A. A. Akhmatova was born on June 11 (23), 1889; Big Fountain near Odessa. A year after the birth of their daughter, the family moved to Tsarskoye Selo. Here Akhmatova became a student of the Mariinsky Gymnasium, but spent every summer near Sevastopol. “My first impressions are those of Tsarskoye Selo,” she wrote in a later autobiographical note, “the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome, where little motley horses galloped, the old railway station and something else, which later became part of the "Tsarskoye Selo Ode"".

Anna begins to write poetry early (1904 - 1905), in her girlhood she wrote about two hundred. In 1905, after the divorce of her parents, Akhmatova moved with her mother to Evpatoria. In 1906 - 1907. she studied in the final class of the Kiev-Fundukleevskaya gymnasium, in 1908 - 1910. - at the legal department of the Kyiv Higher Women's Courses.

On April 25, 1910, "beyond the Dnieper in a village church," she married N. S. Gumilyov, whom she met in 1903. In 1907, he published her poem "There are many shining rings on his hand..." in the Sirius magazine published by him in Paris. The style of Akhmatova's early poetic experiments was significantly influenced by her acquaintance with Hamsun's prose, with the poetry of V. Ya. Bryusov and A. A. Blok.

Akhmatova spent her honeymoon in Paris, then moved to St. Petersburg and from 1910 to 1916 lived mainly in Tsarskoye Selo. She studied at the Higher Historical and Literary Courses of N. P. Raev. On June 14, 1910, Akhmatova made her debut on the "tower" of Vyacheslav Ivanov. According to contemporaries, "Vyacheslav listened to her poems very sternly, approved only one thing, kept silent about the rest, criticized one." The conclusion of the "master" was indifferently ironic: "What thick romanticism ..." In 1911, having chosen the name of her maternal great-grandmother as a literary pseudonym, she began to publish in St. Petersburg magazines, including Apollo. Since the founding of the "Workshop of Poets" she became its secretary and active participant. In 1912, Akhmatova's first collection was published. "Evening" with a preface by M. A. Kuzmin. "A sweet, joyful and sorrowful world" opens up to the gaze of the young poet, but the concentration of psychological experiences is so strong that it evokes a feeling of an approaching tragedy. In fragmentary sketches, trifles, "concrete fragments of our life" are intensely shaded, giving rise to a feeling of acute emotionality. These aspects of Akhmatova's poetic worldview were correlated by critics with the tendencies characteristic of the new poetic school. In her poems, they saw not only the refraction of the idea of ​​\u200b\u200bEternal femininity, which was no longer associated with symbolic contexts, which corresponded to the spirit of the times, but also that ultimate “thinness” of the psychological drawing, which became possible at the end of symbolism. Through the "cute little things", through the aesthetic admiration of joys and sorrows, a creative longing for the imperfect made its way - a feature that S. M. Gorodetsky defined as "acmeistic pessimism", thereby once again emphasizing Akhmatova's belonging to a certain school.

The sadness that the verses breathed" Evenings", seemed the sadness of a "wise and already weary heart" and was permeated with the "deadly poison of irony", according to G. I. Chulkov, which gave reason to build Akhmatova's poetic genealogy to I. F. Annensky, whom Gumilyov called the "banner" for "seekers new ways", referring to the acmeist poets. Subsequently, Akhmatova told what a revelation it was for her to get acquainted with the poems of the poet, who opened her "new harmony". Akhmatova will confirm the line of her poetic succession with a poem "Teacher" (1945) and his own confession: "I trace my origins from the poems of Annensky. His work, in my opinion, is marked by tragedy, sincerity and artistic integrity."

"Rosary" (1914), Akhmatova's next book continued the lyrical "plot" "Evenings". Compared to the first collection in "Rosary"the detail of the development of images is enhanced, the ability is deepened not only to suffer and sympathize with the souls of" inanimate things ", but also to take on the" alarm of the world. deep psychologism, in comprehending the nuances of psychological motivations, in sensitivity to the movements of the soul. This quality of her poetry increased over the years. The future path of Akhmatova was correctly predicted by her close friend N.V. he is in an article in 1915, which Akhmatova considered the best written about her work.

After " Rosary" glory comes to Akhmatova. Her lyrics turned out to be close not only to "high school students in love," as Akhmatova ironically remarked. Among her enthusiastic admirers were poets who only entered the literature - M. I. Tsvetaeva, B. L. Pasternak. A. A. Blok and V. Ya. Bryusov treated Akhmatova more reservedly, but still, approvingly. During these years, Akhmatova became a favorite model for many artists and the addressee of numerous poetic dedications. Her image is gradually turning into an integral symbol of the Petersburg poetry of the era of acmeism.

During the First World War, Akhmatova did not join her voice with the voices of poets who shared the official patriotic pathos, but she responded with pain to the wartime tragedies. ("July 1914", "Prayer", etc..). Collection "White flock", published in September 1917, did not have such a noisy success as the previous books. But the new intonations of mournful solemnity, prayerfulness, the super-personal beginning destroyed the usual stereotype of Akhmatov's poetry that had developed among the reader of her early poems. These changes were caught by O. E. Mandelstam , noting: "The voice of renunciation is growing stronger and stronger in Akhmatova's poems, and at present her poetry is close to becoming one of the symbols of the greatness of Russia."

After the October Revolution, Akhmatova did not leave her homeland, remaining in "her deaf and sinful land." In the poems of these years (collections " Plantain" and "Anno Domini MCMXXI", both - 1921) mourning for the fate of the native country merges with the theme of detachment from the vanity of the world, the motives of "great earthly love" are colored by the mood of the mystical expectation of the "groom", and the understanding of creativity as divine grace inspires reflections on poetic word and vocation of the poet and translates them into an "eternal" plan. In 1922, M. S. Shaginyan wrote, noting the deep property of the poet's talent: "Akhmatova over the years more and more knows how to be amazingly popular, without any quasi, with austere simplicity and priceless avarice of speech.

Since 1924, Akhmatova was no longer published. In 1926, a two-volume collection of her poems was supposed to be published, but the publication did not take place, despite prolonged and persistent efforts. Only in 1940 was the small collection "From Six Books" published, and the next two - in the 1960s ("Poems", 1961; "Running Time", 1965).

Since the mid-1920s, Akhmatova has been much involved in the architecture of old Petersburg, studying the life and work of A. S. Pushkin, which corresponded to her artistic aspirations for classical clarity and harmony of poetic style, and was also associated with understanding the problem of "poet and power". In Akhmatova, despite the cruelty of the time, the spirit of high classics indestructibly lived, determining both her creative manner and style of life behavior.

In the tragic 1930-1940s, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, the death of friends, her excommunication from literature by a party decree of 1946. This could not but be reflected in her work:

Husband in the grave, son in prison,

Pray for me...

By the time itself, she was given the moral right to say, together with the "hundred-million people": "We have not deflected a single blow from ourselves." Akhmatova's works of this period - poem "Requiem""(1935 in the USSR published in 1987), poems written during the Great Patriotic War testified to the poet's ability not to separate the experience of personal tragedy from understanding the catastrophic nature of history itself. The folk tragedy, which became her personal misfortune, gave strength to Akhmatov's muse. In 1940, Akhmatova wrote the poem Lament " The way of all the earth".

A cruel, disharmonious world breaks into Akhmatova's poetry and dictates new themes and new poetics: the memory of history and the memory of culture, the fate of a generation, considered in a historical retrospective ... Multi-temporal narrative planes intersect, "another's word" goes into the depths of subtext, history is refracted through " eternal" images of world culture, biblical and gospel motifs. Significant understatement becomes one of the artistic principles of Akhmatova's late work. The poetics of the final work was built on it - "Poems without a hero" ( 1940 - 65), with which Akhmatova said goodbye to St. Petersburg in the 1910s and to the era that made her a Poet. All the war years and later, until 1964, there was intense work on the "Poem without a Hero", which became the central work in her work. Akhmatova's last book was a large collection "The run of time", which became the main poetic event of that year and opened to many readers the whole huge creative path of the poet - from "Evening" to "Komarovsky sketches"(1961).

Akhmatova's creativity as the largest cultural phenomenon of the 20th century. received worldwide recognition. In 1964, she became the laureate of the international Etna-Taormina Prize, in 1965 - the owner of an honorary degree of Doctor of Literature from Oxford University.

On March 5, 1966, Akhmatova ended her days on earth. On March 10, after the funeral service at the St. Nicholas Naval Cathedral, her ashes were buried in a cemetery in the village of Komarov near Leningrad.

Already after her death, in 1987, during Perestroika, the tragic and religious cycle "Requiem", written in 1935 - 1943 (supplemented 1957 - 1961), was published.

Anna Akhmatova is the literary pseudonym of A.A. Gorenko, who was born on June 11 (23), 1889 near Odessa. Soon her family moved to Tsarskoe Selo, where the future poetess lived until she was 16 years old. Akhmatova's early youth is studying at Tsarskoye Selo and Kyiv gymnasiums. Then she studied law in Kyiv and philology at the Higher Courses for Women in St. Petersburg. The first poems, in which the influence of Derzhavin is tangible, were written by the high school student Gorenko at the age of 11. The first publications of poems appeared in 1907.

From the very beginning of the 1910s. Akhmatova begins to be published regularly in St. Petersburg and Moscow publications. Since the formation of the literary association "Workshop of Poets" (1911), the poetess has served as secretary of the "Workshop". From 1910 to 1918 she was married to the poet N.S. Gumilyov, whom she met in the Tsarskoye Selo gymnasium. In 1910-1912. made a trip to Paris (where she became friends with the Italian artist Amedeo Modigliani, who created her portrait) and to Italy.

In 1912, a significant year for the poetess, two big events took place: her first collection of poems, Evening, was published, and her only son, the future historian Lev Nikolaevich Gumilyov, was born. The poems of the first collection, clear in composition and plastic in the images used in them, forced critics to talk about the emergence of a new strong talent in Russian poetry. Although the immediate "teachers" of Akhmatova the poetess were the masters of the symbolist generation I.F. Annensky and A.A. Blok, her poetry was perceived from the very beginning as acmeistic. Indeed, together with N.S. Gumilyov and O.E. Mandelstam, Akhmatova composed in the early 1910s. the core of a new poetic trend.

The first collection was followed by the second book of poems - "Rosary" (1914), and in September 1917 the third Akhmatova collection - "The White Flock" was published. The October Revolution did not force the poetess to emigrate, although her life changed dramatically, and her creative fate was especially dramatic. She now worked in the library of the Agronomic Institute, managed in the early 1920s. publish two more collections of poems: Plantain (1921) and Anno Domini (In the Year of the Lord, 1922). After that, for a long 18 years, not a single of her poems appeared in print. The reasons were different: on the one hand, the execution of her ex-husband, the poet N.S. During these years of forced silence, the poetess was engaged in Pushkin's work a lot.

In 1940, a collection of poems "From Six Books" was published, which for a short period of time returned the poetess to her contemporary literature. The Great Patriotic War found Akhmatova in Leningrad, from where she was evacuated to Tashkent. In 1944 Akhmatova returned to Leningrad. Subjected to cruel and unfair criticism in 1946 in the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad”, the poetess was expelled from the Writers' Union. For the next decade, she focused primarily on literary translation. Her son, L.N. Gumilyov, at that time was serving his sentence as a political criminal in forced labor camps. Only from the second half of the 1950s. the return of Akhmatova's poems to Russian literature began, since 1958 collections of her lyrics began to be published again. In 1962, "Poem without a Hero" was completed, which had been in the making for 22 years. Anna Akhmatova died on March 5, 1966, she was buried in Komarov near St. Petersburg.

Anna Andreevna Akhmatova is one of the brightest poets of the 20th century. Her writing talent has captured the hearts of many and inspired many people.

Anna Akhmatova was born on June 11, 1889 in Odessa. Anna received her primary education at the Mariinsky Gymnasium in Tsarskoye Selo. Anna Akhmatova continued her further education in Kyiv, in the famous Fundukleevsky female gymnasium. I went to reading courses for women, as well as historical and literary lectures.

Anna Akhmatova began to write in 1911, presenting her first verse to the public. Her first collection appeared in 1912, a year after the debut, and it was called "Evening". Her native surname was Gorenko, however, for the pseudonym Anna Andreevna used the surname of her great-grandmother because of disagreements with her father on this basis.

The second collection was not long in coming and in 1914 she released her second book, a collection called Rosary. The circulation was huge - 1000 copies - which was already great news for a young, aspiring poetess. It was the "Rosary" that helped Anna Akhmatova gain real popularity and gain admirers of her talent, hard work and singing soul.

Three years later, without having to wait for a relatively long time, a new collection was released, to which Anna Akhmatova gave the name "White Pack". By this time, the poetess had reached the peak of her work, tours, literary readings began, Anna performed a lot, met famous people, acquired true friends in her circle, and gained new experience.

In 1910, as is known, Anna Akhmatova became engaged to the poet Nikolai Gumilyov. Their noble, intelligent couple was replenished in 1912 with a son, Lev Nikolaevich, who in the conscious years of his life formulated philosophical concepts and worked in the scientific field.

The marriage with Nikolai Gumilyov did not last long: in 1918 they divorced. The sad events of the war took her ex-husband to the front. In the work of Anna Akhmatova, you can find many poems that were dedicated to her ex-husband, there is even a hint of sadness and longing for the old days.

Her next husband was the scientist V. Shileiko, with whom she lived not so much, and after the execution of Nikolai Gumilyov in 1921, she broke up. But the heart of the poetess could not be free, and in 1922 she began an amazingly warm relationship with the art critic Punin, with whom she spent many happy years. Her last collection was published in 1925.

The life and work of Anna Akhmatova amaze with experiences, difficult moments, but with the extraordinary beauty of the talent that could grow on this seemingly unwholesome ground. Anna Akhmatova was remembered by her extremely soulful poem "Requiem", dedicated to the fate of the Russian people, whom she loved with all her heart.

The poetess died on March 5, 1966 in a sanatorium near Moscow, where she was undergoing treatment. She was buried at the Komarovsky cemetery near Leningrad, however, she was not buried for a moment in the hearts of her beloved followers and admirers.

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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 spiritual energy of the female soul, accumulated 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, Lydia 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 “magnificence”, 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 acmeistic 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" you 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 being afraid even of the dark jungle of literary criticism, she wrote articles: “Pushkin’s Last Tale (about the Golden Cockerel)”, “About 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 can best be called love - not the one, however, somewhat abstract, which accompanies the posthumous glory of celebrities at 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 poetess's personality 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 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, whose work she studied intensively during these years and achieved such success that she began to enjoy serious authority among professional Pushkinists.

For understanding Akhmatova’s work, her translations are also of no small importance, not only because the poems she translated, in the general opinion, 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, recited poems from the Requiem to me in a whisper, too, 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 sad ceremony ... "

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 motives made it possible to expand the temporal and spatial framework 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 blue-lipped 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.

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", poems were written 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, 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 suddenly 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 proper. 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 precision.

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 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.

The life of Anna Akhmatova is no less interesting and eventful than her work. The woman survived the revolution, civil war, political persecution and repression. She also stood at the origins of modernism in Russia, becoming a representative of the innovative movement "Acmeism". That is why the story of this poetess is so important for understanding her poems.

The future poetess was born in Odessa in 1889. The real name of Anna Andreevna is Gorenko, and later, after her first marriage, she changed it. Anna Akhmatova's mother, Inna Stogova, was a hereditary noblewoman and had a large fortune. It was from her mother that Anna inherited her willful and strong character. Akhmatova received her first education at the Mariinsky Women's Gymnasium in Tsarskoe Selo. Then the future poetess studied at the Kyiv gymnasium and graduated from the Kyiv higher education courses.

Akhmatova's parents were intelligent people, but not without prejudices. It is known that the poet's father forbade her to sign poems with her last name. He believed that her passion would bring shame to their family. The gap between generations was very noticeable, because new trends came to Russia from abroad, where the era of reformation began in art, culture, interpersonal relations. Therefore, Anna believed that writing poetry was normal, and the Akhmatova family categorically did not accept her daughter's occupation.

History of success

Anna Akhmatova lived a long and difficult life, went through a thorny creative path. Many close and dear people around her became victims of the Soviet regime, and because of this, the poetess herself, of course, suffered. At various times, her writings were banned for publication, which could not but affect the state of the author. The years of her work fell on the period when there was a division of poets into several currents. She approached the direction of "acmeism" (). The originality of this trend was that the poetic world of Akhmatova was arranged simply and clearly, without abstract and abstract image-symbols inherent in symbolism. She did not saturate her poems with philosophy and mysticism; there was no place for pomposity and zaumi in them. Thanks to this, readers who were tired of puzzling over the content of poems understood and loved her. She wrote about feelings, events and people in a feminine way, softly and emotionally, openly and weightily.

The fate of Akhmatova led her to the circle of acmeists, where she met her first husband, N. S. Gumilyov. He was the ancestor of a new trend, a noble and authoritative man. His work inspired the poetess to create acmeism in the female dialect. It was within the framework of the St. Petersburg circle "Sluchevsky Evenings" that her debuts took place, and the public, coolly reacting to Gumilev's work, enthusiastically accepted his lady of the heart. She was "spontaneously talented," as critics of those years wrote.

Anna Andreevna was a member of the "Workshop of Poets", the poetic workshop of N. S. Gumilyov. There she met the most famous representatives of the literary elite and became a member of it.

Creation

In the work of Anna Akhmatova, two periods can be distinguished, the boundary between which was the Great Patriotic War. So, in the love poem "Unprecedented Autumn" (1913), she writes about the peace and tenderness of meeting with a loved one. This work reflects a milestone of calmness and wisdom in Akhmatova's poetry. In 1935-1940. she worked on a poem consisting of 14 poems - "Requiem". This cycle became a kind of reaction of the poetess to family upheavals - the departure of her husband and beloved son from home. Already in the second half of his work, at the beginning of the Great Patriotic War, such strong civil poems as "Courage" and "Oath" were written. The features of Akhmatov's lyricism lie in the fact that the poetess tells a story in her poems, you can always notice a certain narrative in them.

The themes and motifs of Akhmatova's lyrics also differ. Starting his creative path, the author talks about love, the theme of the poet and poetry, recognition in society, interpersonal relations between the sexes and generations. She subtly feels the nature and the world of things, in her descriptions each object or phenomenon acquires individual features. Later, Anna Andreevna is faced with unprecedented difficulties: the revolution sweeps away everything in its path. New images appear in her poems: time, revolution, new power, war. She breaks up with her husband, later he was sentenced to death, and their common son spends his whole life in prisons because of his origin. Then the author begins to write about maternal and female grief. On the eve of the Great Patriotic War, Akhmatova's poetry acquires citizenship and patriotic intensity.

The lyrical heroine herself does not change over the years. Of course, grief and loss left scars on her soul, the woman eventually writes even more piercingly and harshly. The first feelings and impressions are replaced by mature reflections on the fate of the fatherland in difficult times for it.

First verses

Like many great poets, Anna Akhmatova wrote her first poem at the age of 11. Over time, the poetess developed her own unique poetic style. One of the most famous Akhmatov details that appears in the poem “The Song of the Last Meeting” is the right and left hand and the mixed glove. Akhmatova wrote this poem in 1911, at the age of 22. In this poem, the work of details is clearly visible.

Akhmatova's early lyrics are part of the golden fund of Russian classics dedicated to the relationship between a man and a woman. It is especially valuable that the reader has finally seen a woman's view of love, until the end of the 19th century there were no poetesses in Russia. For the first time, conflicts of women's calling and their social role in family and marriage are raised.

Collections of poems and cycles

In 1912, the first collection of poems by Akhmatova "Evening" was published. Almost all the poems included in this collection were written by the author at the age of twenty. Then the books "Rosary", "White Flock", "Plantain", "ANNO DOMINI" are published, each of which has a certain general focus, main theme and compositional connection. After the events of 1917, she can no longer publish her works so freely, the revolution and civil war lead to the formation of the dictatorship of the proletariat, where the hereditary noblewoman is attacked by critics and completely forgotten in the press. The last books "Reed" and "The Seventh Book" were not printed separately.

Akhmatova's books were not published until perestroika. This was largely due to the poem "Requiem", which was leaked to foreign media and was published abroad. The poetess hung in the balance from arrest, and only the admission that she knew nothing about the publication of the work saved her. Of course, her poems after this scandal could not be published for a long time.

Personal life

A family

Anna Akhmatova was married three times. Married to Nikolai Gumilyov, her first husband, she gave birth to her only child, Leo. Together, the couple made two trips to Paris and also traveled around Italy. Relations with the first husband were not easy, and the couple decided to leave. However, despite this, after the breakup, when N. Gumilyov went to war, Akhmatova devoted several lines to him in her poems. A spiritual bond continued to exist between them.

Akhmatova's son was often separated from his mother. As a child, he lived with his paternal grandmother, saw his mother very rarely, and in the conflict between his parents, he firmly took the position of his father. He did not respect his mother, spoke abruptly and abruptly to her. As an adult, due to his background, he was considered an unreliable citizen in a new country. He received prison terms 4 times and always not deservedly. Therefore, his relationship with his mother could not be called close. In addition, she remarried, and the son took this change hard.

Other novels

Akhmatova was also married to Vladimir Shileiko and Nikolai Punin. Anna Akhmatova was married to V. Shileiko for 5 years, but they continued to communicate by letters until Vladimir's death.

The third husband, Nikolai Punin, was a representative of the reactionary intelligentsia, in connection with which he was arrested several times. Thanks to the efforts of Akhmatova, Punin was released after his second arrest. A few years later, Nikolai and Anna broke up.

Characteristics of Akhmatova

Even during her lifetime, Akhmatova was called the "Ladies' decadent poetess." That is, her lyrics were characterized by extreme individualism. Speaking about personal qualities, it is worth saying that Anna Andreevna had a caustic, unfeminine humor. For example, when meeting with Tsvetaeva, an admirer of her work, she spoke very coldly and bitterly with the impressionable Marina Ivanovna, which offended her interlocutor very much. Anna Andreevna also found it difficult to find mutual understanding with men, and her relationship with her son did not work out. Another woman was very suspicious, everywhere she saw a dirty trick. It seemed to her that her daughter-in-law was a sent agent of the authorities, who was called upon to follow her.

Despite the fact that the years of Akhmatova's life fell on such terrible events as the Revolution of 1917, the First and Second World Wars, she did not leave her homeland. Only during the Great Patriotic War the poetess was evacuated in Tashkent. Akhmatova reacted negatively and angrily to emigration. She made her civic position very clear by declaring that she would never live and work abroad. The poetess believed that her place is where her people are. She expressed her love for the Motherland in poems that were included in the collection "White Pack". Thus, Akhmatova's personality was multifaceted and rich in both good and dubious qualities.

1. Anna Andreevna did not sign her poems with her maiden name Gorenko, as her father forbade her. He was afraid that his daughter's freedom-loving writings would bring the wrath of the authorities on the family. That is why she took her great-grandmother's surname.
2. It is also interesting that Akhmatova professionally studied the works of Shakespeare and Dante and always admired their talents, translating foreign literature. It was they who became her only income in the USSR.
3. In 1946, party leader Zhdanov spoke at a congress of writers with sharp criticism of Akhmatova's work. Features of the author's lyrics were designated as "poetry of an enraged lady, rushing between the boudoir and the prayer room."
4. Mother and son did not understand each other. Anna Andreevna herself repented that she was a "bad mother." Her only son spent all his childhood with his grandmother, and saw his mother only occasionally, because she did not indulge him with her attention. She did not want to be distracted from creativity and hated everyday life. An interesting life in the capital captured her completely.
5. It must be remembered that N. S. Gumilyov starved the lady of the heart, because, because of her numerous refusals, he attempted suicide and actually forced her to agree to marry him. But after the marriage, it turned out that the spouses were not suitable for each other. Both husband and wife began to cheat, be jealous and quarrel, forgetting all their vows. Their relationship was full of mutual reproaches and resentment.
6. Akhmatova's son hated the work "Requiem", because he believed that he, who survived all the trials, should not receive funeral lines addressed to him from his mother.
7. Akhmatova died alone; five years before her death, she broke all ties with her son and his family.

Life in the USSR

In 1946, the All-Union Communist Party of Bolsheviks issued a decree on the magazines Zvezda and Leningrad. This decision was primarily directed against Mikhail Zoshchenko and Anna Akhmatova. She could no longer print, and it was also dangerous to communicate with her. Even his own son blamed the poetess for his arrests.

Akhmatova earned money by translations and odd jobs in magazines. In the USSR, her work was recognized as "far from the people", and, therefore, not needed. But new talents gathered around her literary figure, the doors of her house were open to them. For example, it is known about her close friendship with I. Brodsky, who recalled their communication in exile with warmth and gratitude.

Death

Anna Akhmatova died in 1966 in a sanatorium near Moscow. The cause of death of the poetess is serious heart problems. She lived a long life, in which, nevertheless, there was no place for a strong family. She left this world alone, and after her death, the inheritance left to her son was sold in favor of the state. He, an exile, was not supposed to do anything according to Soviet laws.

From her notes it turned out that during her lifetime she was a deeply unhappy, hunted person. To make sure that no one reads her manuscripts, she left a hair in them, which she always found shifted. The repressive regime was slowly and surely driving her crazy.

Places of Anna Akhmatova

Akhmatova was buried near St. Petersburg. Then, in 1966, the Soviet authorities were afraid of the growth of the dissident movement, and the body of the poetess was quickly transported from Moscow to Leningrad. At the grave of mother L.N. Gumilyov installed a stone wall, which became a symbol of the inseparable connection between son and mother, especially during the period when L. Gumilyov was in prison. Despite the fact that a wall of misunderstanding separated them all their lives, the son repented that he contributed to her erection, and buried her along with his mother.

Museums of A. A. Akhmatova:

• St. Petersburg. The memorial apartment of Anna Akhmatova is located in the Fountain House, in the apartment of her third husband, Nikolai Punin, where she lived for almost 30 years.
• Moscow. In the house of antique books "In Nikitsky", where the poetess often stopped when she came to Moscow, a museum dedicated to Anna Akhmatova was opened not so long ago. It was here that she, for example, wrote "A Poem without a Hero."

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