Early collections of Anna Andreevna Akhmatova as a lyrical diary of the poetess. Research

Anna Andreevna Akhmatova (surname at birth - Gorenko; June 11, 1889, Odessa, Russian Empire - March 5, 1966, Domodedovo, Moscow Region, RSFSR, USSR) - one of the largest Russian poets of the 20th century, writer, literary critic, literary critic, translator.
The fate of the poet was tragic. Although she herself was not imprisoned or exiled, three people close to her were subjected to repressions (her husband in 1910-1918 N. S. Gumilyov was shot in 1921; Nikolai Punin, her life partner in the 1930s, was arrested three times , died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930s-1940s and in the 1940s-1950s). The grief of the widow and mother of the imprisoned "enemies of the people" is reflected in one of the most famous works of Akhmatova - the poem "Requiem".
Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was silenced, censored and hounded, many of her works were not published not only during the life of the author, but also for more than two decades after her death. Even during her lifetime, her name was surrounded by fame among a wide range of poetry admirers both in the USSR and in exile.
Biography
Akhmatova adjoined acmeism (collections Evening, 1912, Rosary, 1914). Loyalty to the moral foundations of life, the psychology of women's feelings, comprehension of the nationwide tragedies of the 20th century, coupled with personal experiences, attraction to the classical style of poetic language in the collection “The Run of Time. Poems. 1909-1965". Autobiographical cycle of poems "Requiem" (1935-1940; published 1987) about the victims of the repressions of the 1930s. In "A Poem Without a Hero" (published in full in 1976), there is a recreation of the era of the "Silver Age". Articles about the Russian poet Alexander Sergeevich Pushkin.
Family. Childhood. Studies. Anna Akhmatova was born on June 23, 1889, in Bolshoi Fontan, near Odessa. Her maternal ancestors, according to family tradition, ascended to the Tatar Khan Akhmat. Father - a mechanical engineer in the Navy, occasionally engaged in journalism. As a child, Akhmatova lived in Tsarskoye Selo, where in 1903 she met Nikolai Stepanovich Gumilyov and became a constant recipient of his poems. In 1905, after the divorce of her parents, she moved to Evpatoria. In 1906-1907, Anna Andreevna studied at the Fundukleevskaya gymnasium in Kyiv, in 1908-1910 - at the legal department of the Kiev Higher Women's Courses. Then she attended the women's historical and literary courses of N.P. Raev in St. Petersburg (early 1910s).
Gumilyov. In the spring of 1910, after several refusals, Anna Akhmatova agreed to become Gumilyov's wife (in 1910-1916 she lived with him in Tsarskoye Selo); on her honeymoon, she made her first trip abroad, to Paris (she visited there again in the spring of 1911), met Amedeo Modigliani, who made pencil portrait sketches of her. In the spring of 1912, the Gumilyovs traveled around Italy; in September their son Leo was born. In 1918, having divorced Gumilyov (in fact, the marriage broke up in 1914), Akhmatova married the Assyriologist and poet Vladimir Kazimirovich Shileiko (real name Voldemar).

The first publications of Anna Akhmatova. First collections. Writing poetry from the age of 11 and publishing from the age of 18 (the first publication was in the Sirius magazine published by Gumilyov in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience in the summer of 1910. Defending spiritual independence from the very beginning of family life, Anna made an attempt printed without the help of Gumilyov - in the fall of 1910 she sent poems to V. Ya. from Bryusov, they were published. Upon Gumilyov's return from his African trip, Akhmatova reads to him everything she had composed during the winter and for the first time received full approval of her literary experiments. Since that time, she has become a professional writer. Released a year later, her collection "Evening" found a very quick success. In the same 1912 participants recently arr. of the founded "Workshop of Poets" (Akhmatova was elected his secretary), they announce the emergence of a poetic school of acmeism.
Akhmatova's life in 1913 proceeded under the sign of growing metropolitan fame: Anna spoke to a crowded audience at the Higher Women's Courses, artists painted her portraits, poets addressed her with poetic messages. New, more or less long-term intimate attachments of Akhmatova arose - to the poet and critic N. V. Nedobrovo, to the composer A. S. Lurie, and others. all-Russian fame, which gave rise to numerous imitations, and approved the concept of "Akhmatov's line" in the literary consciousness. In the summer of 1914, Akhmatova wrote the poem “By the Sea”, which goes back to childhood experiences during summer trips to Chersonese near Sevastopol.
"White Flock". With the outbreak of the First World War, Anna Akhmatova sharply limited her public life. At this time, she suffered from tuberculosis, a disease that did not let her go for a long time. An in-depth reading of the classics (A. S. Pushkin, Evgeny Abramovich Baratynsky, Jean Racine, etc.) affects her poetic manner, the sharply paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism guesses in her collection The White Flock (1917) the growing "sense of personal life as a national, historical life." Inspiring in her early poems the atmosphere of "mystery", the aura of autobiographical context, Anna Andreevna introduced free "self-expression" as a stylistic principle into high poetry. The seeming fragmentation, dissonance, spontaneity of lyrical experience is more and more clearly subject to a strong integrating principle, which gave Vladimir Vladimirovich Mayakovsky reason to remark: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.”
Post-revolutionary years. The first post-revolutionary years in the life of Anna Akhmatova were marked by hardships and complete estrangement from the literary environment, but in the fall of 1921, after the death of Blok, the execution of Gumilyov, she, having parted with Shileiko, returned to active work - she participated in literary evenings, in the work of writers' organizations, published in periodicals . In the same year, two of her collections were released - "Plantain" and "Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova joined her fate with art historian Nikolai Nick. olaevich Punin.
Years of silence. "Requiem". In 1924, Akhmatova's new poems were published for the last time before a long break, after which an unspoken ban was imposed on her name. Only translations appeared in the press, as well as an article about Pushkin's The Tale of the Golden Cockerel. In 1935, her son L. Gumilyov and Punin were arrested, but after Akhmatova's written appeal to Stalin, they were released. In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities; in 1938 Anna Andreevna's son was again arrested. The experiences of these painful years clothed in verses made up the Requiem cycle, which the poetess did not dare to fix on paper for two decades. In 1939, after a half-interested remark by Stalin, publishing authorities offered Anna a number of publications. Her collection "From Six Books" was published, which included, along with strict censorship selection, old poems and new works that arose after many years of silence. Soon, however, the collection was subjected to ideological scrutiny and withdrawn from libraries.
War. Evacuation. In the first months of the Great Patriotic War, Anna Akhmatova wrote poster poems. By order of the authorities, she was evacuated from Leningrad before the first blockade winter, she spends two and a half years in Tashkent. She wrote many poems, worked on "A Poem without a Hero" (1940-1965) - a baroque-complicated epic about the St. Petersburg 1910s.
Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. In 1945-1946, Anna Andreevna incurred the wrath of Stalin, who learned about the visit of the English historian Isaiah Berlin to her. The Kremlin authorities made her, along with Mikhail Mikhailovich Zoshchenko, the main object of party criticism, the decree of the Central Committee of the All-Union Communist Party of Bolsheviks directed against them “On the magazines Zvezda and Leningrad” (1946) tightened the ideological dictate and control over the Soviet intelligentsia, misled by the liberating spirit national unity during the war. Again there was a ban on publications; an exception was made in 1950, when Akhmatova feigned loyal feelings in her poems, written for the anniversary of Stalin in a desperate attempt to alleviate the fate of her son, once again subjected to imprisonment.
last years of life. In the last decade of A. Akhmatova's life, her poems gradually, overcoming the resistance of party bureaucrats, the timidity of editors, come to a new generation of readers. In 1965, the final collection "The Run of Time" was published. At the end of her days, she was allowed to accept the Italian literary prize Etna-Taormina (1964) and an honorary doctorate from Oxford University (1965).

Creative activity
One of the most talented poets of the Silver Age, Anna Akhmatova lived a long life full of both bright moments and tragic events. She was married three times, but she did not experience happiness in any marriage. She witnessed two world wars, during each of which she experienced an unprecedented creative upsurge. She had a difficult relationship with her son, who became a political repressant, and until the end of her life, the poetess believed that she preferred creativity to love for him.
Anna Andreeva Gorenko was born on June 11, 1889 in Odessa. Her father, Andrei Antonovich Gorenko, was a retired captain of the second rank, after completing his naval service, he received the rank of collegiate assessor. The mother of the poetess, Inna Stogova, was an intelligent, well-read woman who made friends with representatives of the creative elite of Odessa. However, Akhmatova will not have childhood memories of the “pearl by the sea” - when she was one year old, the Gorenko family moved to Tsarskoye Selo near St. Petersburg. From childhood, Anna was taught French language and secular etiquette, which was familiar to any girl from an intelligent family. Anna received her education at the Tsarskoye Selo Women's Gymnasium, where she met her first husband Nikolai Gumilyov and wrote her first poems. Having met Anna at one of the gala evenings at the gymnasium, Gumilyov was fascinated by her and since then the fragile dark-haired girl has become the constant muse of his work.
First verse Akhmatova composed at the age of 11 and after that she began to actively improve herself in the art of versification. The poet's father considered this occupation frivolous, therefore he forbade her to sign her creations with the name Gorenko. Then Anna took the maiden name of her great-grandmother - Akhmatova. However, very soon her father completely ceased to influence her work - her parents divorced, and Anna and her mother moved first to Evpatoria, then to Kyiv, where from 1908 to 1910 the poetess studied at the Kiev Women's Gymnasium. In 1910 Akhmatova married her longtime admirer Gumilyov. Nikolai Stepanovich, who was already a fairly well-known personality in poetic circles, contributed to the publication of his wife's poetic developments. Akhmatova's first poems began to be published in various publications since 1911, and in 1912 her first full-fledged poetry collection, Evening, was published. In 1912, Anna gave birth to a son, Leo, and in 1914 she became famous - the collection "Rosary" received good reviews from critics, Akhmatova began to be considered a fashionable poetess. Gumilyov's patronage by that time ceases to be necessary, and discord sets in in the relationship of the spouses. In 1918, Akhmatova divorced Gumilyov and married the poet and scientist Vladimir Shileiko. However, this marriage was also short-lived - in 1922 the poetess divorced him too, in order to marry six months later with art critic Nikolai Punin. Paradox: subsequently, Punin will be arrested almost at the same time as Akhmatova's son, Lev, but Punin will be released, and Lev will go through the stage. Akhmatova's first husband, Nikolai Gumilyov, would already be dead by that time: he would be shot in August 1921.

Last published collection Anna Andreevna dates back to 1924. After that, her poetry falls into the field of view of the NKVD as "provocative and anti-communist." The poetess is very upset by the inability to publish, she writes a lot "on the table", the motives of her poetry change from romantic to social. After the arrest of her husband and son, Akhmatov began work on the poem "Requiem". The "fuel" for the creative frenzy was the soul-exhausting experiences for the native people. The poetess was well aware that under the current government this creation would never see the light of day, and in order to somehow remind readers of herself, Akhmatova wrote a number of “sterile” poems from the point of view of ideology, which, together with censored old poems, make up the collection “Out of Six books, published in 1940.
Akhmatova spent the entire Second World War in the rear, in Tashkent. Almost immediately after the fall of Berlin, the poetess returned to Moscow. However, there she was no longer considered a "fashionable" poetess: in 1946, her work was criticized at a meeting of the Writers' Union, and soon Akhmatova was expelled from the SSP. Soon another blow falls on Anna Andreevna: the second arrest of Lev Gumilyov. For the second time, the son of the poetess was sentenced to ten years in the camps. All this time, Akhmatova tried to pull him out, scribbled requests to the Politburo, but no one listened to them. Lev Gumilyov himself, not knowing anything about the efforts of his mother, decided that she had not made enough efforts to help him, so after his release, he distanced himself from her.
In 1951, Akhmatova was reinstated in the Union of Soviet Writers and she is gradually returning to active creative work. In 1964, she was awarded the prestigious Italian literary prize "Etna-Torina" and she is allowed to receive it, since the times of total repression have passed, and Akhmatova has ceased to be considered an anti-communist poetess. In 1958, the collection "Poems" was published, in 1965 - "The Run of Time". Then, in 1965, a year before her death, Akhmatova received her doctorate from Oxford University. Anna Andreevna Akhmatova died on March 5, 1966 in Domodedovo near Moscow.
The main achievements of Akhmatova
1912 - collection of poems "Evening"
1914-1923 - a series of poetry collections "Rosary", consisting of 9 editions.
1917 - collection "White flock".
1922 - collection "Anno Domini MCMXXI".
1935-1940 - writing the poem "Requiem"; first publication - 1963, Tel Aviv.
1940 - collection "From six books".
1961 - collection of selected poems, 1909-1960.
1965 - the last lifetime collection, "The Run of Time".
Interesting facts from the life of Akhmatova
Throughout her life, Akhmatova kept a diary, excerpts from which were published in 1973. On the eve of her death, going to bed, the poetess wrote that she was sorry that her Bible was not here, in the cardiological sanatorium. Apparently, Anna Andreevna had a premonition that the thread of her earthly life was about to break.
Akhmatova's "Poem Without a Hero" contains the lines: "clear voice: I'm ready for death." These words sounded in life too: they were spoken by Akhmatova's friend and colleague in the Silver Age, Osip Mandelstam, when they, along with the poetess, walked along Tverskoy Boulevard.
After the arrest of Lev Gumilyov, Akhmatova, along with hundreds of other mothers, went to the infamous Kresty prison. One day, one of the women, exhausted by expectation, saw the poetess and recognized her and asked, “Can you describe this?”. Akhmatova answered in the affirmative, and it was after this incident that she began working on Requiem.
Before her death, Akhmatova nevertheless became close to her son Leo, who for many years harbored an undeserved grudge against her. After the death of the poetess, Lev Nikolayevich took part in the construction of the monument together with his students (Lev Gumilyov was a doctor of Leningrad University). There was not enough material, and the gray-haired doctor, along with the students, wandered the streets in search of stones.

The first publications of Anna Akhmatova. First collections. Writing poetry from the age of 11 and publishing from the age of 18 (the first publication was in the Sirius magazine published by Gumilyov in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience in the summer of 1910. Defending spiritual independence from the very beginning of family life, Anna made an attempt printed without the help of Gumilyov - in the fall of 1910 she sent poems to V. Ya. from Bryusov, they were published. Upon Gumilyov's return from his African trip, Akhmatova reads to him everything she had composed during the winter and for the first time received full approval of her literary experiments. Since that time, she has become a professional writer. Released a year later, her collection "Evening" found a very quick success. In the same 1912 participants recently arr. of the founded "Workshop of Poets" (Akhmatova was elected his secretary), they announce the emergence of a poetic school of acmeism.
Akhmatova's life in 1913 proceeded under the sign of growing metropolitan fame: Anna spoke to a crowded audience at the Higher Women's Courses, artists painted her portraits, poets addressed her with poetic messages. New, more or less long-term intimate attachments of Akhmatova arose - to the poet and critic N. V. Nedobrovo, to the composer A. S. Lurie, and others. all-Russian fame, which gave rise to numerous imitations, and approved the concept of "Akhmatov's line" in the literary consciousness. In the summer of 1914, Akhmatova wrote the poem “By the Sea”, which goes back to childhood experiences during summer trips to Chersonese near Sevastopol.
"White Flock". With the outbreak of the First World War, Anna Akhmatova sharply limited her public life. At this time, she suffered from tuberculosis, a disease that did not let her go for a long time. An in-depth reading of the classics (A. S. Pushkin, Evgeny Abramovich Baratynsky, Jean Racine, etc.) affects her poetic manner, the sharply paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism guesses in her collection The White Flock (1917) the growing "sense of personal life as a national, historical life." Inspiring in her early poems the atmosphere of "mystery", the aura of autobiographical context, Anna Andreevna introduced free "self-expression" as a stylistic principle into high poetry. The seeming fragmentation, dissonance, spontaneity of lyrical experience is more and more clearly subject to a strong integrating principle, which gave Vladimir Vladimirovich Mayakovsky reason to remark: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.”
Post-revolutionary years. The first post-revolutionary years in the life of Anna Akhmatova were marked by hardships and complete estrangement from the literary environment, but in the fall of 1921, after the death of Blok, the execution of Gumilyov, she, having parted with Shileiko, returned to active work - she participated in literary evenings, in the work of writers' organizations, published in periodicals . In the same year, two of her collections were released - "Plantain" and "Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova joined her fate with art historian Nikolai Nick. olaevich Punin.
Years of silence. "Requiem". In 1924, Akhmatova's new poems were published for the last time before a long break, after which an unspoken ban was imposed on her name. Only translations appeared in the press, as well as an article about Pushkin's The Tale of the Golden Cockerel. In 1935, her son L. Gumilyov and Punin were arrested, but after Akhmatova's written appeal to Stalin, they were released. In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities; in 1938 Anna Andreevna's son was again arrested. The experiences of these painful years clothed in verses made up the Requiem cycle, which the poetess did not dare to fix on paper for two decades. In 1939, after a half-interested remark by Stalin, publishing authorities offered Anna a number of publications. Her collection "From Six Books" was published, which included, along with strict censorship selection, old poems and new works that arose after many years of silence. Soon, however, the collection was subjected to ideological scrutiny and withdrawn from libraries.
War. Evacuation. In the first months of the Great Patriotic War, Anna Akhmatova wrote poster poems. By order of the authorities, she was evacuated from Leningrad before the first blockade winter, she spends two and a half years in Tashkent. She wrote many poems, worked on "A Poem without a Hero" (1940-1965) - a baroque-complicated epic about the St. Petersburg 1910s.
Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. In 1945-1946, Anna Andreevna incurred the wrath of Stalin, who learned about the visit of the English historian Isaiah Berlin to her. The Kremlin authorities made her, along with Mikhail Mikhailovich Zoshchenko, the main object of party criticism, the decree of the Central Committee of the All-Union Communist Party of Bolsheviks directed against them “On the magazines Zvezda and Leningrad” (1946) tightened the ideological dictate and control over the Soviet intelligentsia, misled by the liberating spirit national unity during the war. Again there was a ban on publications; an exception was made in 1950, when Akhmatova feigned loyal feelings in her poems, written for the anniversary of Stalin in a desperate attempt to alleviate the fate of her son, once again subjected to imprisonment.
last years of life. In the last decade of A. Akhmatova's life, her poems gradually, overcoming the resistance of party bureaucrats, the timidity of editors, come to a new generation of readers. In 1965, the final collection "The Run of Time" was published. At the end of her days, she was allowed to accept the Italian literary prize Etna-Taormina (1964) and an honorary doctorate from Oxford University (1965).

Creative activity
One of the most talented poets of the Silver Age, Anna Akhmatova lived a long life full of both bright moments and tragic events. She was married three times, but she did not experience happiness in any marriage. She witnessed two world wars, during each of which she experienced an unprecedented creative upsurge. She had a difficult relationship with her son, who became a political repressant, and until the end of her life, the poetess believed that she preferred creativity to love for him.
Anna Andreeva Gorenko was born on June 11, 1889 in Odessa. Her father, Andrei Antonovich Gorenko, was a retired captain of the second rank, after completing his naval service, he received the rank of collegiate assessor. The mother of the poetess, Inna Stogova, was an intelligent, well-read woman who made friends with representatives of the creative elite of Odessa. However, Akhmatova will not have childhood memories of the “pearl by the sea” - when she was one year old, the Gorenko family moved to Tsarskoye Selo near St. Petersburg. From childhood, Anna was taught French language and secular etiquette, which was familiar to any girl from an intelligent family. Anna received her education at the Tsarskoye Selo Women's Gymnasium, where she met her first husband Nikolai Gumilyov and wrote her first poems. Having met Anna at one of the gala evenings at the gymnasium, Gumilyov was fascinated by her and since then the fragile dark-haired girl has become the constant muse of his work.
First verse Akhmatova composed at the age of 11 and after that she began to actively improve herself in the art of versification. The poet's father considered this occupation frivolous, therefore he forbade her to sign her creations with the name Gorenko. Then Anna took the maiden name of her great-grandmother - Akhmatova. However, very soon her father completely ceased to influence her work - her parents divorced, and Anna and her mother moved first to Evpatoria, then to Kyiv, where from 1908 to 1910 the poetess studied at the Kiev Women's Gymnasium. In 1910 Akhmatova married her longtime admirer Gumilyov. Nikolai Stepanovich, who was already a fairly well-known personality in poetic circles, contributed to the publication of his wife's poetic developments. Akhmatova's first poems began to be published in various publications since 1911, and in 1912 her first full-fledged poetry collection, Evening, was published. In 1912, Anna gave birth to a son, Leo, and in 1914 she became famous - the collection "Rosary" received good reviews from critics, Akhmatova began to be considered a fashionable poetess. Gumilyov's patronage by that time ceases to be necessary, and discord sets in in the relationship of the spouses. In 1918, Akhmatova divorced Gumilyov and married the poet and scientist Vladimir Shileiko. However, this marriage was also short-lived - in 1922 the poetess divorced him too, in order to marry six months later with art critic Nikolai Punin. Paradox: subsequently, Punin will be arrested almost at the same time as Akhmatova's son, Lev, but Punin will be released, and Lev will go through the stage. Akhmatova's first husband, Nikolai Gumilyov, would already be dead by that time: he would be shot in August 1921.

Last published collection Anna Andreevna dates back to 1924. After that, her poetry falls into the field of view of the NKVD as "provocative and anti-communist." The poetess is very upset by the inability to publish, she writes a lot "on the table", the motives of her poetry change from romantic to social. After the arrest of her husband and son, Akhmatov began work on the poem "Requiem". The "fuel" for the creative frenzy was the soul-exhausting experiences for the native people. The poetess was well aware that under the current government this creation would never see the light of day, and in order to somehow remind readers of herself, Akhmatova wrote a number of “sterile” poems from the point of view of ideology, which, together with censored old poems, make up the collection “Out of Six books, published in 1940.
Akhmatova spent the entire Second World War in the rear, in Tashkent. Almost immediately after the fall of Berlin, the poetess returned to Moscow. However, there she was no longer considered a "fashionable" poetess: in 1946, her work was criticized at a meeting of the Writers' Union, and soon Akhmatova was expelled from the SSP. Soon another blow falls on Anna Andreevna: the second arrest of Lev Gumilyov. For the second time, the son of the poetess was sentenced to ten years in the camps. All this time, Akhmatova tried to pull him out, scribbled requests to the Politburo, but no one listened to them. Lev Gumilyov himself, not knowing anything about the efforts of his mother, decided that she had not made enough efforts to help him, so after his release, he distanced himself from her.
In 1951, Akhmatova was reinstated in the Union of Soviet Writers and she is gradually returning to active creative work. In 1964, she was awarded the prestigious Italian literary prize "Etna-Torina" and she is allowed to receive it, since the times of total repression have passed, and Akhmatova has ceased to be considered an anti-communist poetess. In 1958, the collection "Poems" was published, in 1965 - "The Run of Time". Then, in 1965, a year before her death, Akhmatova received her doctorate from Oxford University. Anna Andreevna Akhmatova died on March 5, 1966 in Domodedovo near Moscow.
The main achievements of Akhmatova
1912 - collection of poems "Evening"
1914-1923 - a series of poetry collections "Rosary", consisting of 9 editions.
1917 - collection "White flock".
1922 - collection "Anno Domini MCMXXI".
1935-1940 - writing the poem "Requiem"; first publication - 1963, Tel Aviv.
1940 - collection "From six books".
1961 - collection of selected poems, 1909-1960.
1965 - the last lifetime collection, "The Run of Time".
Interesting facts from the life of Akhmatova
Throughout her life, Akhmatova kept a diary, excerpts from which were published in 1973. On the eve of her death, going to bed, the poetess wrote that she was sorry that her Bible was not here, in the cardiological sanatorium. Apparently, Anna Andreevna had a premonition that the thread of her earthly life was about to break.
Akhmatova's "Poem Without a Hero" contains the lines: "clear voice: I'm ready for death." These words sounded in life too: they were spoken by Akhmatova's friend and colleague in the Silver Age, Osip Mandelstam, when they, along with the poetess, walked along Tverskoy Boulevard.
After the arrest of Lev Gumilyov, Akhmatova, along with hundreds of other mothers, went to the infamous Kresty prison. One day, one of the women, exhausted by expectation, saw the poetess and recognized her and asked, “Can you describe this?”. Akhmatova answered in the affirmative, and it was after this incident that she began working on Requiem.
Before her death, Akhmatova nevertheless became close to her son Leo, who for many years harbored an undeserved grudge against her. After the death of the poetess, Lev Nikolayevich took part in the construction of the monument together with his students (Lev Gumilyov was a doctor of Leningrad University). There was not enough material, and the gray-haired doctor, along with the students, wandered the streets in search of stones.

Ketova Alexandra. Grade 10

The purpose of our work is to analyze the main artistic techniques and means in the poems of the collections "Evening" and "Rosary", which create the lyrical diary of the poetess.

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Early collections of Anna Andreevna Akhmatova as a lyrical diary of the poetess

Made by Ketova Alexandra,

10A class student

Supervisor -

Mikusheva T.A.,

teacher of Russian language and literature

Syktyvkar 2016

Introduction…………………………………………………………………….3

Chapter I………………………………………………………………………….4

Chapter II…………………………………………………………………………8

Conclusion………………………………………………………………..31

References………………………………………………………..32

Introduction

Recently, interest in the Silver Age has increased significantly, because for many years the Russian reader did not have the opportunity to fully study the work of many great poets: Gumilyov and Mandelstam, Tsvetaeva and Akhmatova. Particularly attracted by the work of Anna Andreevna Akhmatova. 2012 marks the 100th anniversary of the publication of her first collection of poetry, Rosary. Since that time, a new great name has appeared in Russian poetry. Akhmatova's early poems reflect the deep inner world and individuality of the poetess. Many researchers call the first collections of Anna Andreevna a lyrical diary. At the heart of Akhmatova's early lyrics is acmeism, a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. Acmeists proclaimed materiality, objectivity of themes and images, the accuracy of the word. The main criterion of acmeism was attention to the word, to the beauty of the sounding verse.

The purpose of our work- analysis of the main artistic techniques and means in the poems of the collections "Evening" and "Rosary", creating a lyrical diary of the poetess.

To achieve the goal it was necessary to perform the following tasks:

study the biography of the poetess;
get acquainted with the history of the creation of collections (“Evening” and “Rosary”);
consider the themes of the poems;
analyze the techniques and means in the poems.

The following hypothesis is put forward in the work: Anna Akhmatova uses many poetic techniques and means to create a special intimacy and intimacy of poems, that is, to create a lyrical diary.

The following research methods were used in the work: analysis, comparison, comparison, interpretation.

The work consists of an introduction, two chapters, a conclusion and a list of references.

CHAPTER I

1.1 Biography

Anna Andreevna Akhmatova is a Russian poet, translator and literary critic, one of the most significant figures in Russian literature of the 20th century.

In the spring of 1910, after several refusals, Akhmatova agreed to become the wife of Nikolai Gumilyov, many of her poems are dedicated to him. The poetess from the very beginning of her family life defended spiritual independence, she makes an attempt to publish without the help of Gumilyov, in the fall of 1910 she gives poems to the magazines Gaudeamus, Vseobshchei Zhurnal, Apollo, which publish them. When Gumilyov returns from an African trip (March 1911), Akhmatova reads to him everything she wrote during the winter and for the first time receives her husband's full approval of her literary experiments. Since that time, she has become a professional writer. In 1912, members of the newly formed "Shop of Poets", of which Akhmatova was elected secretary, announced the emergence of a poetic school of acmeism. At the same time, her collection "Evening" gained a very quick success.

The poetess was recognized as a Russian classic back in the 1920s, but she was subjected to repression and persecution both during her lifetime and more than two decades after her death. At the same time, the name of Akhmatova, even during her lifetime, was surrounded by fame among admirers of poetry both in the USSR and in exile.

Her fate was tragic. Three people close to her were subjected to repressions: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930s and 1940s and in the 1940s and 1950s. The grief of the wives and mothers of "enemies of the people" was reflected in one of the most significant works of Akhmatova - the poem "Requiem".

Let's move on to the history of the creation of the first collections of the poetess.

1.2. Collection "Evening"

The first book of Anna Akhmatova "Evening", containing 40 poems, was published at the very beginning of March 1912, in St. Petersburg, in the acmeist publishing house "Poets' Workshop". To publish 300 copies, the head of the publishing house, poet and critic (and the husband of the poetess) Nikolai Stepanovich Gumilyov laid out one hundred rubles from his own pocket.

The unexpected happened: "Evening" became the main event of the season. The collection of Akhmatova, unknown to anyone yesterday, delighted readers so much that everything was sold out. People became interested in the biography of the author. In general, there were all signs of success.

Evening is the time of day following day and preceding night. Sometimes its beginning is associated with the reaching of the horizon by the sun and the beginning of twilight. Thus, the name is associated with the end of life before eternal night. In the collection "Evening" Akhmatova recalls her childhood, compares the experience with the present.

1.3. Collection "Rosary"

Consider the second collection of Anna Andreevna. He, too, had extraordinary success. The release of "Rosary" in the publishing house "Hyperborey" in 1914 made the name of Akhmatova known throughout Russia. The first edition was published in 1000 copies. The main part of the first edition of the Rosary contains 52 poems, 28 of which were previously published. Until 1923, the book was reprinted eight times. Many verses of the Rosary have been translated into foreign languages. The press reviews were favorable.

"Rosary" - the intimate experiences of the heroine. Rosaries are beads strung on a thread or braid. Like most young poets, Anna Akhmatova often has words: pain, longing, death. This so natural and therefore beautiful youthful pessimism has so far been the property of "pen trials" and, it seems, in Akhmatova's poems for the first time got its place in poetry. Both collections are intimate in nature.

1.4 Working with terms

Throughout her life, Anna Andreevna kept a diary. However, it became known about him only 7 years after the death of the poetess.

To analyze the poems in Akhmatova's collections, it is necessary to consider such a genre of literature as a diary.

A diary is a collection of fragmentary entries that are made for oneself, kept regularly and most often accompanied by an indication of the date. Such records ("notes") organize individual experience and, as a written genre, accompany the formation of individuality in culture, the formation of the "I" - in parallel with them, the forms of memoirs and autobiography develop.

Let us turn to the diary as a literary form. It is a literary work (novel-diary) or other publications using the diary form, stylizing it.

Feature of the diary as a literary genre:

ultimate sincerity;
reliability, expression of one's feelings, as a rule, without regard to anyone's opinion;
chronological sequence of the image of events;
display of everyday details, the world of things.

The diary in literature uses these features to reveal the state of mind of the hero, to show the formation and development of his personality.

To analyze Akhmatova's poetry, one must also turn to such concepts of literary theory as character, intimacy, and detail.

Character - the artistic image of a person in a literary work, outlined with a certain completeness and individual certainty, through which both the historically conditioned type of behavior and the author's inherent moral and aesthetic concept of human existence are revealed. The principles and methods of character reconstruction differ depending on the tragic, satirical and other ways of depicting life, on the literary type of the work and genre; they largely determine the face of the literary movement.

Intimacy - closeness, sincerity, intimacy, confession, personality, friendliness, bosom (Dictionary of Russian synonyms)

Detail.

Artistic detail(French detail - part, detail) - a particularly significant, highlighted element of an artistic image, an expressive detail in a work that carries a significant semantic and ideological and emotional load. A detail is capable of conveying the maximum amount of information with the help of a small text volume, with the help of a detail in one or a few words you can get the most vivid idea of the character (his appearance or psychology), interior, environment.

Consider the techniques for creating a lyrical diary in Akhmatova's collections in the second chapter.

CHAPTER II

The collections "Evening" and "Rosary" are distinguished by their special intimacy and intimacy, which allowed us to call them a lyrical diary. We will consider the following means of its creation: the utmost sincerity; authenticity, expression of one's feelings; chronological sequence of the image of events; display of everyday details, the world of things.

1.Ultimate sincerity.

In her works, the poetess is frank with the reader, she opens a secret door to her heart for him, lays out everything as if in spirit. Poems are often saturated with the cry of her soul, they trace the state of the author.

2. Reliability, expression of one's feelings.

The mood of the lyrical heroine is expressed through verbs that convey her emotional state.

I pray to the window beam -

He is pale, thin, straight.

Today I am silent in the morning,

And the heart - in half ...

It is strange to remember: the soul yearned,

suffocated in death rage.

And now I'm a toy has become,

Like my pink cockatoo friend.

Breathless, I shouted: "Joke

All that has gone before. If you leave, I will die."

smiled calm and creepy

And he said to me: "Don't stand in the wind."

It was stuffy from the burning light,

And his eyes are like rays.

I just shuddered: this

Can tame me.

Bent over - he will say something ...

Blood drained from his face.

Let the tombstone lie down

For my life love.

Do you want to know how it all was? -

Three in the dining room struck,

And, saying goodbye, holding on to the railing,

She seems to be having a hard time said:

"That's all... Oh, no, I I forgot

I love you, I loved you

Already then!" -

"Yes".

I pray, suffocated, screamed, rushed back, loved - all these verbs tell about the inner experiences of the poetess, convey her pain and suffering, joy and excitement, longing and confusion.

3. Chronology

Biographical events	Poems	Year
Studied at the Law Department of the Kiev Higher Women's Courses	I pray to the window beam	1909
She married Nikolai Stepanovich Gumelev and lived with him in Tsarskoye Selo	First return	1910
The first publications under the name "Anna Akhmatova"	Love conquers deceitfully	1911
Traveled with her husband in Paris and Italy	Pray for the beggar lost I'm having fun drunk with you	1910-1912
The first collection of poems "Evening" was published and the son Lev Nikolaevich Gumelev was born	I didn't receive any letters today	1912
Personal drama of the poetess and the poet (N.S. Gumeleva)	We are all thugs here, harlots Submissive to me imagination So many requests from my beloved always	1913
In fact, the marriage with Gumelev broke up; the collection "Rosary" was released	I'm not asking for your love The last time we met then Everything is as before: in the windows of the dining room	1914
Dealing with a Shattered Marriage	You will live without knowing dashing	1915

4. Details and the world of things.

A feature of Akhmatova's lyrics is that the poetess turned ordinary things, household items into the subject of poetry.

Thing	An excerpt from a poem	Meaning	Conclusion
Raspberry	Didn't like raspberry tea And female hysteria. And I was his wife.	love, protection, loyalty	Gumelev did not like to live in love and harmony.
Glove	I put on my right hand Left hand glove.	Evidence of good faith, pledge of honor, purity of heart	Akhmatova experienced an emotional shock
Veil	She clasped her hands under a dark veil...	The symbol of darkness as a state preceding enlightenment	The poetess climbed out of the darkness into the light
A tube	I found my pipe on the fireplace And went to work at night	A symbol of fleeting and elusive earthly pleasures	The husband takes earthly pleasures with him, leaving the heroine alone
Skirt	You smoke a black pipe So strange is the smoke above her. I put on a tight skirt To appear even slimmer	Symbol of femininity	Anna Andreevna is trying to be more feminine and elegant, trying to maintain a relationship with her husband

Conclusion: the early collections of poems "Evening" and "Rosary" by Anna Akhmatova are indeed the personal diary of the poetess, reflecting the events of her life, personal experiences and the world of things she was surrounded by.

Conclusion

The fate of Anna Akhmatova was tragic. Three people close to her were subjected to repressions: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930s and 1940s and in the 1940s and 1950s. Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and harassment (including the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946, which was not canceled during her lifetime), many works were not published in her homeland, not only during the life of the author, but and for more than two decades after her death. At the same time, the name of Akhmatova, even during her lifetime, was surrounded by fame among admirers of poetry both in the USSR and in exile.

In her earliest works, the poetess was frank with the reader, she opens a secret door to her heart for him, lays out everything as if in spirit. Poems often become the cry of her soul, they trace the state of the author. The mood of the lyrical heroine is helped to express the verbs that convey her emotional state.

We have established a chronological sequence in the collections. Akhmatova makes ordinary things, everyday details the subject of high poetry.

Thus, we can conclude that the first collections of Anna Akhmatova are indeed her lyrical diary, because correspond to such criteria as the utmost sincerity, the authenticity of the expression of one's feelings, the chronological sequence, the display of everyday details, the world of things.

Bibliographic list

1. A.A. Akhmatova. Poems and poems. M.: EXMO-PRESS, 2000

2. History of Russian literature of the twentieth century. Textbook for educational institutions. In 2 volumes. – M.: Mnemosyne, 2013

3. http://litved.rsu.ru;

4. http://uchitel-slovesnosti.ru;

5. http://referatwork.ru

6. http://literatura5.narod.ru

7. http://www.stihi-rus.ru/1/Ahmatova/

8. http://anna.ahmatova.com

What is the creative fate of the main collections of poems by A. Akhmatova?

The first book of poems by Anna Akhmatova "Evening" was published in March 1912 in the edition of the "Workshop of Poets" with a circulation of 300 copies. The preface to it was written by the poet M.A. Kuzmin. Frontispiece by E.E. Lansere, screensavers by A.Ya. Beloborodov. The book includes 46 poems, written mainly in 1910-1911, 14 of them were published in magazines in 1911. The creative history of Akhmatova's preparation of her first poetry collection can be restored in general terms thanks to her later autobiographical notes, as well as by studying the few surviving autographs of poems included in the book "Evening".

In the 1950s Akhmatova recalled that she began writing poetry at the age of 11; she wrote them “with rather long breaks” during her years of study at the Tsarskoye Selo Gymnasium (1900-1905), at the Kiev Fundukleev Gymnasium (1906-1907) and at the Kiev Higher Women's Courses (1908-1910). However, until the winter of 1910/11. the quality of the poems, in her words, "was so deplorable that even Gumilyov, who was in love with no memory, was not able to praise them." “Then,” recalls Akhmatova, “the following happened: I read the proofreading of The Cypress Casket (I.F. Annensky) (when I arrived in St. Petersburg in early 1910) and understood something in poetry.” “When Gumilyov returned from Addis Ababa on March 25, 1911, and I read to him what later became known as “Evening”, he immediately said: “You are a poet, you need to make a book.”

The composition of the first collection of poems by Akhmatova was the result of a very strict selection. From her youth, she, then still Anna Gorenko (the pseudonym Anna Akhmatova first appears in 1910), wrote down the texts of her poems in special notebooks, “putting numbers over them for an unknown purpose.” “As a curiosity, I can tell you,” she wrote half a century later, “that, judging by the surviving manuscript,“ The Song of the Last Meeting ”is my two hundredth poem.” These notebooks have not come down to us. In the late 1940s Akhmatova burned them. However, before being destroyed, she tore out several sheets from different notebooks and kept them in her archive. Judging by the numbers of the surviving texts, from December 1910 to September 1911 (from “The Gray-Eyed King” to “The Song of the Last Meeting”) she wrote about 80 poems: no more than 35 of them are included in “Evening”.

The book "Evening" was greeted with favorable reviews in the press (reviews by V.Ya. Bryusov, S.M. Gorodetsky, G.I. Chulkov, etc.) and sold out very quickly. However, subsequently Akhmatova never completely republished the poems from this book. Selected "Poems" from the book "Evening" were included as a separate section in her next book, "Rosary" (1914). In her last lifetime collection, The Run of Time (1965), Akhmatova included 24 poems from the original composition of the book Evening. At the same time, in The Run of Time, the book Evening opens with seven poems that were not in the 1912 edition. Their creative history is rather complicated. Until the mid-1940s, none of them was known. In workbooks 1956-1960. contains rough autographs of some of these poems with the author's dates "1909" and "1910". Apparently, many decades later, Akhmatova recalled her early, previously unpublished poems and, entering them into workbooks, continued to work on them, changing individual words and entire lines. In the post-war years, she published some of these “remembered” poems in magazines, included them in her collections of 1958 and 1961, and then in The Run of Time. As can be seen from the plans for publications preserved in the workbooks of 1959-1961, Akhmatova intended to combine these poems into a separate section or cycle “Pre-Evening. From the first (Kiev) notebook" preceding "Evening", however, in the collection "Running of Time" this plan was not realized, and the book "Evening" opens with these verses.

The second book of poems - "The Rosary", which appeared two years after the "Evening", brought Akhmatova all-Russian fame and determined her place in the forefront of modern Russian poetry. The first edition of "Rosary" was published in the spring of 1914 by the publishing house "Hyperborey" with a circulation of 1000 copies, which was not small for that time; Until 1923, the "Rosary" was reprinted 8 more times with some changes in the composition and arrangement of the poems. Poems from the "Rosary" were repeatedly reprinted in lifetime and posthumous editions of selected works by Akhmatova. Many of them have been translated into foreign languages and have firmly entered the golden fund of world lyric poetry. Of the numerous (mostly favorable) press reviews, Akhmatova considered the most profound and insightful article by the critic and poet N.V. Nedobrovo (Russian Thought. 1915. No. 7), who saw in the poetry of the Rosary "a lyrical soul rather harsh than too soft, rather cruel than tearful, and clearly dominating, not oppressed."

The third book of poems by Akhmatova - "The White Flock" - was published in September 1917 by the publishing house "Hyperborey" with a circulation of 2000 copies. It includes 83 poems and the poem "By the Sea". Most of the poems had previously been published in magazines and almanacs. In 1918-1923. 3 more editions of The White Pack came out, somewhat different from the first edition in terms of the composition and arrangement of the poems. Under the conditions of war and revolutionary times, relatively few responses to the book appeared in the press, but its reader success was no less than that of the Rosary. Attentive readers and later critics noted the strengthening of the classical, Pushkinian beginning in the poetry of The White Pack, Akhmatova's desire to rise above the fleeting and everyday, to approach deep psychological and ethical generalizations. The range of her love lyrics has expanded: along with poems about unrequited and lost love, especially characteristic of "Evening" and "Rosary", jubilant lines sounded about love, all-conquering, healing, filling life with meaning and light. In Akhmatova's poems, the themes of the Motherland and war, memory and conscience were revealed in a new way. Earlier and deeper than others, the poet O.E. Mandelstam. In an article of 1916, which remained unpublished at that time, he wrote that "a different time has come for Akhmatova ... At present, her poetry is close to becoming one of the symbols of the greatness of Russia."

The fourth book of poems by Akhmatova - "Plantain" - was published in April 1921. in the publishing house "Petropolis" with a circulation of 1000 copies, cover by M.V. Dobuzhinsky. The book contains 38 poems. Plantain was reprinted twice in 1922 and 1923. as a separate section in Akhmatova's next book of poems, Anno Domini.

In November 1921, the Petropolis Publishing House published the fifth book of Akhmatova's poems, Anno Domini МСМХХI (In the summer of the Lord 1921). The book consisted of three sections. The first, titled like the rest of the book, included poems written in 1921; the second - "Voice of Memory" - also contained earlier poems; the third was a reprint of the book Plantain. A year later, the second, supplemented edition of the book was published under the title "Anno Domini" (as the book of the 3rd collection of poems by Akhmatova, published jointly by the publishing houses "Petropolis" and "Alkonost"). Due to the printing difficulties experienced by Soviet Russia at that time, this book, as and many others, printed in Berlin. The second edition was supplemented by the first section, entitled "New Poems", the three subsequent sections are reprinted from the first edition without changes. Preparing the collection "The Run of Time", Akhmatova additionally included in the book "Anno Domini" a number of poems from different times that had not been published before.

The sixth book of Akhmatova's poems was being prepared for publication on the eve of the Great Patriotic War and was supposed to include poems written over the 17 years that had passed since the publication of the book Anno Domini. These years were difficult in the life and work of Akhmatova. After the creative upsurge of 1921-1922, a long decline ensued. For 12 years (1923-1934) she wrote no more than 20 poems. During this period, almost no new or old poems of hers appeared in print. Akhmatova during these years was engaged in the study of Pushkin's work, the architecture of St. Petersburg, and translations. A new creative upsurge began in the mid-1930s. In 1940, a collection of selected poems by Akhmatova "From Six Books" was published. In it, the sixth book was called "Willow" and opened with a poem of the same name.

The preparation of the seventh book of poems by Akhmatova began during the Great Patriotic War, while in evacuation, in Tashkent. According to the original plan, the book was to be called "Odd". Later this name was given to one of the sections of the Seventh Book. In the early 60s. Akhmatova intended to title the new book The Run of Time, but later she gave this title to a collection of selected poems, published in 1965 and including poems from all seven books. The Seventh Book was the last section in it. In Akhmatova's archive, several plans of the Seventh Book of the 1950s and early 1960s have been preserved. with a different arrangement of poems and cycles included in it. In its final form, the composition and complex structure of the Seventh Book took shape in The Run of Time.

The holiday in the family of the retired engineer of the Russian fleet Gorenko and, as it later turned out, of all Russian poetry fell on June 11 (23), 1889, when the daughter Anna was born to a hereditary nobleman.

The mother of the future poetess I.E. Stogova was a distant relative of Anna Bunina, later Anna Andreevna Gorenko would take the pseudonym Anna Akhmatova. According to the poetess, on the maternal side, her ancestor was the Khan of the Golden Horde Akhmat, let's leave it to the discretion of Anna.

Youth

Many mistakenly call the place of birth of the poetess Odessa, this is not entirely true, since she was born at the Bolshoi Fountain station, not far from Odessa-mother. However, the place of birth did not play a significant role in Anna's fate, since a year after her birth, the family moved to Tsarskoye Selo, where the young poetess entered the Mariinsky Gymnasium. Life in Tsarskoye Selo left an eternal mark on Akhmatova's soul; many works are devoted to this place.

When Anna was 17 years old, in 1905, her parents divorced, and the mother and daughter moved to Evpatoria, where Akhmatova-Gorenko graduated from the Kiev-Fundukley gymnasium (1907) and the legal department of women's courses. Jurisprudence did not attract Anna in the future, according to her personal assurance, she learned only one plus from that training - she learned Latin. Subsequently, Latin will help the poetess learn Italian. During the difficult period of her life, Akhmatova had to earn money by translations - this helped to make ends meet.

Marriage and the first collection

The year 1910 was in many ways a fateful year in the fate of Akhmatova, because it was in this year that she married Nikolai Gumilyov, whom she had known for 7 years before that. By the way, Gumilyov turned out to be not only Anna's husband, but also her first publisher, however, this happened even before the wedding, in 1907. During these years, Gumilyov published the Sirius magazine in Paris, on its pages the poem “There are many brilliant rings on the hand” was published.

A honeymoon in Paris - what could be better for starting a long and happy life, unfortunately, Akhmatova managed to fulfill it only in part one, happiness soon began to bypass Anna.

Returning to the biography, we note another role that Gumilyov played in the development of Anna Akhmatova as a poetess. He not only introduced Anna to the literary world of St. Petersburg, but also helped in the publication in 1912 of the first collection of the poetess called "Evening". Of the well-known poems of the collection, we note "The Gray-Eyed King", in general, the first official test of the pen did not bring Akhmatova to the pedestal of Russian poets. The year of publication of the first collection was also the year of birth of Lev Gumilyov, the only son of Nikolai and Anna. Reviews of the first collection of poems are positive, and some criticism from Blok is rather a plus, because the great Russian poet would not even want to criticize mediocrity.

There is no reliable data on Gumilyov's fidelity, and they are not needed, but many critics of that century were interested in the part of "Evenings" called "Deception". This seemed illogical for the young and, as it seemed, happily married poetess, especially since she denied symbolism. Let's leave it.

The second husband of Akhmatova Shileiko, the third Punin, who also died in the camp, and before that was arrested three times, so that fate was not merciful to the poetess and in the line of marriages. Moreover, the son Leo spent more than 10 years in the camps, being arrested and exiled twice.

Confession

The next important stage in the biography of the poetess is 1914 and the publication of the Rosary collection, which was reprinted 9 times in the next 9 years. Note that the release of the collection takes place during the First World War, when interest in poetry was falling. Akhmatova's love lyrics with a subtle admixture of mysticism found its reader, and it was this collection that brought Anna the first real recognition as a poetess with a capital letter. If "Evenings" was read by more and more schoolgirls, then "Rosary" captures many.

Unlike most representatives of literature, Akhmatova during the First World War does not experience patriotic ecstasy. In the poems of this time, pain slips through, which not everyone likes. This is one of the reasons for the failure of the White Flock collection, which was published in 1917 on the eve of the fateful events for Russia. The revolution hit the soul of the poetess painfully, but these years also included her personal drama - a divorce from Gumilyov in 1918, although the marriage has been bursting at the seams since the time of the collection "Evening". Gumilyov was later arrested on suspicion of participating in the Tagantsev Plot and shot in 1921.

It is difficult to judge the true reasons for the divorce, or rather discord in the family, because it happened earlier, but Akhmatova never spoke badly about Gumilyov, even in the poem “It was very scary to live in that house”, which was published in 1921, one feels tenderness for Nikolai .

The years after the First World War were overshadowed by the fight against tuberculosis, she fought the disease for a long time, but defeated it.

30-40s

Life went on and the next blow to Akhmatova was inflicted by fate on the poetess in 1924, when she was no longer printed. Until the 40th year, not a single publication with Akhmatova's poems was published, and the poetess was looking for herself in a new field - she was studying Pushkin's work and translating, earning a living with them after being expelled from the Writers' Union. The black 30s pass under the sign of the fear of inevitable arrest, but it is not there, despite the fact that many of Anna's colleagues and friends were sent to the Gulag and this was the best option. They say that Stalin spoke well of Anna, so well that it protected her from arrest, but not so well as to enable the poetess to write normally.

The son Lev was arrested, Mandelstam and other poets disappeared, but fate saved Akhmatova in this difficult time. The poem "Requiem" was written by the poetess from 35 to 43, it is both a requiem in itself and a testament for posterity. The poem is full of sorrow and pain, therefore, in order to understand the work of the poetess, it is simply necessary to read and reread it.

War

During the Great Patriotic War, Akhmatova continued to write, not bowing her head to the authorities, but bowing to the defenders of the Motherland. This is best evidenced by the lines written in 1042 during the siege of Leningrad:

And Leningraders go through the smoke in rows - the living with the dead: for glory there are no dead.

Oblivion, resurrection and death

Akhmatova's last major work, A Poem without a Hero, was written and edited from 1940 to 1965, in which the poetess says goodbye to friends and the era for the second time (after the Requiem). After the war and until the moment of her death, the poetess was not favored by the powers that be, it was as if they forgot about her, and she herself begins to forget about herself, devoting less and less time to poetry.

Restoration in the Writers' Union in 1951 already means little to the poetess, perhaps Anna Andreevna Akhmatova was more pleased with the house in Komarovo, which was allocated to her in 1955. There she found her solitude, and limited her social circle. After the age of 51, Akhmatova began to be printed again in the USSR, but very selectively

The poetess was nominated for the Nobel Prize in 1962, but she passes by, although this is a fact of international recognition. In 1964, Akhmatova received a literary prize in Rome, and in 1965 she received a doctorate in literature from Oxford University.

Anna Akhmatova died in the Domodedovo cardiological sanatorium, where the poetess was transferred after a heart attack. Anna felt the approach of death, so upon arrival at the sanatorium, she said with regret, “It is a pity that there is no Bible here.”