The process of artistic creativity as a theme of Akhmatova's poetry. The main themes and ideas of the lyrics A

The secret of poetic creativity. The theme of the creative process was reflected in the works of many poets. For A. A. Akhmatova, writing was as natural as breathing. In the cycle “Secrets of the Craft”, the poetess tried to reveal her understanding of creativity, which continues the tradition of perceiving the process of writing poems as an implementation of an intermediary connection between the Creator and the world of people (the poem “Creativity”). It is impossible to explain this sacrament, in it “everything should be inappropriate”. Both naturalness and simplicity, with which poetry is sometimes born, makes it related to a living being capable of “growing”:
When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence.
Like burdock and quinoa.
An angry cry, a fresh smell of tar,
Mysterious mold on the wall...
And the verse already sounds, fervent, gentle,
For the joy of you and me.

Poetic inspiration can come from the surrounding world of nature, or it can be bestowed by a Divine touch (an obvious reminiscence with A. S. Pushkin's poem "The Prophet"):
So I, the Lord, prostrate myself:
Will the fire of heaven touch
My closed eyelashes
And the dumbness of my wonderful?
"I so prayed ..." (1913)

The originality of the development of the theme of the poet and poetry in the lyrics of A. A. Akhmatova. Continuing the theme, traditional for Russian poetry, about the appointment of the poet, about the purpose of his work, A. A. Akhmatova develops it in a new way, introduces new motives into it. First of all, the poetess manages to reveal the originality of the female inner world. The tragedy of the fate of the poetess, according to A. A. Akhmatova, lies in the fact that women's happiness cannot be combined with full dedication to creativity:
Muse! you see how happy everyone is
Girls, women, widows...
I'd rather die on the wheel
Just not these chains.
"Muse" (1911)

However, the appearance of the "muse-sister" in the life of the lyrical heroine predetermines her future fate. In the world of poetry, where men reign, a woman has to defend her right to be called a poet.

The poetess is ready to give her creative gift after everything that can be valuable in human life, if only peace and tranquility would return to the land of the Motherland, because for A. A. Akhmatova, the service of poetry was inextricably linked with the theme of Russia:
Give me bitter years of sickness
Breathlessness, insomnia, fever,
Take away both the child and the friend,
And a mysterious song gift, -
So I pray for Your liturgy
After so many agonizing days
To cloud over dark Russia
Became a cloud in the glory of rays.
"Prayer" (1915)

The image of the native land is revealed in the poem of the same name, but the poetess acts very extraordinary, using the combination "native land" in the literal sense:
Yes, for us it is dirt on galoshes,
Yes, for us it is a crunch on the teeth.
And we grind, and knead, and crumble
That unmixed dust.
"Native Land" (1961)

From such a mundane definition, Akhmatova moves on to philosophical reflection:
But we lay down in it and become it,
That is why we call it so freely - ours.
"Native Land" (1961)

The simplicity and uncomplicatedness of the image of his native land reveals the talent of the author, who did not compose "verses sobbing", but fulfilled his poetic destiny. Inspiration, sent down from above, gradually begins to be realized as the meaning of life. Behind the outward lightness of poetry, suffering and torment are revealed. Thus, the appearance of the Muse in the poem of the same name in 1924 becomes a bewitching magic, and the foreboding of inspiration plunges the poet into a borderline state between Life and Death: When I wait for her arrival at night,
Life seems to hang by a thread.
What honors, what youth, what freedom
In front of a nice guest with a pipe in her hand.
"Muse" (1924)

The gentle image of the "guest with a pipe in her hand" gives the scene lightness and loftiness. But how does the intonation of the narration change towards the final lines, when the actions of such an ephemeral creature demonstrate energy and firmness - “entered”, “looked”. Even greater power fills the image in the dialogue of the lyrical heroine and the Muse:

I say to her: “Did you dictate the Pages of Hell to Dante?” Answers: "I am".

Akhmatova's muse is realistic and masculinely severe. The poetry of A. A. Akhmatova is distinguished by citizenship, which makes the lyrics of the poetess related to the work of N. A. Nekrasov. The poet cannot be separated from the era and from his people. The poet drinks the whole cup of suffering along with all his contemporaries. His heart lives with those troubles and hardships that fall to the lot of the whole country, and A. A. Akhmatova does not even allow the thought of a saving flight:
I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.
“I am not with those who abandoned the earth…” (1922)

In the 30s. in the poetry of A. A. Akhmatova, the image of the poet resembles Lermontov’s humiliated prophet, whom the Lord noted, but who is destined for loneliness and sacrificial service:
Why did you poison the water
And mixed bread with my mud?
Why the last freedom
Are you turning into a nativity scene?
Because I didn't bully
Over the bitter death of friends?
For the fact that I remained faithful
My sad homeland?
Let it be. Without executioner and chopping block
There will be no poet on earth.
We have penitential shirts,
Us with a candle to go and howl.
"Why did you poison the water ..." (1935)

“I never stopped writing poetry. For me, they are my connection with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country,” the poetess said in 1965.

A. A. Akhmatova was with her people not only in poetry. In 1941, during the heaviest artillery shelling of Leningrad, the poetess, with words of support and courage, turned on the radio to the inhabitants of the city, and was on duty with a gas mask during air raids. At this time, a beautiful poem "Courage" (1942) was created, filled with strength and deep love:
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our clocks,
And courage will not leave us.
It's not scary to lie dead under the bullets,
It's not bitter to be homeless,
And we will save you, Russian speech,
Great Russian word.
We will carry you free and clean,
And we will give to our grandchildren, and we will save from captivity
Forever!

Here the theme of Nekrasov's poem in prose "Russian language" sounds. In difficult years, it is the word that becomes a source of support, gives strength and courage. To preserve and pass on to future generations the spiritual wealth hidden in the language is the primary task of the poet.

Anna Akhmatova worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom is, often had to choose between free creativity and life. But despite all these circumstances, the poets still continued to work miracles: wonderful lines and stanzas were created. The source of inspiration for Akhmatova was the Motherland, Russia, desecrated, but from this it became even closer and dearer. Anna Akhmatova could not go into exile, because she knew that only in Russia could she create, that it was in Russia that her poetry was needed. * I'm not with those who threw the earth * To be torn apart by enemies. * I will not heed their rough flattery, * I will not give them my songs. But let's remember the beginning of the path of the poetess. Her first poems appeared in Russia in 1911 in the Apollon magazine, and the following year the poetic collection Evening was also published. Almost immediately, Akhmatova was placed among the greatest Russian poets by critics. The whole world of Akhmatova's early, and in many respects, late lyrics was associated with A. Blok. Blok's muse turned out to be married to Akhmatova's muse. The hero of Blok's poetry was the most significant and characteristic "male" hero of the era, while the heroine of Akhmatova's poetry was a representative of "female" poetry. It is from the images of Blok that the hero of Akhmatov's lyrics largely comes. Akhmatova in her poems appears in the endless variety of women's destinies: mistresses and wives, widows and mothers who cheated and left. Akhmatova showed in art the complex history of the female character of the advanced era, its origins, the breaking of a new formation. That is why in 1921, at a dramatic time in her and common life, Akhmatova managed to write breathtaking renewal lines: * Everything is plundered, betrayed, sold; So, in a sense, Akhmatova was also a revolutionary poet. But she always remained a traditional poet, placing herself under the banner of Russian classics, especially Pushkin. The development of Pushkin's world lasted all his life. There is a center that, as it were, brings the rest of the world of poetry to itself, turns out to be the main nerve, idea and principle. This is Love. The element of the female soul inevitably had to begin with such a declaration of oneself in love. In one of her poems, Akhmatova called love "the fifth season." The feeling, in itself acute and extraordinary, acquires additional sharpness, manifesting itself in the ultimate crisis expression of a rise or fall, the first meeting or a completed break, mortal danger or mortal anguish. That is why Akhmatova gravitates so much towards the lyrical short story with an unexpected, often whimsical, capricious end to the psychological plot and to the unusual lyrical ballad, creepy and mysterious (“The City Has Gone”, “New Year’s Ballad”). Usually her poems are the beginning of a drama, or only its culmination, or even more often the finale and ending. And here she relied on the rich experience of Russian not only poetry, but also prose: * Glory to you, hopeless pain, * The gray-eyed king died yesterday. * And poplars rustle outside the window: * Your king is not on earth ... * Akhmatova’s poems carry a special element of love-pity: * Oh no, I didn’t love you, * Burned with sweet fire, * So explain what power * In your sad name. The world of Akhmatova's poetry is a tragic world. The motives of misfortune, tragedy are heard in the poems “Slander”, “Last”, “After 23 years” and others. During the years of repression, the most difficult trials, when her husband is shot and her son is in prison, creativity will become the only salvation, "the last freedom." The muse did not leave the poet, and she wrote the great Requiem. Against the background of the Symbolists, Akhmatov's descriptions stand out precisely for their asceticism. Another difference is the stingy accuracy and conciseness. “April thin ice slightly crunched”, “And the sharp cry of a crow in the black sky”, “And rare harpsichord chords”, each of these sounds, thanks to an accurate, specific characteristic, becomes certain, clearly recognizable. Akhmatova, who “overcame symbolism”, has “precise and strict forms of the external world”, “cute lines between things” in her poems. They do not prevent the comparison of sounds of different types, but they prevent their mixing into a single obscure sound stream, which the Symbolists call music. In symbolist poetry, music is a key word-symbol that encompasses many meanings. Music, sounds, born of the art of musicians, is the top of the hierarchy into which the Symbolists built all the sound manifestations of the outside world, which attracted them not by themselves, but as representatives of "world harmony". Hence the deification of musical art, which led the symbolists to depersonalize qualitatively different sound phenomena. From this position, any sound was already music. In addition, understanding music as the "essence of the world", the Symbolists heard it even where nothing sounded at all. That is, musical properties were attributed to phenomena that did not have acoustic expression. Phrases where the word “music” appeared not independently, but accompanied by a noun in the genitive case, became quite natural, like “music of the earth” by A. Blok or "dream music" by I. Annensky. While Akhmatova's music is not "the music of something," it exists in poetry on its own. Akhmatova, without theorizing, nevertheless delimits sound as an artistic phenomenon from music, also dividing several types of sounds. Music is one of the phenomena of the world, which does not pretend to be its essence; it is a value among other values, high, but not the highest. And yet, it retained the ability to make a person experience exceptional moments, unique states of the soul: * Something miraculous burns in it, * And its edges are faceted before our eyes. * She alone speaks to me, * When others are afraid to approach. * When the last friend looked away, * She was with me in my grave * And she sang like the first thunderstorm * Or as if all the flowers spoke. In the series of sound phenomena, music occupies approximately the same position. Akhmatov's enumerations and comparisons differ from the symbolist ones in their special caution. They are not directly identified. Compare the timid “or” of Akhmatova with the confident “so” of A. Bely and with an even more decisive dash by Balmont. V.M. Zhirmunsky wrote about Akhmatov’s comparisons that they are devoid of “the metaphorical identification characteristic of symbolism... Comparisons are also introduced by the words as if, as if, as if, as if, even more expanding the distance between the compared objects… they seem to emphasize that the very act of comparison is the result of artistic reflection. The sounds are not built according to a hierarchical scheme, where music would be given preference over other sounds, but rather horizontally, where each of them reveals its individuality: I remembered everything with a keen ear. In the cited fragment of the poem "By the Sea" the cries of birds, the crackling of cicadas and singing seem to be equally important to the author's ear. So later, in the poem “Dream”, the enumerative intonation does not give Bach an advantage over the church bell and both sounds over the silent flowering of roses and autumn nature. When reading some of the later poems, Akhmatova's idea of music sometimes resembles a Symbolist one. Studies of this facet of A. Akhmatova's creativity can be continued in more than one direction, each of which is no less interesting than the one described above. This could be the next stage of my work on the study of the works of Russian poets of the 20th century. In addition, it is possible to study this aspect in the work of other representatives of poetic art.

The question of what a poet should be like, what is his role in society, what are the tasks of poetry, has always worried and worries supporters of art for the people. Therefore, the theme of the appointment of the poet is the central theme not only of the poetry of the 19th century, it permeates all the work of modern poets, for whom the fate of the motherland and people is their fate.

Despite the fact that Anna Akhmatova predicted a short life path for herself, she was mistaken: her path was long and extremely creatively rich and complex. At different times, she differently assessed the role of the poet, as she called herself, and poetry in society. Early lyrics were formed under the influence of the fashion of that time for love poems, although even then Akhmatova stood out very much among her "comrades in the shop" and therefore never called herself a female poetess.

Akhmatova wondered about the role of the poet and poetry in society. It was not at all accidental. The roots of this phenomenon lay in the psychology of the poet: Akhmatova always felt like a part of something big - history, country, people. The first poetic experiments took place when Akhmatova was in line with the current "Acmeism". But gradually the poetess moved away from the acmeists and chose another landmark, which she considered the only true one: Pushkin. One of the poems of the cycle "In Tsarskoye Selo" is dedicated to him:

"Swarty youth wandered through the alleys,

At the lakeside, the shores were sad,

And we cherish a century

Barely audible rustle of steps ... "

At the end of the verse there is an expressive detail: "a disheveled volume of Guys". This is a symbol of inner emancipation, freedom of the poet.

But still, despite the fact that Pushkin was the highest literary authority for Akhmatova, she was also looking for her image in the world of contemporary poetry. The cycle "Secrets of the Craft" was an attempt to understand the secret of poetry, and, consequently, in its own secret. The nature of inspiration became the theme of the opening poem with the unambiguous title "Creativity". Akhmatova does not forget her literary roots, inheriting the traditions of Lermontov, Pushkin, Zhukovsky. The poet's mind is looking for, carefully chooses one only true motive in the chaos of sounds:

"So irremediably quiet around him,

That you can hear the grass growing in the forest."

Having determined the motive, the poet must solve another necessary task - to put it on paper. For Akhmatova, this process is likened to dictation, and the poet is dictated by his inner impulses and sounds. It doesn't matter whether the dictated definition or image is "low" or "high" - there is no such division for Akhmatova (she declares: "I don't need odic armies"). The poetess speaks of the "ordinary miracle" of poetry. It consists in the birth of a verse from an ordinary situation:

"When would you know from what rubbish

Poems grow, knowing no shame ... "

The growth of these poems is not just a mechanical writing, but a real re-creation of reality, giving it the form of a verse that carries positive spiritual energy to people.

For Akhmatova, no less important was the figure of the reader to whom the positive charge of the poem would reach, because poetry is the essence of a dialogue between the artist and the reader. Without the latter, there would be no one to write for, that is, the idea of poetry would lose all meaning. "I don't exist without a reader," remarks Marina Tsvetaeva. For Akhmatova, the reader becomes an "unknown friend", who is much more than a simple consumer of spiritual values. In his soul, his poems acquire a new sound, as they are refracted through a unique consciousness, different from the consciousness of the poet:

"And each reader is like a mystery,

Like buried treasure."

The example of this and other poems clearly shows that the cycle, in full accordance with its name, reveals to the reader the secrets of Akhmatova's poetic craft. But in addition to the "technical" aspect of poetry, as described above can be called with a certain degree of conventionality, there are also relationships between the poet and the external, often completely unpoetic world. The twenties of the last century put many poets in front of a choice - to emigrate abroad or stay with their country at a troubled time. However, Akhmatova, being, like Nekrasov, first of all, a poet-citizen, makes a difficult decision - to stay in the new Russia: "I am not with those who left the earth." This statement sounds rather harsh, but the author's position is even more clearly emphasized by the line: "I won't give them my songs." Akhmatova's categoricalness finds expression also in the fact that she is sure "that every hour will be justified in a late assessment." In this appeal to the future, there is a clear echo with the poem "Duma" by Lermontov - the poet addressed his descendants, like Akhmatova. However, this topic is not exhausted: in the poem "When in the anguish of suicide ...", permeated with mystical motives, the poet hears an inner voice - the voice of dark forces that call him:

"Leave your land, deaf and sinful,

Leave Russia forever."

The heroine in the final acts very simply, but at the same time, a certain pathos is felt in this act:

"But calmly and calmly

I covered my ears with my hands."

Akhmatova finally makes her choice in favor of trials, but at home. They did not take long to wait - the Great Patriotic War became a true test of survival for Russia. Akhmatova also did not stand aside - at the beginning she was in besieged Leningrad, later - in Tashkent. But wherever she was, the poetess felt the need for everyone, especially poets and writers, to somehow participate in the war and share the universal grief. Thus, one of her most famous poems, "Courage", was born. It reminds of the duty to the Fatherland:

"The hour of courage has struck on our watch,

And courage will not leave us."

Even more important is a reminder of the most precious thing that the Russian people have - the Russian word, which was praised by many poets and writers long before Akhmatova. Losing a home is not as scary as losing a language - any artist of the word can subscribe to this. The poetess also understood that the language determines the identity of the nation, what makes it unlike any other nation in the world. The ending sounds like a spell, which most accurately reflects the author's desire to preserve his native speech:

"And we will give to our grandchildren, and we will save from captivity

Forever!"

The poem "Native Land" serves as a philosophical result of Akhmatova's work. The movement of the plot of this poem begins from the private, momentary and continues to the eternal, imperishable. The poem is very reminiscent of Lermontov's Motherland and a number of Pushkin's later poems. Everyone living in Russia is a part of his country and therefore has the honorable right to call this country his own. But the homeland is so huge and immense that sometimes it is even invisible, not appreciated at its true worth:

"We do not wear in treasured amulets on the chest,

We do not compose verses sobbingly about her ... "

Only after death is a person inevitably reunited with the earth, although in reality this connection should always exist. For a poet, life with a sense of homeland is doubly important - it gives him the strength to create.

Topic The theme of the poet and poetry in the lyrics of A. Akhmatova.

Lesson type Combined.

Target Continue acquaintance with the lyrics of A. A. Akhmatova.

Show how the theme of the poet and poetry developed in the work of A. Akhmatova.

Raise interest in Russian literature, attentive attitude to the word.

Equipment

Portraits of A. A. Akhmatova.

video film

Epigraph I don't need odic rati

And the charm of elegiac undertakings.

As for me, in verse everything should be out of place,

Not like people do.

A. Akhmatova ("Secrets of Mastery")

The poet is not a man, he is only a spirit -

Be blind like Homer

Or like Beethoven, deaf, -

He sees everything, hears everything, owns everything ...

A. Akhmatova

During the classes

I Repetition of the studied material

1. Teacher's word Among the brilliant names of poets of the Silver Age stands out

the name of Anna Akhmatova. Throughout the centuries-old history of Russian

literature, this is perhaps the first time that a woman is a poet by

by the power of her talent she was in no way inferior to male poets.

It is no coincidence that she did not favor the word "poetess" and did not do any

discounts on "female weakness", making the highest demands -

niya to the title of POET.

What allowed her to become on a par with the biggest lyricists

XX century: Blok, Yesenin, Mayakovsky, Mandelstam, Gumilyo -

you, Pasternak? .. First of all, this is the utmost sincerity,

attitude to creativity as a "sacred craft", the closest

connection with the native land, its history, culture and, of course,

virtuoso command of the word and an impeccable sense of native speech.

I suggest at the beginning of the lesson to remember the beginning of the creative bio -

Count A. Akhmatova.

2. Conversation V. Do you remember what literary movement you belonged to?

A. Akhmatova? What is its essence?

O. A. A. Akhmatova was an acmeist. This is Lit. flow

genetically related to symbolism, but opposed to it

extremes. Acmeists tried to rediscover the value of human

life, the value of a simple objective world, the initial

the value of the word. They have developed subtle ways of transmitting internal

his lyrical world of the hero - through a psychologically significant gesture,

movement detail. The manner of "materialization of experiences" was

characteristic of the work of A. Akhmatova.

AT. Name like-minded people A. Akhmatova.

AT. What are the names of Akhmatova's first collections?

O."Evening" 1912 and "Rosary" 1914

AT. What are the themes of her early work?

O. The main theme of early creativity is love. The feeling is about

is dramatic, but it is earthy, devoid of mysticism

AT. What are the features of A. Akhmatova's lyrics of this period

O. The absence of a large number of pictorial - express -

literal means, but unexpected epithets make her

original, original;

Depiction of the climaxes of a person's life

(first meeting, last meeting, farewell;

Naturalness, trust;

Use of everyday vocabulary and colloquial

intonations;

Restraint and severity, internal tension;

The absence of bright colors means the image of morning, evening,

autumn, winter, early spring;

Muted melody of sound;

A small number of adjectives;

In syntax: simple sentences, exclamations,

This is compensated by psychologism, special attention to

details. O. Mandelstam believed that “Akhmatova brought to Russian lyrics all the enormous complexity and richness

Russian novel of the XIX century ... "

B. Eikhenbaum wrote: "Akhmatova's poetry is a complex lyrical novel."

Each poem is like a mosaic of particles that add up to something like a big novel.

3. Tasks with deformed text

II Communication of new material

Target setting

Today in the lesson we will continue our acquaintance with the work of A. Akhmatova, without which it is impossible to deeply understand not only Russian literature, but also the development of Russia in the twentieth century. In addition, we must understand what are the features of Akhmatov's lyrics in the "post-Acmeist" period, we will try to hear the voice of the poet, her understanding of her destiny.

Appeal to the epigraph of the lesson

AT. What words and expressions can be considered the key to understanding this topic?

teacher's word

Very soon, the framework of acmeistic poetry turned out to be cramped for her. Akhmatova's poetry developed in line with classical poetry and prose. The ideal of the poet, before whom she bowed, was A.S. Pushkin with his classical clarity, expressiveness, nobility. Akhmatova's sense of reverence for the miracle of Pushkin's poetry was expressed in the poem "A swarthy youth wandered along the alleys ..." from the cycle "In Tsarskoye Selo" (collection "Evening"). Akhmatova, whose childhood and youth were spent in Tsarskoye Selo, feels herself involved in Pushkin's miracle.

Anna Akhmatova wrote: “I was born on June 11 (23), 1889 near Odessa (Vol Fontan). My father was a retired Navy mechanical engineer at the time. As a one-year-old child, I was transported to the north - to Tsarskoye Selo. I lived there until I was sixteen

My first memories are those of Tsarskoye Selo: the green, bright splendor of the parks, the pasture where my nanny took me, the hippodrome, where small motley horses galloped, the old

station and something else that later became part of the Tsarskoye Selo ode"

“Tsarskoe Selo is our fatherland” - Pushkin's lines are often recalled while reading A. Akhmatova's poems. The image of the poet is constantly invisibly present in her lyrics.

A dark-skinned youth wandered through the alleys,

At the lake shores sad,

And we cherish a century

Barely audible rustle of steps.

Pine needles thick and prickly

Cover low stumps...

Here lay his cocked hat

And the disheveled Tom Guys.

teacher's word

However, you can hardly find direct echoes of Pushkin's poems in Akhmatova's poetry, Pushkin's influence affected on a different level - in the philosophy of life,

in an effort to go against fate, in the poet's loyalty to poetry alone, and not to the power of power or the crowd. Akhmatova, like Pushkin, is characterized by a sense of the drama of being and at the same time, the desire to strengthen a person and sympathize with him.

Akhmatova, like Pushkin, is characterized by a wise acceptance of life and death. The poem "Seaside Sonnet" (1958) echoes Pushkin's poem "I visited again ..." (1835). "Primorsky Sonnet", like Pushkin's poem, was also written shortly before his death:

Everything here will outlive me

Everything, even dilapidated starlings

And this air, spring air,

With irresistibility unearthly.

And over the cherry blossoms

The radiance of the light moon pours.

And it seems so easy

Whitening in the thicket of emerald,

I won't tell you where...

There among the trunks is even lighter,

And everything looks like an alley

At the Tsarskoye Selo pond. 1958

AT. What philosophical reflections are consonant with Pushkin's worldview?

O The “voice of eternity” in the poem is by no means an allegory: a time comes for a person when he hears more and more clearly. And the surrounding world, while remaining real, inevitably becomes ghostly, like a road that leads "I won't tell you where." The thought of the inevitability of parting with everything that is so dear to the heart causes sorrow, but this feeling becomes bright. The realization that “everything here will outlive me” does not generate anger, but, on the contrary, a state of peace. This is a poem about death standing at the threshold. But it is also about the triumph of life, about the road of life, which goes into eternity.

Akhmatova is characterized by such a worldview. In a Christian way, she perceives her poetic gift - this is for her the greatest mercy of God and the greatest test of God, the way of the cross of the poet (as well as for B. Pasternak and O. Mandelstam). Through the trials that befell Akhmatova, she passed courageously and proudly. She, like the Son of Man, suffers for all mankind; and having made the way of the cross , the poet acquires a voice and the moral right to speak with his contemporaries and with those who will live after him:

The eternal companion of the poet is the muse. This image appears in the works of many Russian poets, including Pushkin. Anna Akhmatova inherited it from classical poetry. About how he developed in her poetry, a short message was prepared by

Yakovleva Ksenia, who conducted a small study on the issue raised.

It seems to me that Anna Akhmatova herself sometimes takes the place of a muse. The people around her always noticed unusualness, some kind of constant inner work that took place in the soul of a young girl. . Here is what Vera Veer says about the young Akhmatova:

“The church is dark. There are few people. An old woman-prayer zealously bows to the ground, earnestly crosses herself and whispers prayers. To the left, in the dark aisle, looms

familiar peculiar profile. This is Anya Gorenko. She stands motionless, thin, slender, tense. The gaze is focused forward. She sees no one, hears no one. She doesn't seem to be breathing. I restrain my initial desire to call out to her, I feel that she must not be disturbed. Thoughts again arise in my head: “What a strange Gorenko. What kind of person she is."

This state was very subtly noticed by A. Modiyani, who met the novice poet in 1910 during the trip of the young couple of the Gumilyovs to Paris. Borisova Anna will tell about the history of creating a graphic portrait of A. Akhmatova.

So, we came to the conclusion that the classical rigor and clarity of Akhmatova's poetry reminds of the main tradition she follows - the tradition of Pushkin. Until the last years of her life, she studied the creative heritage of the great poet, wrote a number of articles and notes about the life and work of Pushkin, which were highly appreciated by scientists. Akhmatova's "voice of generation" also expressed the desire to preserve priceless traditions. Hence the interest in the nature of creativity, in the "secrets of the craft."

In the cycle “Secrets of the Craft”, Akhmatova spoke about how poetry is born:

AT. Let's try to understand: what does Akhmatova see as the nature of creativity?

I don't need odic ratis

And the charm of elegiac undertakings.

For me, everything is in poetry must be out of place

Not like people do.

When would you know and from what rubbish

grow up poetry, knowing no shame

Like a yellow dandelion by the fence

Like burdock and quinoa.

An angry cry, a fresh smell of tar,

Mysterious mold on the wall...

And the verse is already sounds, perky, gentle,

For the joy of you and me.

Find keywords and expressions through which you can trace the development of the author's idea. What is she like?

2. I ask you to pay attention to the fact that they all characterize creativity. What is it-

is it for a poet? (This is an unpredictable process, but it is both joy and knowledge

surrounding world.)

Let's read the poem "I so prayed:" Satisfy ...". What is the theme of this poem? What traditions does Akhmatova continue?

I prayed like this: "Slake

deaf I want to sing!”

But there is no earthly from the earth

And there was no release.

Like smoke from a victim that the teacher could not

Soar to the throne of Power and Glory,

But only creeps at the feet,

Prayer kissing grass, -

So I, the Lord, prostrate myself:

Will the fire of heaven touch

My closed eyelashes

And the dumbness of my wonderful? 1913

The theme of the poet and poetry is developed in the traditions of Russian classical poetry, primarily Pushkin's. Let's remember the poem "Prophet".

Spiritual thirst tormented,

In the gloomy desert I trudged, -

And a six-winged seraph

He appeared to me at a crossroads.

With fingers as light as a dream

He touched my eyes.

Prophetic eyes opened,

Like a frightened eagle.

He touched my ears

And they were filled with noise and ringing:

And I heard the shudder of the sky,

And the heavenly angels flight,

And the reptile of the sea underwater course,

And the valley of the vine vegetation.

And he clung to my lips,

And tore out my sinful tongue,

And idle and crafty,

And the sting of the wise snake

In my frozen mouth

He invested it with a bloody right hand.

And he cut my chest with a sword,

And took out a trembling heart,

And coal burning with fire

He put a hole in his chest.

Like a corpse in the desert I lay,

And God's voice called out to me:

“Arise, prophet, and see, and listen,

Fulfill my will

And, bypassing the seas and lands,

Burn the hearts of people with the verb!

AT. What do these two poems have in common?

O. The idea that poetry is from above is a gift given by God. This is both a blessing and a doom to suffering. That is, we can say that Akhmatova inherits Pushkin's vision of this topic.

Conclusion

A man becomes a poet by the will of God. His gift is both happiness, and torment, and responsibility.

teacher's word

How poems are born is a secret with seven seals. Inspiration, the ability to hear what others do not hear, to see what others do not see, sensitivity to the pulse of life itself is a special gift. The veil over this secret is lifted by the poet in his poems.

In Akhmatova's poetry, the eternal theme of "poet and poetry" and the literary traditions associated with it receive a kind of refraction that corresponds to the special logic of her poetic world. One can draw a number of parallels with well-known poems of various poets on this topic.

Many of Akhmatova's poems are devoted to the theme of creativity. The self-characterization of the lyrical hero organically includes the definition of himself as a poet, a person,

for whom poetry is a vocation, a deed, a craft. One of the lyrical cycles on this topic, "Secrets of the Craft," opens with a poem, which is called -

"Creativity" (1936).

It happens like this: some kind of languor;

In the ears the clock does not stop;

In the distance, a rumble of fading thunder.

I feel both complaints and groans,

But in this abyss of whispers and calls

Some kind of secret circle narrows,

One all victorious sound rises.

So irremediably quiet around him,

What is heard, how grass grows in the forest,

How famously he walks on the ground with a knapsack ...

But the words have already been heard

And light rhymes alarm bells -

Then I begin to understand

And just dictated lines

Lie down in a snow-white notebook.

Fountain House

AT. What does Akhmatova associate with creativity?

O. Creativity, according to Akhmatova, is a phenomenon of the same order as life.

Poems arise from the thick of life itself, simple and quiet. The task of the poet is to hear them, to catch them. Poetry grows out of the litter of the earth, raising a person with it, the earthly wants to be heard - through the poet - and gain immortality.

Like Pushkin, Derzhavin, Shakespeare, Akhmatova could not help thinking about the essence of poetry, the fate of the poetic word. Akhmatova's poetry has never been propaganda. The poetic word - the "royal word" has, according to Akhmatova, more power over the minds and hearts of people than gold, power:

Who once called people

King in mockery, God in fact,

Who was killed - and whose instrument of torture

Warmed by the warmth of my chest...

Witnesses of Christ have tasted death,

And gossips - old women, and soldiers,

And the procurator of Rome - all passed

Where the arch once stood

Where the sea beat, where the cliff blackened, -

They were drunk in wine, inhaled with hot dust

And with the smell of sacred roses.

Gold rusts and steel rots,

Marble crumbles - everything is ready for death.

Sadness is the strongest thing on earth

And more durable - the royal word.

Video excerpt

teacher's word

For Akhmatova herself, poetry, the consciousness of belonging to the world of eternal values, was saving in the difficult years of humiliation and persecution. L. Chukovskaya wrote: “The consciousness that in poverty, and in disasters, and in grief, she is poetry, she is greatness, she, and not the power that humiliates her, this consciousness gave her the strength to endure poverty, humiliation, grief” .

During the war, universal human values came to the fore: life, home, family, homeland. Many considered it impossible to return to the pre-war horrors of totalitarianism. So the idea of "Courage" is not limited to patriotism. Spiritual freedom forever, expressed in faith in the freedom of the Russian word, is what the people accomplish their feat for.

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our clocks,

And courage will not leave us.

It's not scary to lie dead under the bullets,

It's not bitter to be homeless,

And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean,

And we will give to our grandchildren, and we will save from captivity

AT. What features of this poem do you notice?

O. Laconism, asceticism, "plaque"

AT. Which of the Russian writers, like Akhmatova, characterized the “Russian word”?

O. I. S. Turgenev in the poem in prose "Russian language".

In days of doubt, in days of painful reflections on the fate of my homeland, you are my only support and support, O great, powerful, truthful and free Russian language! Without you, how not to fall into despair at the sight of everything that happens at home? But one cannot believe that such a language was not given to a great people!

I. S. Turgenev

At home, Akhmatova’s work again became widely known only in the 80s of the twentieth century, when collections of her poems began to be published in mass editions, when her “Requiem” finally came out of oblivion.

For Akhmatova, the words "Motherland" and "power" were never synonymous, for her there was no choice - to leave Russia or stay. She considers the flight a betrayal. This is not only her civic position, but also the position of the poet. (After all, "a poet in Russia is more than a poet")

I am not with those who left the earth

At the mercy of enemies.

I will not heed their rude flattery,

I won't give them my songs.

But the exile is eternally pitiful to me,

Like a prisoner, like a patient.

Dark is your road, wanderer,

Wormwood smells of someone else's bread.

And here, in the deaf haze of fire

Losing the rest of my youth

We are not a single blow

They didn't turn themselves away.

And we know that in the assessment of late

Every hour will be justified...

But there are no more tearless people in the world, 1922.

Haughtier and simpler than us.

AT. In what style is this poem written? Why?

O. It is sustained in a high style: the Old Slavicisms “I will not heed”, “songs .., I will not give” in the meaning of “I will not dedicate poetry”, the words “torment”, “exile”, etc.

O. This is also Pushkin's tradition: the poet is spoken of as a messenger of God.

AT. What contrasts do we see in this work?

O. Not only those who left and those who remained are opposed. “Those who abandoned the land (the first stanza) and the “exiles” (the second stanza) are different people, and the author’s attitude towards them is different. There is no sympathy for the first. "But the exile is eternally pitiful to me, / Like a prisoner, like a sick person." It can be assumed that they mean writers and philosophers expelled from Soviet Russia in 1922. as a hostile element (the latest date "July 1922" is probably a camouflage one: the deportation took place in August).

However, the fate of those who remained, pitying those who were expelled “Your road is dark, wanderer, / Someone else’s bread smells of wormwood”), is no better than “We have not rejected a single blow / We have not deflected from ourselves.” Political protest against the expulsion of the color of the Russian intelligentsia is combined with the acceptance of one’s own lot. Historically, "every hour will be justified" of the martyr's life.

III Generalization of the studied material

conclusions

AT. In what directions does the theme of creativity develop in A. Akhmatova's poetry?

First metaphor: the poet receives inspiration from above, it is, as it were, an external force descending on the poet, sometimes even against his will. This image is connected with the notion of the "torments of creativity":

It happens like this: some kind of languor ...

compare - with A. S. Pushkin:

tormented by spiritual thirst,

In the gloomy desert I dragged...

Another important metaphor: the poet is able to hear and see what is inaccessible to others. But if, for example, in Pushkin’s poem “The Prophet”, this is said with solemn Church Slavonic sayings and the object of contemplation receives a universal, cosmic scale and a special spiritual and mystical dimension (“And I heard the shudder of the sky, // And the heavenly flight of angels, // And the reptile of the sea underwater passage, // And the vegetation of the valley vine"), then Akhmatova's similar metaphor refers rather to the traditions of oral folk art:

Hear the grass growing in the forest

How dashingly walks on the ground with a knapsack ...

And finally, Akhmatova turns to traditional metaphor about the fact that the appearance of verse in the mind of the poet is preceded by some of his own idea of verse, "living" in the transcendental space. The poet only "responds" to the external call and gives a complete form to the spontaneous flow of mysterious "sounds" and "speech".

IV lesson score

V Homework

You have probably already noticed that the theme of the poet and poetry in the work of Akhmatova is inextricably linked with the theme of the Motherland. Today at the lesson the poem “Courage” (1942), “I am not with those who left the earth” (1922) was sounded. At home, you should analyze the poems related to this topic “I had a voice” (1917) and “Native land” (1961). One poem about creativity by heart.

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