I don't need anything odic ratis.. - poems from the mature part of Akhmatova's work. The poetess turned on this work in a cycle called Secrets of the Craft, the essence of which, perhaps, should not be explained, it corresponds to its name. Anna Andreevna shares her thoughts on creative process, own position in poetic world and other aspects.
There is a saying about roses that require manure to grow. In fact, this is not only a biological fact, but also a rather beautiful metaphor that is applicable to many phenomena of this world, including the creation of poetry. After all, the artist, as you know, needs to suffer, the artist needs to see the dirt in order to be able to create pure beauty.
The poetess also writes about this “when you knew from what rubbish”, talking about the emergence of poems, which also appear on the basis of completely unattractive phenomena. Nevertheless, poems grow in spite of everything and “without shame”, that is, in a sense, they are impartial and real poetry, according to Akhmatova, is probably alien to such feelings as shame, they will always appear as naturally as plants on earth.
In the final line, the poetess points to possible variant creating a verse. The details here do not have a “shout”, “fresh smell of tar” and the “mysterious mold” located on the wall - only part of the world, involuntary details, from which the poet puts together his next mosaic. At the same time, the poet uses, so to speak, improvised means, that is, the world that is given to him.
As is known, mortal world far from ideal, in many ways, and the artist has no choice but to use this given, without thinking "from what rubbish" he composes another evidence of beauty and harmony. Although, if you look at the words of Akhmatova herself, then she adheres to the original opinion, in literally. The poetess considers it necessary to write such poems, where everything is “not the same as with people” and suggests abandoning some ossified patterns and forms in favor of creating something really valuable.
Option 2
In anyone's life creative person there comes a moment when he needs to rethink all his work and answer the question “for what and to whom all this is needed”. Anna Akhmatova was no exception, and the theme of the appointment of the poet and poetry became one of the central ones in her work. The proof of this is the creation of a whole collection of poems on this topic, “Secrets of the Craft”. These poems were created by Akhmatova for many years. Some of them were dedicated to the Muse and Mandelstam, while the rest were written for the common reader.
The poem “I don’t need odic ratis” was written in 1940. It was first published in the same year in the Zvezda magazine. This period was very successful in the life of the poetess. Soviet authority allowed her to publish the collection "From Six Books". Soon Akhmatova was accepted into the Writers' Union.
In the poem “I don’t need odic ratis,” the poetess talks about the principles that she follows when creating a work. She emphasizes that it is not necessary to follow generally accepted canons, the creation of a poem is best done as naturally as possible. The author is alien High style, odes and elegies. Perhaps this is due to the fact that Akhmatova wants to emphasize the originality of women's poetry, which, in her opinion, is characterized by strong sensitivity and the absence of hackneyed phrases and turns in speech. Also no less important for Akhmatova is the emergence of a poem from everyday things, which she calls rubbish. It is important to pay great attention little things, and then the result of creation will be a true masterpiece that will bring joy to the reader. Poems should reflect inner world author, so his life should be eventful and spiritually rich.
The lyrical hero is the poetess herself, who talks about the theme of her work. The poem is written in iambic. Rhyming - cross with a combination of male and feminine rhyme. The poem uses many means artistic expressiveness: metaphors (odic rati, elegiac undertakings), epithets (verse is fervent, gentle), comparisons (like a yellow dandelion near a fence, like burdocks and quinoa).
Analysis of the poem I do not need odic rati according to plan
Perhaps you will be interested
- Analysis of the poem Mother Nekrasov
The poet's childhood passed in not the best conditions for a child. Tyranny on the part of his father brought a lot of grief to his mother, seeing all this, little Nikolai felt great annoyance and embarrassment for being unable to influence the atmosphere in the family and protect his mother.
"Chrysostom Anna of All Russia" became not only a poetic, but also an ethical, moral sign of its age. “The harsh era turned me like a river,” Akhmatova wrote, referring to her life path and, inseparable from it, her literary path. Akhmatova's poetry has become a kind of bridge laid from the classics of the nineteenth century to our days.
Akhmatova is one of the few poetesses, because almost everyone believed that "Being a poet is absurd for a woman". Akhmatova's husband, Nikolai Gumilyov, also adhered to this point of view. But after all, talent does not look at who you are - a man or a woman - but simply finds a “shelter” with a person who can convey to the reader all the experiences, his own and the whole country, feelings, a person who can realize the purpose of this gift.
The seventh veil of fog has fallen, -
The one that brings spring. -
This is the epigraph to the cycle "Secrets of the Craft". This cycle showed that for Akhmatova, creativity is inseparable from life: without life, an important manifestation of which is love, there would be no poetry. Love is a feeling born of life itself. In turn, the process of creativity is equated to the processes that occur in life, in nature. The duty of the poet is not to invent, but simply, having heard the song of time, write it down. Poem "I don't need odic ratis" helps to understand what is being done and done in life:
When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.
This "litter" becomes fertile ground for "ripening" the truth of poetry, which raises a person with it ...
I don’t know why, but when I read this poem, I imagined an old rickety house, around which there is the same dilapidated fence. But he, the fence, is hardly visible because of the mugs. Cheerful children run around the house, laughing loudly. Parents shout at them, asking them not to make noise, but the guys do not listen, laughing louder and louder. Oddly enough, children are among this "outback" where everything is so dilapidated, but dear to the heart, will grow wonderful people. The same thing happens with poems: they are born from rubbish, but grown on the fresh smell of tar:
An angry shout, a fresh smell of tar
Mysterious mold on the wall...
And these already sounds, fervent, gentle,
For the joy of you and me.
Visual and expressive means-tropes increase the aesthetic impact on the reader, emphasize the splendor of the language. With the help of personifications, Akhmatova was able to most accurately show how poems are born, "grow": they do not need to be invented, but only, having heard, write down, and only then will they be poured into a song for people ( "verse sounds"). Understand that Akhmatova dearer poetry, although born from rubbish, but pleasing to the heart, because both the smell of tar and mold on the wall remind of something personal, mysterious, epithets help (odic rati, elegiac undertakings, an angry shout, a fresh smell, mysterious mold).
Melodiousness, expressiveness of the poem is given by the cross rhyme:
I don't need odic ratis
And the charm of elegiac undertakings
For me, in poetry everything should be out of place
Not like people do.
characteristic stylistic figure such as the lack of union that is present in the third stanza, Akhmatova shows the fleeting moment of the birth of the verse. This moment can be lost, but if this does not happen, then the poem, inspired by life itself, will delight with enthusiasm and tenderness.
The writing
Creativity A. Akhmatova - unique phenomenon in Russian poetry. And although history knew many poetesses even before Akhmatova, she was the only one who managed to become the voice of her era, and then step over all time limits. Laconic and outwardly simple, Akhmatov's poems are extremely saturated with poetic thought and are distinguished by the depth and strength of feeling. After the very first book of poems, Akhmatova began to be perceived as a brilliant artist of female love in all its manifestations. Later, other traditional themes and motifs of Russian poetry sounded in her lyrics, and they also sounded traditional in many ways, since the origins of Akhmatova's work are in classical Russian literature, and above all in the work of Derzhavin and Nekrasov, Pushkin and Lermontov. Like any poet, A. Akhmatova often refers to the topic poetic craft. However, despite the obvious echo in her poems with classical poetry, the view of the poetess is largely original. In this regard, consider the poem by A. Akhmatova “I don’t need odic rati ...”
This is little poem written in 1940 and is part of a cycle called "Secrets of the Craft", created over several years. The very first stanza gives the poetic narrative an intonation of sincerity. Confession lyrical heroine sounds very subjective: “I don’t need anything ...”, “for me ...” In general, the first stanza prompts us to think, especially its last two lines:
For me, in poetry everything should be out of place,
Not like people do.
“Inopportunely” means “at the wrong time”, “not in right moment". In other words, poetry, according to the author, should surprise us with unexpectedness, freshness of thought.
And then we seem to “hear” something similar to the sigh of the lyrical heroine:
When would you know from what rubbish
Poems grow without shame...
It is difficult to unambiguously say that “litter” is used metaphorically here. Thoughts of the poet, life impressions, or maybe life itself? however, we are more fascinated by the line: “Poems grow, knowing no shame ...” It contains both the animation of poetic creation and a certain independence of the creative process from the will of the creator. And then such unexpected and at the same time logically justified comparisons:
Like a yellow dandelion by the fence
Like burdock and quinoa.
In general, Akhmatova had amazing ability see the unusual in the world around her everyday life. In her poems, everything turned into poetry, in other words, everything was worthy of a poetic word, even "the mysterious mold on the wall." The ellipsis at the end of this line is perceived as a pause filled in by the creative process. And then there are lines that begin in a very Pushkinish way: “And the verse already sounds ...” In Pushkin’s poem “Autumn” we find similar words: "A minute - and the verses will flow freely." This similarity is not accidental. Akhmatova clearly shared Alexander Sergeevich's opinion about basically free creativity. By the time of the creation of these poems, their authors were already long-recognized masters of the word, and therefore we cannot help but share their opinions.
Final lines Akhmatov's poems, charged with the energy of the author, sound especially emotional. In general, Akhmatova's poetic narrative is imbued with a mood of vivacity and optimism. This is largely facilitated by the poetess chosen poetic size iambic (by the way, the most popular size in Russian versification). And the omissions of stress found in each line give the poem a shade of reflection, poetic reflection.
One cannot but say that Akhmatov's poems are not distinguished by the richness of the means of expression used by the author. The poetess clearly preferred small volume and simplicity. poetic speech. And at the same time, her poems, in the words of Pushkin, "captivated by the charm of naked simplicity." And behind this routine artistic speech Akhmatova is hiding deep meaning, which not least contributes to compositional harmony Akhmatov's poem, beginning and ending with the same word "me". This harmony gives poetic thought a special integrity, completeness.
Surprisingly, the poverty of verbal vocabulary does not deprive the poem of a sense of the fullness of being. In the poetic text, the spring breath of life is clearly felt. We see "yellow dandelion near the fence", we "breathe" "fresh smell of tar". In general, we most often associate the birth of the new with the springtime ("poems grow").
However the main idea The poem is heard in its final lines:
And the verse already sounds, fervent, gentle,
For the joy of you and me.
Thus, the main purpose of poetry, according to the author, is the ability to give people joy, the joy of contact with the creations of high art.
Other writings on this work
Poem by A. A. Akhmatova “I don’t need odic rati ...” (Perception, interpretation, assessment.) Poem by A. A. Akhmatova “Twenty-first. Night. Monday...". (Perception, interpretation, evaluation)Anna Akhmatova
SECRETS OF THE CRAFTS
1. Creativity
It happens like this: some kind of languor;
In the ears the clock does not stop;
In the distance, a rumble of fading thunder.
Unrecognized and captive voices
I feel both complaints and groans,
Some kind of secret circle narrows,
But in this abyss of whispers and calls
One, victorious sound rises.
So irremediably quiet around him,
What is heard, how grass grows in the forest,
How dashingly walks on the ground with a knapsack ...
But the words have already been heard
And light rhymes alarm bells -
Then I begin to understand
And just dictated lines
Lie down in a snow-white notebook.
I don't need odic ratis
And the charm of elegiac undertakings.
For me, in poetry everything should be out of place,
Not like people do.
When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.
An angry cry, a fresh smell of tar,
Mysterious mold on the wall...
And the verse already sounds, fervent, gentle,
For the joy of you and me.
Osip Mandelstam
I will bend over them like over a bowl,
There are countless treasured notes in them -
Of our bloodied youth
This is black tender news.
The same air, the same over the abyss
I once breathed in the night
In that night, both empty and iron,
Where in vain call and shout.
Oh, how spicy is the breath of a clove,
I once dreamed there -
It's the Eurydice whirling
The bull carries Europe on the waves.
These are our shadows rushing by
Over the Neva, over the Neva, over the Neva,
It splashes the Neva on the steps,
This is your ticket to immortality.
These are the keys to the apartment,
About which now no goog ...
This is the voice of the mysterious lyre,
In the afterlife visiting meadow.
Much more probably wants
To be sung by my voice:
That which, wordless, rumbles,
Or in the darkness the underground stone sharpens,
Or breaks through the smoke.
I don't have accounts
With fire and wind and water...
That's why my drowsiness
Suddenly the gates will open
And lead the morning star.
I don't need odic ratis
And the charm of elegiac undertakings.
For me, in poetry everything should be out of place,
Not like people do.
When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.
An angry cry, a fresh smell of tar,
Mysterious mold on the wall...
And the verse already sounds, fervent, gentle,
For the joy of you and me.
-
-
Every poet has a period in his life when he begins to think about his own work, rethink it and look for an answer to a single question: why and who needs all this? Anna Akhmatova is no exception in this regard, and an example of this is the cycle of 10 works, combined common name"Secrets of the Craft".
The poems included in it were written between 1936 and 1960. Among them there is a dedication to Osip Mandelstam, an appeal to the capricious Muse and to the no less capricious reader. Standing apart in the cycle is the poem “I don’t need odic rati…”, in which the poetess talks about her principles when working on works.
Anna Akhmatova emphasizes that in her work she is very far from generally accepted canons, although in reality this is far from the case. Nevertheless, the author claims that odes and elegies, pompous style, regularity and grace are alien to her. “For me, everything in poetry should be out of place, not the way people do,” notes Anna Akhmatova. This is her principled position, which is based on the desire to stand out from the crowd and prove that there is women's poetry, which can be sensual, witty, devoid of cliches and hackneyed speech turns.
Another important point the poetess considers the motives that induce her to creativity. She does not need to create any special environment in order to write poetry. They, according to the poetess, grow out of rubbish, "knowing no shame." This means that any trifle overlooked by a hardened and recognized author. It may become an occasion for a small masterpiece to be born from under the pen of Akhmatova. The poetess herself is not at all embarrassed by this, but, on the contrary, emphasizes that her poems are somewhat like weeds - dandelion, burdock and quinoa.
Akhmatov carefully hides the mystery of the birth of a new work from readers, believing that he simply has no right to initiate anyone into this process. However, with skillful strokes she describes the environment in which she is used to working – “an angry shout”, a fresh smell of tar, a mysterious mold on the wall…”. This world is familiar and understandable to Akhmatova, but it has nothing to do with what her poems are filled with. They are a reflection of her inner life, rich and saturated, which, of course, is closely connected with everyday life. But the dullness of everyday life very rarely penetrates into this mysterious world, where "the verse already sounds, fervent, gentle for the joy of you and me."
