Rosary. This work brings not only satisfaction, but also fame. Critics praise the woman, raising her to the rank of a fashionable poetess, ordinary people are increasingly quoting poems, willingly buying collections. During the revolution, Anna Andreevna publishes the third book - "The White Flock", now the circulation is one thousand copies.

(Nathan Altman "Anna Akhmatova", 1914)

In the 1920s, a difficult period begins for a woman: the NKVD carefully monitors her work, poems are written “on the table”, works do not get into print. The authorities, dissatisfied with Akhmatova's free-thinking, call her creations "anti-communist" and "provocative", which literally blocks the way for a woman to freely publish books.

Only in the 30s Akhmatova began to appear more often in literary circles. Then her poem “Requiem” is published, which took more than five years, Anna is accepted into the Union of Soviet Writers. In 1940, a new collection was published - “From Six Books”. After that, several more collections appear, including "Poems" and "The Run of Time", published a year before his death.

Anna Akhmatova, according to her confession, wrote her first poem at the age of 11, she first appeared in print in 1907. Her first collection of poetry, Evening, was published in 1912.

Anna Akhmatova belonged to the group of acmeists, but her poetry, dramatically intense, psychologically profound, extremely concise, devoid of self-valuable aestheticism, in essence did not coincide with the program settings of acmeism.

The connection between Akhmatova's poetry and the traditions of Russian classical lyrics, especially Pushkin's, is obvious. Of contemporary poets, Innokenty Annensky and Alexander Blok were closest to her.

The creative activity of Anna Akhmatova lasted almost six decades. During this time, her poetry has undergone a certain evolution, while maintaining fairly stable aesthetic principles that were formed in the first decade of her career. But for all that, the late Akhmatova undoubtedly has a desire to go beyond the range of topics and ideas that are present in her early lyrics, which was especially clearly expressed in the poetic cycle “The Wind of War”, in “A Poem without a Hero”.

Talking about my poetry Anna Akhmatova stated: “For me, they are a connection with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.

Anna Andreevna Akhmatova

Born near Odessa in the family of a naval engineer. The real name is Gorenko, but since. her father did not approve of her passion for poetry, she began to sign with the name of her great-grandmother - the Tatar princess Akhmatova.

Her childhood was spent in Tsarskoye Selo, where she met the love of her life - N. Gumilyov.

She graduated from the Higher Women's Courses in Kyiv, and then the Higher Historical and Literary Courses in St. Petersburg.

In 1910 she married Gumilyov and joined the Acmeists.

In 1912-1922. released collections: "Evening", "Rosary", "White Flock", "Plantain", "Anno Domini MCM XXI".

Despite her critical attitude towards the October Revolution of 1917, she did not leave Russia, but was persecuted by the new government. During the Great Patriotic War she wrote a number of patriotic poems.

In 1948, she became the object of attacks by the main ideologist of the country, Zhdanov, and was expelled from the Union of Soviet Writers.

She received an honorary doctorate from Oxford University in 1965.

On March 5, 1966, she died in a sanatorium in the Moscow region.

Already the first collections of poems brought her all-Russian fame. Thanks to her deep sense of patriotism, Akhmatova remained in her homeland after the October Revolution and went through a long creative path here.

In her chamber, mostly love, lyrical miniatures, in her own way she reflected the disturbing atmosphere of the pre-revolutionary decade; subsequently, the range of her themes and motifs became wider and more complex.

Akhmatova's style combined the traditions of the classics and the latest experience of Russian poetry. During the Great Patriotic War of 1941-1945. the poetess, who saw with her own eyes the blockade of Leningrad, creates a cycle of poems full of love for the motherland.

In the last years of her life, Akhmatova completed "Poem without a Hero", "Requiem". Worked on translations. Wrote a cycle of sketches about Pushkin.

The beginning of the creative path

Anna Akhmatova's poem was first published in 1911. The first book of poems by the poetess was published in 1912. In 1914, her second collection, The Rosary, was published with a circulation of 1,000 copies. It was he who brought Anna Andreevna real fame. Three years later, Akhmatova's poetry was published in the third book, The White Flock, twice as large in circulation.

Personal life

In 1910 she married Nikolai Gumilyov, from whom in 1912 she gave birth to a son, Lev Nikolaevich. Then, in 1918, the life of the poetess was divorced from her husband, and soon a new marriage with the poet and scientist V. Shileiko.

And in 1921 Gumilev was shot. She broke up with her second husband, and in 1922 Akhmatova began a relationship with art critic N. Punin.

Studying the biography of Anna Akhmatova, it is worth briefly noting that many people close to her suffered a sad fate. So, Nikolai Punin was under arrest three times, and the only son, Leo, spent more than 10 years in prison.

Creativity of the poetess

Akhmatova's work touches on these tragic themes. For example, the poem "Requiem" reflects the difficult fate of a woman whose loved ones suffered from repression.

In Moscow, in June 1941, Anna Andreevna Akhmatova met with Marina Tsvetaeva. This was their only meeting.

For Anna Akhmatova, poetry was an opportunity to tell people the truth. She showed herself as a skilled psychologist, a connoisseur of the soul.

Akhmatova's poems about love prove her subtle understanding of all facets of a person. In her poems, she showed high morality. In addition, Akhmatova's lyrics are filled with reflections on the tragedies of the people, and not just personal experiences.

Death and legacy

The famous poetess died in a sanatorium near Moscow on March 5, 1966. She was buried near Leningrad at the Komarovsky cemetery.

Streets in many cities of the former USSR are named after Akhmatova. The Akhmatova Literary Memorial Museum is located in the Fountain House in St. Petersburg. In the same city, several monuments to the poetess have been erected. Memorial plaques, in memory of visiting the city, were installed in Moscow and Kolomna.

• Akhmatova's maiden name is Gorenko. Anna Andreevna was forbidden to use her real name by her father, who did not approve of her creative endeavors. And then the poetess took the name of her great-grandmother - Akhmatova.
• After her son's arrest, Akhmatova spent seventeen months in prison queues. On one of her visits, a woman in the crowd recognized her and asked if the poetess could describe it. After that, Akhmatova began work on the poem "Requiem".
• Akhmatova's last collection was published in 1925. Her further work was not allowed into the press by the NKVD, calling it anti-communist and provocative. By order of Stalin, she was expelled from the Writers' Union.

Akhmatova had a rather tragic fate. Despite the fact that she herself was not imprisoned or exiled, many people close to her were subjected to severe repression. So, for example, the first husband of the writer, N. S. Gumilyov, was executed in 1921. The third civil husband N. N. Punin was arrested three times, died in the camp. And, finally, the son of the writer, Lev Gumilyov, spent more than 10 years in prison. All the pain and bitterness of loss was reflected in the "Requiem" - one of the most famous works of the poetess.

Being recognized by the classics of the 20th century, Akhmatova was silenced and persecuted for a long time. Many of her works were not published due to censorship and were banned for decades even after her death. Akhmatova's poems have been translated into many languages. The poetess went through difficult years during the blockade in St. Petersburg, after which she was forced to leave for Moscow, and then emigrate to Tashkent. Despite all the difficulties that occurred in the country, she did not leave it and even wrote a number of patriotic poems.

In 1946, Akhmatov, along with Zoshchenko, was expelled from the Writers' Union on the orders of I.V. Stalin. After that, the poetess was mainly engaged in translations. At the same time, her son was serving a sentence as a political criminal. Soon, the writer's work gradually began to be accepted by fearful editors. In 1965, her final collection, The Run of Time, was published. Also, she was awarded the Italian Literary Prize and an honorary doctorate from the University of Oxford. In the fall of that year, the poetess suffered a fourth heart attack. As a result, on March 5, 1966, A. A. Akhmatova died in a cardiological sanatorium in the Moscow region.

Sources: slova.org.ru, goldlit.ru, citaty.su, all-biography.ru, sdamna5.ru

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Creativity of Anna Akhmatova.

1. The beginning of Akhmatova's work
2. Features of Akhmatova's poetry
3. The theme of St. Petersburg in the lyrics of Akhmatova
4. The theme of love in the work of Akhmatova
5. Akhmatova and the revolution
6. Analysis of the poem "Requiem"
7. Akhmatova and the Second World War, blockade of Leningrad, evacuation
8. Death of Akhmatova

The name of Anna Andreevna Akhmatova is on a par with the names of outstanding luminaries of Russian poetry. Her quiet sincere voice, depth and beauty of feelings can hardly leave at least one reader indifferent. It is no coincidence that her best poems have been translated into many languages ​​of the world.

1. The beginning of Akhmatova's work.

In her autobiography entitled “Briefly About Myself” (1965), A. Akhmatova wrote: “I was born on June 11 (23), 1889 near Odessa (Big Fountain). My father was a retired Navy mechanical engineer at the time. As a one-year-old child, I was transported to the north - to Tsarskoye Selo. I lived there until I was sixteen... I studied at the Tsarskoye Selo Women's Gymnasium... The last class was held in Kyiv, at the Fundukleev Gymnasium, which I graduated in 1907.

Akhmatova began to write while studying at the gymnasium. Father, Andrei Antonovich Gorenko, did not approve of her hobbies. This explains why the poetess took as a pseudonym the surname of her grandmother, who descended from the Tatar Khan Akhmat, who came to Russia during the Horde invasion. “That’s why it occurred to me to take a pseudonym for myself,” the poetess later explained, “that dad, having learned about my poems, said:“ Do not shame my name.

Akhmatova had practically no literary apprenticeship. Her very first collection of poems, Evening, which included poems from her gymnasium years, immediately attracted the attention of critics. Two years later, in March 1917, the second book of her poems, The Rosary, was published. They started talking about Akhmatova as a completely mature, original master of the word, sharply distinguishing her from other acmeist poets. Contemporaries were struck by the indisputable talent, the high degree of creative originality of the young poetess. characterizes the hidden state of mind of an abandoned woman. “Glory to you, hopeless pain,” for example, the poem “The Gray-Eyed King” (1911) begins with such words. Or here are the lines from the poem “I left on a new moon” (1911):

The orchestra plays merrily

And the lips are smiling.

But the heart knows, the heart knows

That the fifth box is empty!

Being a master of intimate lyrics (her poetry is often called an "intimate diary", "a woman's confession", "a confession of a woman's soul"), Akhmatova recreates emotional experiences with the help of everyday words. And this gives her poetry a special sound: everyday life only enhances the hidden psychological meaning. Akhmatova's poems often capture the most important, and even turning points in life, the culmination of spiritual tension associated with a feeling of love. This allows researchers to talk about the narrative element in her work, about the impact of Russian prose on her poetry. So V. M. Zhirmunsky wrote about the novelistic nature of her poems, bearing in mind the fact that in many of Akhmatova’s poems, life situations are depicted, as in a short story, at the most critical moment of their development. The "novelism" of Akhmatov's lyrics is enhanced by the introduction of live colloquial speech, spoken aloud (as in the poem "She clenched her hands under a dark veil." This speech, usually interrupted by exclamations or questions, is fragmentary. Syntactically divided into short segments, it is full of logically unexpected, emotionally justified unions "a" or "and" at the beginning of the line:

Don't like, don't want to watch?

Oh, how beautiful you are, damned!

And I can't fly

And from childhood she was winged.

Akhmatova's poetry, with its colloquial intonation, is characterized by the transfer of an unfinished phrase from one line to another. No less characteristic of her is the frequent semantic gap between the two parts of the stanza, a kind of psychological parallelism. But behind this gap lies a distant associative connection:

How many requests from your beloved always!

A loved one does not have requests.

How glad I am that today the water

Freezes under colorless ice.

Akhmatova also has poems where the narration is not only from the point of view of the lyrical heroine or hero (which, by the way, is also very remarkable), but from the third person, more precisely, the narration from the first and third person is combined. That is, it would seem that she uses a purely narrative genre, which implies both narrative and even descriptiveness. But even in such verses, she still prefers lyrical fragmentation and reticence:

Came up. I didn't show any excitement.

Looking indifferently out the window.

village. Like a porcelain idol

In a pose chosen by her for a long time ...

The psychological depth of Akhmatova's lyrics is created by a variety of techniques: subtext, external gesture, detail, conveying depth, confusion and inconsistency of feelings. Here, for example, are lines from the poem "The Song of the Last Meeting" (1911). where the emotion of the heroine is conveyed through an external gesture:

So helplessly my chest went cold,

But my steps were light.

I put on my right hand

Left hand glove.

Akhmatov's metaphors are bright and original. Her poems are literally full of their diversity: “tragic autumn”, “shaggy smoke”, “the quietest snow”.

Very often, Akhmatova's metaphors are poetic formulas of love feelings:

All to you: and a daily prayer,

And insomnia melting heat,

And my white flock of poems,

And my eyes are blue fire.

2. Features of Akhmatova's poetry.

Most often, the metaphors of the poetess are taken from the world of nature, they personify her: “Early autumn hung / / Yellow flags on elms”; "Autumn is red in the hem / / Brought red leaves."

Among the notable features of Akhmatova’s poetics is also the unexpectedness of her comparisons (“High in the sky, a cloud was gray, / / ​​Like a squirrel’s vegetable skin” or “Stuffy heat, like tin, / / ​​It pours from heaven to the withered earth”).

Often she also uses such a type of trope as an oxymoron, that is, a combination of contradictory definitions. It is also a means of psychology. A classic example of Akhmatov's oxymoron is the lines from her poem "The Tsarskoye Selo Statue*" (1916): Look, it's fun for her to be sad. So pretty naked.

A very large role in Akhmatova's verse belongs to the detail. Here, for example, is a poem about Pushkin "In Tsarskoye Selo" (1911). Akhmatova wrote more than once about Pushkin, as well as about Blok - both were her idols. But this poem is one of the best in Akhmatov's Pushkinianism:

A dark-skinned youth wandered through the alleys,

At the lake shores sad,

And we cherish a century

Barely audible rustle of steps.

Pine needles thick and prickly

Lights up low...

Here lay his cocked hat

And the disheveled Tom Guys.

Just a few characteristic details: a cocked hat, a volume beloved by Pushkin - a lyceum student Guys - and we almost clearly feel the presence of the great poet in the alleys of the Tsarskoye Selo park, we recognize his interests, features of gait, etc. In this regard - the active use of details - Akhmatova also goes in line with the creative searches of prose writers of the early 20th century, who gave the details a greater semantic and functional load than in the previous century.

There are many epithets in Akhmatova's poems, which once the famous Russian philologist A. N. Veselovsky called syncretic, because they are born from a holistic, inseparable perception of the world, when feelings are materialized, objectified, and objects are spiritualized. She calls passion “white-hot”, her Sky is “wounded by yellow fire”, that is, the sun, she sees “chandeliers of lifeless heat”, etc. and depth of thought. The poem "Song" (1911) begins as an unpretentious story:

I'm at sunrise

I sing about love.

On my knees in the garden

Swan field.

And it ends with a biblically deep thought about the indifference of a loved one:

There will be a stone instead of bread

I'm rewarded with Evil.

All I need is the sky

The desire for artistic laconism and at the same time for the semantic capacity of the verse was also expressed in the wide use of aphorisms by Akhmatova in depicting phenomena and feelings:

One less hope has become -

There will be one more song.

From others I praise that ash.

From you and blasphemy - praise.

Akhmatova assigns a significant role to color painting. Her favorite color is white, emphasizing the plastic nature of the object, giving the work a major tone.

Often in her poems, the opposite color is black, which enhances the feeling of sadness and longing. There is also a contrasting combination of these colors, shading the complexity and inconsistency of feelings and moods: "Only ominous darkness shone for us."

Already in the early poems of the poetess, not only vision is sharpened, but also hearing and even smell.

The music rang in the garden

Such unspeakable grief.

Fresh and pungent smell of the sea

Oysters on ice on a platter.

Due to the skillful use of assonances and alliterations, the details and phenomena of the surrounding world appear as if renewed, primordial. The poetess gives the reader to feel “a barely audible smell of tobacco”, to feel how “a sweet smell flows from a rose”, etc.

In its syntactical structure, Akhmatova's verse gravitates towards a concise, complete phrase, in which not only secondary, but also the main members of the sentence are often omitted: ("Twenty-first. Night ... Monday"), and especially to colloquial intonation. This imparts a deceptive simplicity to her lyrics, behind which stands a wealth of emotional experiences, high skill.

3. The theme of St. Petersburg in the lyrics of Akhmatova.

Along with the main theme - the theme of love, in the early lyrics of the poetess there was another - the theme of St. Petersburg, the people who inhabit it. The majestic beauty of her beloved city is included in her poetry as an integral part of the spiritual movements of the lyrical heroine, in love with the squares, embankments, columns, statues of St. Petersburg. Very often these two themes are combined in her lyrics:

The last time we met then

On the embankment where we always met.

There was high water in the Neva

And the floods in the city were afraid.

4. The theme of love in the work of Akhmatova.

The image of love, for the most part unrequited love and full of drama, is the main content of all the early poetry of A. A. Akhmatova. But this lyrics is not narrowly intimate, but large-scale in its meaning and meaning. It reflects the richness and complexity of human feelings, an inextricable connection with the world, because the lyrical heroine does not focus only on her suffering and pain, but sees the world in all its manifestations, and he is infinitely dear and dear to her:

And the boy who plays the bagpipes

And the girl who weaves her wreath.

And two crossed paths in the forest,

And in the far field a distant light, -

I see everything. I remember everything

Lovingly briefly in the heart of the coast ...

("And the boy who plays the bagpipes")

In her collections, there are a lot of lovingly drawn landscapes, everyday sketches, paintings of rural Russia, will accept the “meager land of Tver”, where she often visited the estate of N. S. Gumilyov Slepnevo:

Crane at the old well

Above him, like boiling, clouds,

In the fields creaky gates,

And the smell of bread, and longing.

And those dim expanses

And judgmental eyes

Calm tanned women.

("You know, I'm languishing in captivity ...")

Drawing discreet landscapes of Russia, A. Akhmatova sees in nature a manifestation of the almighty Creator:

In every tree the crucified Lord,

In each ear is the body of Christ,

And prayers are a pure word

Heals aching flesh.

The arsenal of Akhmatova's artistic thinking was ancient myths, folklore, and sacred history. All this is often passed through the prism of a deep religious feeling. Her poetry is literally permeated with biblical images and motifs, reminiscences and allegories of sacred books. It has been correctly noted that "the ideas of Christianity in Akhmatova's work are manifested not so much in the epistemological and ontological aspects, but in the moral and ethical foundations of her personality"3.

From an early age, the poetess was characterized by a high moral self-esteem, a sense of her sinfulness and a desire for repentance, which is characteristic of the Orthodox consciousness. The appearance of the lyrical "I" in Akhmatova's poetry is inseparable from the "ringing of bells", from the light of "God's house", the heroine of many of her poems appears before the reader with a prayer on her lips, waiting for the "last judgment". At the same time, Akhmatova firmly believed that all fallen and sinful, but suffering and repentant people will find understanding and forgiveness of Christ, for "only the blue / / Heavenly and mercy of God is inexhaustible." Her lyrical heroine “languishes about immortality” and “believes in it, knowing that “souls are immortal”. Abundantly used by Akhmatova religious vocabulary - lampada, prayer, monastery, liturgy, mass, icon, vestments, bell tower, cell, temple, images, etc. - creates a special flavor, the context of spirituality. Focused on spiritual and religious national traditions and many elements of the genre system of Akhmatova's poetry. Such genres of her lyrics as confession, sermon, prediction, etc. are filled with a pronounced biblical content. Such are the poems “Prediction”, “Lamentation”, a cycle of her “Bible verses”, inspired by the Old Testament, etc.

Especially often she turned to the genre of prayer. All this gives her work a truly national, spiritual, confessional, soil character.

Serious changes in the poetic development of Akhmatova were caused by the First World War. Since that time, the motifs of civic consciousness, the theme of Russia, her native land, have been included in her poetry even more widely. Perceiving the war as a terrible national disaster, she condemned it from a moral and ethical position. In the poem "July 1914" she wrote:

Juniper smell sweet

Flies from burning forests.

Soldiers are moaning over the guys,

The widow's weeping rings through the village.

In the poem "Prayer" (1915), striking with the power of self-denying feelings, she prays to the Lord for the opportunity to sacrifice everything she has to the Motherland - both her life and the life of her loved ones:

Give me bitter years of sickness

Breathlessness, insomnia, fever,

Take away both the child and the friend,

And a mysterious song gift

So I pray for Your liturgy

After so many agonizing days

To cloud over dark Russia

Became a cloud in the glory of rays.

5. Akhmatova and the revolution.

When, during the years of the October Revolution, every artist of the word faced the question: whether to stay in their homeland or leave it, Akhmatova chose the first. In the 1917 poem "I had a voice..." she wrote:

He said "Come here

Leave your land, native and sinful,

Leave Russia forever.

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.

This was the position of a patriotic poet, in love with Russia, who could not imagine his life without her.

This, however, does not mean that Akhmatova unconditionally accepted the revolution. A 1921 poem testifies to the complexity and inconsistency of her perception of events. “Everything is plundered, betrayed, sold”, where despair and pain over the tragedy of Russia is combined with a hidden hope for its revival.

The years of the revolution and the civil war were very difficult for Akhmatova: a semi-beggarly life, life from hand to mouth, the execution of N. Gumilyov - she experienced all this very hard.

Akhmatova did not write very much in the 20s and 30s. Sometimes it seemed to her that the Muse had completely abandoned her. The situation was aggravated by the fact that the critics of those years treated her as a representative of salon noble culture, alien to the new system.

The 30s turned out to be for Akhmatova sometimes the most difficult trials and experiences in her life. The repressions that hit almost all of Akhmatova's friends and like-minded people also affected her: in 1937, their son Lev, a student at Leningrad University, was arrested with Gumilyov. Akhmatova herself lived all these years in anticipation of a permanent arrest. In the eyes of the authorities, she was an extremely unreliable person: the wife of the executed "counter-revolutionary" N. Gumilyov and the mother of the arrested "conspirator" Lev Gumilyov. Like Bulgakov, and Mandelstam, and Zamyatin, Akhmatova felt like a hunted wolf. She more than once compared herself to a beast, torn to pieces and hung up on a bloody hook.

You me, like a killed animal, Raise the hook on the bloody one.

Akhmatova was well aware of her rejection in the “dungeon state”:

Not the lyre of a lover

I'm going to captivate the people -

Ratchet of the Leper

Sings in my hand.

You manage to get laid

And howling and cursing

I will teach you to shy

You brave ones from me.

("The Leper's Ratchet")

In 1935, she wrote an invective poem in which the theme of the poet's fate, tragic and high, is combined with a passionate philippic addressed to the authorities:

Why did you poison the water

And mixed bread with my mud?

Why the last freedom

Are you turning into a nativity scene?

Because I didn't bully

Over the bitter death of friends?

For the fact that I remained faithful

My sad homeland?

Let it be. Without executioner and chopping block

There will be no poet on earth.

We have penitential shirts.

Us with a candle to go and howl.

(“Why did you poison the water…”)

6. Analysis of the poem "Requiem".

All these poems prepared the poem "Requiem" by A. Akhmatova, which she created in the 1935-1940s. She kept the contents of the poem in her head, trusting only her closest friends, and wrote down the text only in 1961. The poem was first published 22 years after. death of its author, in 1988. "Requiem" was the main creative achievement of the poetess of the 30s. The poem ‘consists of ten poems, a prose prologue, called by the author “Instead of a preface”, a dedication, an introduction and a two-part epilogue. Talking about the history of the creation of the poem, A. Akhmatova writes in the prologue: “In the terrible years of the Yezhovshchina, I spent seventeen months in prison queues in Leningrad. Somehow, someone "recognized" me. Then the blue-eyed woman standing behind me, who, of course, had never heard my name in her life, woke up from the stupor characteristic of all of us and asked in my ear (everyone there spoke in a whisper):

Can you describe this? And I said

Then something like a smile flickered across what had once been her face.

Akhmatova complied with this request, creating a work about the terrible time of repression of the 30s (“It was when only the dead smiled, I am glad for peace”) and about the immeasurable grief of relatives (“Mountains bend before this grief”), who daily came to prisons, to the State Security Department, in a vain hope to learn something about the fate of their loved ones, to give them food and linen. In the introduction, the image of the City appears, but it now differs sharply from the former Akhmatov's Petersburg, for it is devoid of the traditional "Pushkin" splendor. This is a city attached to a giant prison that spread its gloomy buildings over a dead and motionless river (“The great river does not flow ...”):

It was when I smiled

Only the dead, happy with peace.

And dangled with an unnecessary pendant

Near the prisons of their Leningrad.

And when, mad with torment,

There were already condemned regiments,

And a short parting song

Locomotive whistles sang,

The death stars were above us

And innocent Russia writhed

Under the bloody boots

And under the tires of black marus.

The specific theme of the requiem sounds in the poem - lamentation for a son. Here, the tragic image of a woman is vividly recreated, from whom the person dearest to her is taken away:

They took you away at dawn

Behind you, as if walking away,

Children were crying in the dark room,

At the goddess, the candle swam.

Icons on your lips are cold

Death sweat on the brow... Don't forget!

I will be like archery wives,

Howl under the Kremlin towers.

But the work depicts not only the personal grief of the poetess. Akhmatova conveys the tragedy of all mothers and wives, both in the present and in the past (the image of "streltsy wives"). From a concrete real fact, the poetess moves on to large-scale generalizations, referring to the past.

In the poem, not only maternal grief sounds, but also the voice of a Russian poet, brought up on the Pushkin-Dostoevsky traditions of universal responsiveness. Personal misfortune helped to feel more acutely the misfortunes of other mothers, the tragedies of many people around the world in different historical eras. The tragedy of the 30s. associated in the poem with gospel events:

Magdalene fought and sobbed,

The beloved student turned to stone,

And to where silently Mother stood,

So no one dared to look.

The experience of a personal tragedy became for Akhmatova the comprehension of the tragedy of the whole people:

And I'm not praying for myself alone

And about everyone who stood there with me

And in the bitter cold, and in the July heat

Under the red, blinded wall -

she writes in the epilogue of the work.

The poem passionately appeals to justice, to ensure that the names of all the innocently convicted and dead become widely known to the people:

I would like to call everyone by name, Yes, they took away the list, and there is nowhere to find out. Akhmatova's work is truly a folk requiem: weeping for the people, the focus of all their pain, the embodiment of their hope. These are the words of justice and grief, with which "a hundred million people shout."

The poem "Requiem" is a vivid evidence of the citizenship of A. Akhmatova's poetry, which was often reproached for being apolitical. Responding to such insinuations, the poetess wrote in 1961:

No, and not under an alien sky,

And not under the protection of alien wings -

I was then with my people,

Where my people, unfortunately, were.

The poetess then put these lines as an epigraph to the poem "Requiem".

A. Akhmatova lived all the sorrows and joys of her people and always considered herself an integral part of it. Back in 1923, in the poem "To Many", she wrote:

I am the reflection of your face.

Vain wings flutter in vain, -

But still, I'm with you to the end ...

7. Akhmatova and the Second World War, blockade of Leningrad, evacuation.

Her lyrics, dedicated to the theme of the Great Patriotic War, are permeated with pathos of high civil sound. She considered the beginning of the Second World War as a stage of a world catastrophe, into which many peoples of the earth would be drawn. This is precisely the main meaning of her poems of the 30s: “When the era is being raked up”, “To Londoners”, “In the fortieth year” and others.

Enemy Banner

Melts like smoke

The truth is behind us

And we will win.

O. Bergholz, recalling the beginning of the Leningrad blockade, writes about Akhmatova of those days: “With a face closed in severity and anger, with a gas mask over her precho, she was on duty as an ordinary firefighter.”

A. Akhmatova perceived the war as a heroic act of the world drama, when people, drained of blood by internal tragedy (repressions), were forced to enter into a deadly battle with external world evil. In the face of mortal danger, Akhmatova makes an appeal to melt pain and suffering through the power of spiritual courage. It is about this - the poem "The Oath", written in July 1941:

And the one that today says goodbye to the dear, -

Let her melt her pain into strength.

We swear to children, we swear to graves,

That no one will force us to submit!

In this small but capacious poem, the lyrics develop into an epic, the personal becomes common, female, maternal pain is melted into a force that resists evil and death. Akhmatova is addressing women here: both to those with whom she stood at the prison wall before the war, and to those who now, at the beginning of the war, say goodbye to their husbands and loved ones, it is not for nothing that this poem begins with the repeated union “and” - it means continuation of the story about the tragedies of the century (“And the one that says goodbye to the dear today”). On behalf of all women, Akhmatova swears to her children and loved ones to be persistent. The graves represent the sacred sacrifices of the past and present, while the children symbolize the future.

Akhmatova often talks about children in her wartime poems. Children for her are young soldiers going to their death, and the dead Baltic sailors who hurried to the aid of the besieged Leningrad, and the neighbor's boy who died in the blockade, and even the statue "Night" from the Summer Garden:

Night!

In a starry veil

In mourning poppies, with a sleepless owl ...

Daughter!

How did we hide you?

Fresh garden soil.

Here, maternal feelings extend to works of art that preserve the aesthetic, spiritual and moral values ​​of the past. These values ​​that need to be preserved are also contained in the “great Russian word”, primarily in Russian literature.

Akhmatova writes about this in the poem "Courage" (1942), as if picking up the main idea of ​​Bunin's poem "The Word":

We know what's on the scales now

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 is not bitter to be homeless, -

And we will save 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

Forever!

During the war years, Akhmatova was evacuated in Tashkent. She wrote a lot, and all her thoughts were about the cruel tragedy of the war, about the hope of victory: “I meet the third spring far away / / From Leningrad. Third?//And it seems to me that she//Will be the last…”, she writes in the poem “I meet the third spring in the distance…”.

In the poems of Akhmatova of the Tashkent period, alternate and varying, now Russian, then Central Asian landscapes appear, imbued with a sense of national life going deep into the times, its steadfastness, strength, eternity. The theme of memory - about the past of Russia, about ancestors, about people close to her - is one of the most important war years in Akhmatova's work. These are her poems "Under Kolomna", "Smolensk Cemetery", "Three Poems", "Our Sacred Craft" and others. Akhmatova knows how to poetically convey the very presence of the living spirit of the time, history in today's people's lives.

In the very first post-war year A. Akhmatova suffered a cruel blow from the authorities. In 1946, the Central Committee of the All-Union Communist Party of Bolsheviks issued a resolution “On the magazines Zvezda and Leningrad”, in which the work of Akhmatova, Zoshchenko and some other Leningrad writers was subjected to annihilating criticism. In his speech to the Leningrad cultural figures, the secretary of the Central Committee A. Zhdanov attacked the poetess with a hail of rude and insulting attacks, stating that “the range of her poetry, an enraged lady, rushing between the boudoir and the chapel, is limited to squalor. The main thing in her is love-erotic motifs intertwined with motifs of sadness, longing, death, mysticism, doom. Everything was taken away from Akhmatova - the opportunity to continue working, to publish, to be a member of the Writers' Union. But she did not give up, believing that the truth would prevail:

Will they forget? - that's what surprised!

I've been forgotten a hundred times

A hundred times I lay in the grave

Where, perhaps, I am now.

And the Muse was both deaf and blind,

In the ground decayed with grain,

So that after, like a Phoenix from the ashes,

On the air rise blue.

("Forget - that's what surprised!")

During these years, Akhmatova did a lot of translation work. She translated Armenian, Georgian contemporary poets, poets of the Far North, French and ancient Koreans. She creates a number of critical works about her beloved Pushkin, writes memoirs about Blok, Mandelstam and other contemporary writers and past eras, and completes work on her largest work - “A Poem Without a Hero”, on which she worked intermittently from 1940 to 1961 years. The poem consists of three parts: "Petersburg Tale" (1913)", "Tails" and "Epilogue". It also includes several dedications relating to different years.

"A poem without a hero" is a work "about time and about myself." Everyday pictures of life are intricately intertwined here with grotesque visions, fragments of dreams, with memories displaced in time. Akhmatova recreates St. Petersburg in 1913 with its diverse life, where bohemian life is mixed with worries about the fate of Russia, with grave forebodings of social cataclysms that began from the moment of the First World War and the revolution. The author pays much attention to the theme of the Great Patriotic War, as well as the theme of Stalin's repressions. The narrative in "A Poem without a Hero" ends with the image of 1942 - the most difficult, turning point year of the war. But there is no hopelessness in the poem, but, on the contrary, faith in the people, in the future of the country sounds. This confidence helps the lyrical heroine overcome the tragic perception of life. She feels her involvement in the events of the time, in the deeds and accomplishments of the people:

And towards myself

Relentless, in the terrible darkness,

Like from a mirror in reality

Hurricane - from the Urals, from Altai

Faithful, young,

Russia went to save Moscow.

The theme of the Motherland, Russia appears more than once in her other poems of the 50s and 60s. The idea of ​​a person's blood belonging to his native land is broadly and philosophically

sounds in the poem "Native Land" (1961) - one of the best works of Akhmatova in recent years:

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.

Until the end of her days, A. Akhmatova did not leave creative work. She writes about her beloved St. Petersburg and its environs (“Tsarskoye Selo Ode”, “To the City of Pushkin”, “Summer Garden”), reflects on life and death. She continues to create works about the secret of creativity and the role of art (“I don’t need odic rati ...”, “Music”, “Muse”, “Poet”, “Listening to singing”).

In each poem by A. Akhmatova, we feel the heat of inspiration, the flood of feelings, a touch of mystery, without which there cannot be emotional tension, the movement of thought. In the poem “I don’t need odic ratis…”, dedicated to the problem of creativity, both the smell of tar, and the touching dandelion by the fence, and “the mysterious mold on the wall” are captured by one harmonizing glance. And their unexpected neighborhood under the artist's pen turns out to be a commonwealth, folds into a single musical phrase, into a verse that is "fervent, gentle" and sounds "to the delight" of everyone.

This idea of ​​the joy of being is characteristic of Akhmatova and is one of the main through-cut motifs of her poetry. There are many tragic and sad pages in her lyrics. But even when circumstances demanded that the “soul be petrified,” another feeling inevitably arose: “We must learn to live again.” To live even when it seems that all the forces have been exhausted:

God! You see I'm tired

Resurrect and die and live.

Take everything, but this scarlet rose

Let me feel fresh again.

These lines were written by a seventy-two year old poetess!

And, of course, Akhmatova did not stop writing about love, about the need for spiritual unity of two hearts. In this sense, one of the best poems of the poetess of the post-war years is “In a Dream” (1946):

Black and lasting separation

I carry with you on a par.

Why are you crying? Give me a better hand

Promise to come again in a dream.

I am with you, like grief with a mountain ...

I have no meeting with you.

If only you at midnight sometimes

He sent me greetings through the stars.

8. Death of Akhmatova.

A. A. Akhmatova died on May 5, 1966. Once Dostoevsky said to the young D. Merezhkovsky: "A young man must suffer in order to write." The lyrics of Akhmatova poured out of suffering, from the heart. Conscience was the main motivating force of her creativity. In a 1936 poem, “Some look into affectionate eyes ...” Akhmatova wrote:

Some look into gentle eyes,

Others drink until the sun's rays

And I'm negotiating all night

With an indomitable conscience.

This indomitable conscience forced her to create sincere, sincere poems, gave her strength and courage in the darkest days. In a brief autobiography written in 1965, Akhmatova admitted: “I did not stop writing poetry. For me, they are my connection with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal. This is true. Not only in the love poems that brought A. Akhmatova well-deserved fame, the talent of this outstanding poetess manifested itself. Her poetic dialogue with the World, with nature, with people was diverse, passionate and truthful.

Creativity Akhmatova

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