Anna Andreevna Akhmatova (real name - Gorenko) was born in the family of a marine engineer, retired captain of the 2nd rank, at the Bolshoi Fontan station near Odessa.
Mother, Irina Erazmovna, devoted herself entirely to her children, of whom there were six.
A year after Anya's birth, the family moved to Tsarskoye Selo.
“My first impressions are those of Tsarskoye Selo,” she later wrote. - The green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome, where small colorful horses galloped, the old railway station and something else that later became part of the Tsarskoye Selo Ode. There were almost no books in the house, but my mother knew many poems and recited them by heart. Communicating with older children, Anna began to speak French quite early. 
With Nikolai Gumilyov, who became her husband, Anna met when she was only 14. 17-year-old Nikolai was struck by her mysterious, bewitching beauty: radiant gray eyes, thick long black hair, an antique profile made this girl unlike anyone else. 
For ten whole years, Anna became a source of inspiration for the young poet. He showered her with flowers and poems. One day, on her birthday, he gave Anna flowers, plucked under the windows of the imperial palace. In despair from unrequited love on Easter 1905, Gumilyov tried to commit suicide, which only frightened and disappointed the girl completely. She stopped seeing him. 
Soon Anna's parents divorced, and she moved with her mother to Evpatoria. At this time, she was already writing poetry, but did not attach much importance to this. Gumilyov, having heard something written by her, said: “Maybe you will dance better? You are flexible ... ”Nevertheless, he published one poem in a small literary almanac“ Sirius ”. Anna chose the surname of her great-grandmother, whose family descended from the Tatar Khan Akhmat. 
Gumilyov continued to propose to her again and again and attempted his own life three times. In November 1909, Akhmatova unexpectedly agreed to marriage, accepting the chosen one not as love, but as fate. 
“Gumilyov is my destiny, and I dutifully surrender to her. Don't judge me if you can. I swear to you everything that is holy to me, that this unfortunate person will be happy with me, ”she writes to student Golenishchev-Kutuzov, who she liked much more than Nikolai. 
None of the bride's relatives came to the wedding, considering the marriage obviously doomed. Nevertheless, the wedding took place at the end of June 1910. Soon after the wedding, having achieved what he had been striving for for so long, Gumilyov lost interest in his young wife. He began to travel a lot and was rarely at home. 
In the spring of 1912, Akhmatova's first collection of 300 copies was published. In the same year, Anna and Nikolai have a son, Leo. But the husband was completely unprepared to limit his own freedom: “He loved three things in the world: for evening singing, white peacocks and erased maps of America. He didn't like it when children cried. He did not like tea with raspberries and female hysteria ... And I was his wife. The mother-in-law took the son.
Anna continued to write and from an eccentric girl turned into a majestically regal woman. They began to imitate her, they painted her, admired her, she was surrounded by crowds of admirers. Gumilyov half-seriously, half-jokingly hinted: “Anya, more than five is indecent!” 
When the First World War began, Gumilyov went to the front. In the spring of 1915, he was wounded, and Akhmatova constantly visited him in the hospital. For valor, Nikolai Gumilyov was awarded the St. George Cross. At the same time, he continued to engage in literature, lived in London, Paris, and returned to Russia in April 1918.
Akhmatova, feeling like a widow with her husband alive, asked him for a divorce, saying that she was marrying Vladimir Shileiko. She later called the second marriage "interim". 
Vladimir Shileiko was a famous scientist and poet. 
Ugly, insanely jealous, unadapted to life, he, of course, could not give her happiness. She was attracted by the opportunity to be useful to a great man. She believed that rivalry between them was excluded, which prevented marriage with Gumilyov. She spent hours writing translations of his texts from dictation, cooking and even chopping firewood. And he did not allow her to leave the house, burning all the letters unopened, did not allow her to write poetry. 
Anna was rescued by a friend, composer Arthur Lurie. Shileiko was taken to the hospital for treatment of sciatica. And Akhmatova during this time got a job in the library of the Agronomic Institute. There she was given a state-owned apartment and firewood. After the hospital, Shileiko was forced to move in with her. But in the apartment where Anna herself was the hostess, the domestic despot subsided. However, in the summer of 1921 they parted completely. 
In August 1921, Anna's friend, the poet Alexander Blok, died. At his funeral, Akhmatova learned that Nikolai Gumilyov had been arrested. He was accused of not informing, knowing about the alleged plot being prepared.
In Greece, almost at the same time, Anna Andreevna's brother, Andrei Gorenko, committed suicide. Two weeks later, Gumilyov was shot, and Akhmatova was not honored by the new government: both noble roots and poetry outside of politics. Even the fact that People's Commissar Alexandra Kollontai once noted the attractiveness of Akhmatova's poems for young workers ("the author truthfully depicts how badly a man treats a woman") did not help to avoid the persecution of critics. She was left alone and for a long 15 years she was not published. 
At this time, she was engaged in the study of Pushkin's work, and her poverty began to border on poverty. She wore an old felt hat and a light coat in any weather. One of the contemporaries was somehow amazed at her magnificent, luxurious outfit, which, upon closer examination, turned out to be a worn dressing gown. Money, things, even gifts from friends did not stay with her. Without her own home, she did not part with only two books: a volume of Shakespeare and the Bible. But even in poverty, according to the reviews of all who knew her, Akhmatova remained royally majestic and beautiful.
With historian and critic Nikolai Punin Anna Akhmatova was in a civil marriage.
To the uninitiated, they looked like a happy couple. But in fact, their relationship has developed into a painful triangle.
Akhmatova's civil husband continued to live in the same house with his daughter Irina and his first wife Anna Arens, who also suffered from this, remaining in the house as a close friend.
Akhmatova helped Punin a lot in his literary studies, translating for him from Italian, French, and English. Her son Leo moved to her, who by that time was 16 years old. Later, Akhmatova said that Punin could suddenly announce sharply at the table: “Only Irochka needs butter.” But her son Lyovushka was sitting next to him ... 
In this house, she only had a sofa and a small table at her disposal. If she wrote, it was only in bed, surrounded by notebooks. He was jealous of her poetry, fearing that he looked insufficiently significant against her background. Once, into the room where she was reading her new poems to friends, Punin flew in with a cry: “Anna Andreevna! Do not forget! You are a poet of local Tsarskoye Selo significance. 
When a new wave of repressions began, on the denunciation of one of the fellow students, the son of Leo was arrested, and then Punin. Akhmatova rushed to Moscow, wrote a letter to Stalin. They were released, but only temporarily. In March 1938, the son was again arrested. Anna again "was lying at the feet of the executioner." The death sentence was replaced with exile.
During the Great Patriotic War, during the heaviest bombings, Akhmatova spoke on the radio with an appeal to the women of Leningrad. She was on duty on the roofs, digging trenches. She was evacuated to Tashkent, and after the war she was awarded the medal "For the Defense of Leningrad". In 1945, his son returned - from exile he managed to get to the front. 
But after a short respite, a black streak begins again - at first she was expelled from the Writers' Union, deprived of ration cards, and the book that was in print was destroyed. Then they again arrested Nikolai Punin and Lev Gumilyov, whose only fault was that he was the son of his parents. The first died, the second spent seven years in camps. 
The disgrace was removed from Akhmatova only in 1962. But until the last days, she retained her royal grandeur. She wrote about love and jokingly warned the young poets Yevgeny Rein, Anatoly Neiman, Joseph Brodsky, with whom she was friends: “Just don’t fall in love with me! I don't need it anymore!" 
Source of this post: http://www.liveinternet.ru/users/tomik46/post322509717/
And here is information about other men of the great poetess, also collected on the Internet:
Boris Anrep - Russian muralist, writer of the Silver Age, lived most of his life in Great Britain.
They met in 1915. Akhmatova was introduced to Boris Anrep by his closest friend, the poet and theorist of verse N.V. Undobrovo. Here is how Akhmatova herself recalls her first meeting with Anrep: “1915. Palm Sat. A friend (Nedobrovo in Ts.S.) has officer B.V.A. Improvisation of poetry, evening, then two more days, on the third he left. Escorted me to the station."
Later, he came from the front on business trips and on vacation, met, acquaintance grew into a strong feeling on her part and a keen interest on his part. How ordinary and prosaic I "saw off to the station" and how many poems about love were born after that! 
Muse Akhmatova, after meeting with Antrep, spoke immediately. About forty poems are dedicated to him, including the happiest and brightest poems about love by Akhmatova from The White Pack. They met on the eve of B. Anrep's departure to the army. At the time of their meeting, he was 31 years old, she was 25. 
Anrep recalls: " When I met her, I was fascinated: an exciting personality, subtle sharp remarks, and most importantly - beautiful, painfully touching poems ... We rode in a sleigh; dined in restaurants; and all this time I asked her to read poetry to me; she smiled and sang in a low voice". 
According to B. Anrep, Anna Andreevna always wore a black ring (gold, wide, covered with black enamel, with a tiny diamond) and attributed to him a mysterious power. The cherished "black ring" was presented to Anrep in 1916. " I closed my eyes. He rested his hand on the sofa seat. Suddenly something fell into my hand: it was a black ring. "Take it," she whispered, "to you." I wanted to say something. The heart was beating. I looked inquiringly at her face. She silently looked into the distance".
Like an angel disturbing the water
You looked into my face then
Returned both strength and freedom,
And in memory of a miracle, he took a ring.
The last time they saw each other was in 1917 on the eve of B. Anrep's final departure to London. 
Arthur Lurie - Russian-American composer and music writer, theorist, critic, one of the greatest figures of musical futurism and Russian musical avant-garde of the 20th century. 
Arthur was a charming man, a dandy, in whom women unmistakably identified an attractive and strong sexuality. The acquaintance of Arthur and Anna happened during one of the many disputes in 1913, where they sat at the same table. She was 25, he was 21, and he was married.
The rest is known from the words of Irina Graham, a close acquaintance of Akhmatova at that time and later a friend of Lurie in America. “After the meeting, everyone went to Stray Dog. Lurie again found himself at the same table with Akhmatova. They started talking and the conversation went on all night; Gumilyov came up several times and reminded: "Anna, it's time to go home," but Akhmatova did not pay attention to this and continued the conversation. Gumilyov left alone. 
In the morning, Akhmatova and Lurie left the Stray Dog for the islands. It was like Blok: "And the crunch of sand, and the snoring of a horse." The stormy romance lasted one year. In the verses of this period, the image of King David, the Hebrew king-musician, is associated with Lurie.
Relations resumed in 1919. Her husband Shileiko kept Akhmatova locked up, the entrance to the house through the gateway was locked. Anna, as Graham writes, being the thinnest woman in St. Petersburg, lay down on the ground and crawled out of the gateway, and on the street, Arthur and her beautiful friend, actress Olga Glebova-Sudeikina, were waiting for her, laughing.
Amadeo Modigliani - Italian artist and sculptor, one of the most famous artists of the late XIX - early XX century, a representative of expressionism.
Amadeo Modigliani moved to Paris in 1906 in order to establish himself as a young, talented artist. Modigliani at that time was unknown to anyone and very poor, but his face radiated such amazing carelessness and calmness that he seemed to the young Akhmatova a man from a strange, unknown world. The girl recalled that at their first meeting, Modigliani was dressed very brightly and gaudily, in yellow corduroy trousers and a bright jacket of the same color. He looked rather absurd, but the artist was able to teach himself so gracefully that he seemed to her an elegant handsome man, dressed in the latest Parisian fashion. 
That year, too, the then young Modigliani was barely twenty-six. Twenty-year-old Anna, a month before this meeting, became engaged to the poet Nikolai Gumilyov, and the lovers went on their honeymoon to Paris. The poetess at that young time was so beautiful that everyone on the streets of Paris looked at her, and strangers admired her feminine charm aloud. 
The aspiring artist timidly asked Akhmatova for permission to paint her portrait, and she agreed. Thus began the story of a very passionate, but such a short love. Anna and her husband returned to St. Petersburg, where she continued to write poetry and entered the historical and literary courses, and her husband, Nikolai Gumilyov, left for Africa for more than six months. The young wife, who was now increasingly called the "straw widow", was very lonely in the big city. And at this time, as if reading her thoughts, the handsome Parisian artist sends Anna a very ardent letter in which he confesses to her that he could not forget the girl and dreams of meeting her again. 
Modigliani continued to write letters to Akhmatova one after another, and in each of them he passionately confessed his love to her. From friends who visited Paris at that time, Anna knew that Amadeo had become addicted to ... wine and drugs during this time. The artist could not bear poverty and hopelessness, besides, the Russian girl he adored still remained far away in a strange, incomprehensible country for him. 
Six months later, Gumilyov returned from Africa and immediately the couple had a major quarrel. Because of this quarrel, the offended Akhmatova, remembering the tearful pleas of her Parisian admirer to come to Paris, suddenly left for France. This time she saw her lover completely different - thin, pale, haggard from drunkenness and sleepless nights. It seemed that Amadeo had aged many years at once. However, the passionate Italian, still in love with Akhmatova, seemed to be the most beautiful man in the world, burning her, as before, with a mysterious and piercing look. 
They spent an unforgettable three months together. Many years later, she told those closest to her that the young man was so poor that he could not invite her anywhere and simply took her for a walk around the city. In the artist's tiny room, Akhmatova posed for him. In that season, Amadeo painted more than ten portraits of her, which after, allegedly, burned down during a fire. However, many art historians still claim that Akhmatova simply hid them, not wanting to show the world, since the portraits could tell the whole truth about their passionate relationship ... Only many years later, among the drawings of an Italian artist, two portraits of a naked woman were found, in which the similarity of the model with the famous Russian poetess was clearly guessed. 
Isaiah Berlin- English philosopher, historian and diplomat.
The first meeting of Isaiah Berlin with Akhmatova took place in the Fountain House on November 16, 1945. The second meeting the next day lasted until dawn and was full of stories about mutual emigrant friends, about life in general, about literary life. Akhmatova read "Requiem" and excerpts from "Poem without a Hero" to Isaiah Berlin. 
He also visited Akhmatova on January 4 and 5, 1946, to say goodbye. Then she gave him her poetry collection. Andronnikova notes the special talent of Berlin as a "charm" of women. In him, Akhmatova found not just a listener, but a person who occupied her soul. 
During the second visit to Berlin in 1956, they did not meet with Akhmatova. From a telephone conversation, Isaiah Berlin concluded that Akhmatova was banned.
Another meeting was in 1965 in Oxford. The topic of the conversation was the company raised against her by the authorities and personally by Stalin, but also the state of modern Russian literature, Akhmatova's predilections in it. 
If their first meeting took place when Akhmatova was 56 years old, and he was 36, then the last meeting took place when Berlin was already 56 years old, and Akhmatova was 76. She died a year later.
Berlin survived Akhmatova by 31 years. 
Isaiah Berlin, this is the mysterious person to whom Anna Akhmatova dedicated a cycle of poems - the famous "Cinque" (Five). In the poetic perception of Akhmatova, there are five meetings with Isaiah Berlin. Five is not only five poems in the Cingue cycle, but perhaps this is the number of meetings with the hero. This is a cycle of love poems. 
Many are surprised at such a sudden, and judging by the poems, tragic love for Berlin. “Guest from the Future” Akhmatov called Berlin in “A Poem without a Hero” and perhaps poems from the cycle “Rosehip Blooms” (from a burnt notebook) and “Midnight Poems” (seven poems) are dedicated to him. Isaiah Berlin translated Russian literature into English. Thanks to the efforts of Berlin, Akhmatova received an honorary doctorate from Oxford University. 
Anna Andreevna Akhmatova (nee - Gorenko, after her first husband Gorenko-Gumilyov, after a divorce she took the surname Akhmatova, after her second husband Akhmatova-Shileiko, after Akhmatov's divorce). She was born on June 11 (23), 1889 in the Odessa suburb of Bolshoi Fountain - she died on March 5, 1966 in Domodedovo, Moscow Region. Russian poetess, translator and literary critic, one of the most significant figures of Russian literature of the 20th century.
Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and harassment (including the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946, which was not canceled during her lifetime), many works were not published in her homeland, not only during the life of the author, but and for more than two decades after her death. At the same time, the name of Akhmatova, even during her lifetime, was surrounded by fame among admirers of poetry both in the USSR and in exile.
Three people close to her were subjected to repressions: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930s and 1940s and in the 1940s and 1950s.
Akhmatova's ancestors on her mother's side, according to family tradition, ascended to the Tatar Khan Akhmat (hence the pseudonym).
Father is a mechanical engineer in the Navy, occasionally engaged in journalism.
As a one-year-old child, Anna was transferred to Tsarskoye Selo, where she lived until the age of sixteen. Her first memories are those of Tsarskoye Selo: "The green, damp splendor of the parks, the pasture where the nanny took me, the hippodrome, where small motley horses galloped, the old station."
Every summer she spent near Sevastopol, on the shore of the Streletskaya Bay. She learned to read according to the alphabet of Leo Tolstoy. At the age of five, listening to how the teacher worked with older children, she also began to speak French. Akhmatova wrote her first poem when she was eleven years old. Anna studied at the Tsarskoye Selo Women's Gymnasium, at first badly, then much better, but always reluctantly. In Tsarskoe Selo in 1903 she met N. S. Gumilyov and became a constant recipient of his poems.
In 1905, after the divorce of her parents, she moved to Evpatoria. The last class was held at the Fundukleevskaya gymnasium in Kyiv, which she graduated in 1907.
In 1908-10 she studied at the law department of the Kyiv Higher Women's Courses. Then she attended the women's historical and literary courses of N.P. Raev in St. Petersburg (early 1910s).
In the spring of 1910, after several refusals, Akhmatova agreed to become a wife.
From 1910 to 1916 she lived with him in Tsarskoye Selo, for the summer she went to the Gumilyov estate Slepnevo in the Tver province. On her honeymoon, she made her first trip abroad, to Paris. I visited there for the second time in the spring of 1911.
In the spring of 1912, the Gumilyovs traveled around Italy; in September their son Leo () was born.
Anna Akhmatova, Nikolai Gumilyov and son Leo
In 1918, having divorced Gumilyov (in fact, the marriage broke up in 1914), Akhmatova married the Assyriologist and poet V. K. Shileiko.
Vladimir Shileiko - the second husband of Akhmatova
Writing poetry from the age of 11, and publishing from the age of 18 (the first publication in the Sirius magazine published by Gumilyov in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience (Ivanov, M. A. Kuzmin) in the summer of 1910. Defending from the very the beginning of family life, spiritual independence, she makes an attempt to publish without the help of Gumilyov, in the fall of 1910 she sends poems to V. Ya. , Apollo, which, unlike Bryusov, publish them.
Upon Gumilyov's return from an African trip (March 1911), Akhmatova reads to him everything she had written during the winter and for the first time received full approval of her literary experiments. Since that time, she has become a professional writer. Released a year later, her collection "Evening" found a very quick success. In the same 1912, members of the newly formed "Shop of Poets", of which Akhmatova was elected secretary, announced the emergence of a poetic school of acmeism.
Akhmatova's life in 1913 proceeds under the sign of growing metropolitan fame: she speaks to a crowded audience at the Higher Women's (Bestuzhev) Courses, artists paint her portraits, poets turn to her with poetic messages (including Alexander Blok, which gave rise to the legend of their secret romance ). There are new, more or less long-term intimate attachments of Akhmatova to the poet and critic N.V. Nedobrovo, to the composer A.S. Lurie, and others.
In 1914 the second collection was published. "Beads"(reprinted about 10 times), which brought her all-Russian fame, gave rise to numerous imitations, and established the concept of "Akhmatov's line" in the literary mind. In the summer of 1914 Akhmatova writes a poem "By the Sea" going back to childhood experiences during summer trips to Chersonese near Sevastopol.
With the outbreak of World War I, Akhmatova severely limited her public life. At this time, she suffers from tuberculosis, a disease that did not let her go for a long time. An in-depth reading of the classics (A. S. Pushkin, E. A. Baratynsky, Rasin, etc.) affects her poetic manner, the sharply paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism guesses in her collection "White Flock"(1917) the growing "sense of personal life as a national, historical life" (B. M. Eikhenbaum).
Inspiring in her early poems the atmosphere of "mystery", the aura of an autobiographical context, Akhmatova introduces free "self-expression" as a stylistic principle into high poetry. The seeming fragmentation, fragmentation, spontaneity of lyrical experience is more and more clearly subject to a strong integrating principle, which gave Vladimir Mayakovsky reason to remark: "Akhmatova's poems are monolithic and will withstand the pressure of any voice without cracking."
The first post-revolutionary years in Akhmatova's life were marked by hardships and complete estrangement from the literary environment, but in the fall of 1921, after the death of Blok, the execution of Gumilyov, she, having parted with Shileiko, returned to active work, participated in literary evenings, in the work of writers' organizations, published in periodicals. In the same year, two of her collections were published. "Plantain" and "Anno Domini. MCMXXI".
In 1922, for a decade and a half, Akhmatova joined her fate with the art critic N. N. Punin.
Anna Akhmatova and third husband Nikolai Punin
In 1924, Akhmatova's new poems were published for the last time before a long break, after which an unspoken ban was imposed on her name. Only translations appear in the press (Rubens' letters, Armenian poetry), as well as an article about Pushkin's "The Tale of the Golden Cockerel". In 1935, her son L. Gumilyov and Punin were arrested, but after a written appeal from Akhmatova to Stalin, they were released.
In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities.
In 1938, Akhmatova's son was again arrested. The experiences of these painful years clothed in verses constituted a cycle "Requiem", which she did not dare to put down on paper for two decades.
In 1939, after a half-interested remark by Stalin, the publishing authorities offered Akhmatova a number of publications. Her collection "From Six Books" (1940) was published, which included, along with the old poems that had undergone a strict censorship selection, new works that arose after many years of silence. Soon, however, the collection is subjected to ideological scrutiny and withdrawn from libraries.
In the first months of the Great Patriotic War, Akhmatova wrote poster poems (later "Oath", 1941, and "Courage", 1942 became popularly known). By order of the authorities, she is evacuated from Leningrad before the first blockade winter, she spends two and a half years in Tashkent. He writes many poems, works on "A Poem without a Hero" (1940-65), a baroque-complicated epic about the St. Petersburg 1910s.
In 1945-46, Akhmatova incurs the wrath of Stalin, who learned about the visit to her by the English historian I. Berlin. The Kremlin authorities make Akhmatova, along with M. M. Zoshchenko, the main object of party criticism. The resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad” (1946) directed against them tightened the ideological dictate and control over the Soviet intelligentsia, misled by the liberating spirit of national unity during the war. Again there was a ban on publications; an exception was made in 1950, when Akhmatova feigned loyal feelings in her poems, written for the anniversary of Stalin in a desperate attempt to alleviate the fate of her son, once again subjected to imprisonment.
In the last decade of Akhmatova's life, her poems gradually, overcoming the resistance of party bureaucrats and the timidity of editors, come to a new generation of readers.
In 1965 the final collection was published "Running Time". At the end of her days, Akhmatova was allowed to accept the Italian literary prize Etna-Taormina (1964) and an honorary doctorate from Oxford University (1965).
March 5, 1966 in Domodedovo (near Moscow) Anna Andreevna Akhmatova died. The very fact of Akhmatova's existence was a defining moment in the spiritual life of many people, and her death meant the breaking of the last living connection with a bygone era.
Anna Andreevna Akhmatova (pseudonym; real name Gorenko, married Gumilyov) was born June 11 (23), 1889 at st. Big Fountain, near Odessa.
Father - a naval mechanical engineer, mother - from an old noble family. Akhmatova spent her childhood years in Tsarskoe Selo, graduated from the gymnasium in Kyiv in 1907, where she studied at the law department of the Higher Women's Courses ( 1908-1910 ). In 1910-1918. married to N. Gumilyov. AT 1910 and 1911 was in Paris (where she became closely acquainted with the artist A. Modigliani), in 1912- in Italy. In 1912 Akhmatova had a son, L.N. Gumilyov. In 1918-1921 married to the Assyriologist and poet V.K. Shileiko.
She has been writing poetry since childhood; in the surviving early experiments, one can feel the influence of new Russian (especially A. Blok, V. Bryusov) and French (from C. Baudelaire to J. Laforgue) poetry. First publication in Sirius magazine ( 1907 ), published by N.S. Gumilyov in Paris. From 1910 was a member of the circle of V.I. Ivanova, since 1911 published in Apollo magazine. She was the secretary of the "Shop of Poets" from the moment of its inception until the dissolution. Participated in a group of acmeists. Poems 1910-1911 compiled the book "Evening" ( 1912 ). The image of a modern woman that arose in these poems was received by readers and critics with deep interest. At the same time, the poetic originality of her lyrics was highly appreciated: a combination of the most subtle psychologism with a song mode, a diary-like nature that freely turns into philosophical reflections, the transfer of the techniques of classical prose of the 19th century into poetry, and an impeccable command of all the possibilities of Russian verse.
The second book of poems, "Rosary" ( 1913 ), gave rise to talk about the transformation of the image of the lyrical heroine, endowed with extraordinary fortitude, readiness to overcome all trials that fall to her lot, a sense of the special historical destiny of her country. In the next three books of poems ("The White Flock", 1917 ; "Plantain", 1921 ; "Anno Domini MCMXXI" (lat. "In the summer of the Lord 1921"), 1921 ) affirms the historicism of artistic thinking, an organic connection with the traditions of Russian poetry, especially the Pushkin era. The open citizenship of Akhmatova's poetry, as well as the deliberate mystery of many poems, in which contemporaries saw opposition to the horrors of modernity, led the poetess to clash with the authorities. For 1925-1939 her poems were not published, she wrote a little, being mainly engaged in the study of Pushkin's work.
Literary studies of Akhmatova, while observing full scientific correctness, were associated with reflections on the tragedy of poetry in the 20th century. Arrests of the third ( since 1922) husband, art historian N.N. Punin, and L. Gumilyov became the impetus for the creation of the cycle of poems "Requiem", which Akhmatova for a long time was afraid to entrust to paper ( 1935-1940 ; publ. abroad in 1963 , in Russia in 1987 ). Approximately since 1936 a new upsurge in the work of Akhmatova began: a completely unfinished book of poems "Reed" is being formed, in 1940 the first version of the “Poem without a Hero” was created, recreating the atmosphere of the Silver Age (work on the poem continued until the death of Akhmatova). In 1940-1946 poems are often published, the collection "From Six Books" is published ( 1940 ), patriotic poems of the period of the Great Patriotic War evoke an approving reaction from modern critics. However, the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad” ( 1946 ) was the beginning of the persecution of Akhmatova. She was expelled from the Writers' Union, she was monitored, only a few friends dared to support Akhmatova. After my son's arrest in 1949, trying to save his life, was forced to write and publish official glorifications of I.V. Stalin and Bolshevism. At the same time, Akhmatova wrote tragic poems, published in her homeland only after her death. The return of Akhmatova to literature became possible only in the late 1950s In 1958 and 1961 published two collections of selected poems, 1965 - A book of poems "Running Time". Akhmatova's autobiographical prose, which remained mostly unfinished, was published (like her memoirs of Blok, Modigliani and others) only posthumously. In 1964 Akhmatova received the Italian literary prize "Etna-Taormina", in 1965 elected an honorary doctorate from the University of Oxford. In the last years of her life, she was surrounded by the attention of younger poets (among whom I. Brodsky especially singled out) and researchers.
Intense lyrical experience, inscribed in a broad epic picture not only of Russia in the 19th-20th centuries, but of all human history, is inextricably linked in the late Akhmatova with the awareness of her own poetry as an integral part of world culture. At the same time, her poetry carries the naturalness of human feeling, not overshadowed by the tragedy of life in which it is immersed.
Anna Akhmatova died March 5, 1966 in Domodedovo, near Moscow; buried in the village Komarovo Leningrad region.
Name: Anna Akhmatova
Age: 76 years old
Place of Birth: Odessa
Place of death: Domodedovo, Moscow region
Activity: Russian poetess, translator and literary critic
Family status: was divorced
Anna Akhmatova - Biography
The name of Anna Andreevna Akhmatova (nee - Gorenko) - a wonderful Russian poetess for a long time was unknown to a wide range of readers. And all this happened only because in her work she tried to tell the truth, to show reality as it really is. Her work is her fate, sinful and tragic. Therefore, the entire biography of this poetess is proof of the truth that she tried to convey to her people.
Anna Akhmatova's childhood biography
In Odessa, on June 11, 1889, daughter Anna was born in the family of hereditary nobleman Andrei Antonovich Gorenko. At that time, her father worked as a mechanical engineer in the navy, and her mother, Inna Stogova, whose family descended from the Horde Khan Akhmat, was also related to the poetess Anna Bunina. By the way, the poetess herself took her creative pseudonym, Akhmatova, from her ancestors.
It is known that when the girl was barely a year old, the whole family moved to Tsarskoye Selo. Now those places where Pushkin had previously worked firmly entered her life, and in the summer she went to relatives near Sevastopol.
At the age of 16, the fate of the girl changes dramatically. Her mother, after a divorce from her husband, takes the girl and goes to live in Evpatoria. This event took place in 1805, but even there they did not live long and again a new move, but now to Kyiv.
Anna Akhmatova - education
The future poetess was an inquisitive child, so her education began early. Even before school, she not only learned to read and write in the ABC of Tolstoy, but also French, listening to a teacher who came to study with older children.
But classes at the Tsarskoye Selo gymnasium were difficult for Akhmatova, although the girl tried very hard. But over time, problems with studies still receded.
In Kyiv, where they moved with their mother, the future poetess enters the Fundukleevskaya gymnasium. As soon as her studies were completed, Anna entered the Higher Women's Courses, and then the Faculty of Law. But all this time, her main occupation and interest is poetry.
Anna Akhmatova's career
The career of the future poetess began at the age of 11, when she herself wrote her first poetic creation. In the future, her creative fate and biography are closely related.
In 1911, she met Alexander Blok, who had a huge influence on the work of the great poetess. In the same year she published her poems. This first collection is published in St. Petersburg.
But fame came to her only in 1912 after her collection of poems "Evening" was published. The Rosary collection, published in 1914, was also in great demand among readers.
The ups and downs in her poetic fate ended at the age of 20, when the review did not miss her poems, she was not published anywhere, and readers simply began to forget her name. At the same time, she begins work on the Requiem. From 1935 to 1940, the years turned out to be the most terrible, tragic and miserable for the poetess.
In 1939, he spoke positively about Akhmatova's lyrics and they began to print it little by little. The famous poetess met the Second Great Patriotic War in Leningrad, from where she was evacuated first to Moscow, and then to Tashkent. She lived in this sunny city until 1944. And in the same city, she found a close friend who was always faithful to her: both before death and after. I even tried to write music to the poems of my friend, a poetess, but it was quite fun and playful.
In 1946, her poems were again not published, and the talented poetess herself was expelled from the Writers' Union for meeting with a foreign writer. And only in 1965 her collection "Running" was published. Akhmatova becomes readable and famous. Visiting theaters, she even tries to get acquainted with the actors. So the meeting with, which he remembered for the rest of his life, took place. In 1965, she was presented with the first award and the first title.
Anna Akhmatova - biography of personal life
She met her first husband, a poet, at the age of 14. For a very long time, the young man tried to win the favor of the young poetess, but each time he received only a refusal for his marriage proposal. In 1909, she gives her consent, thus an important event took place in the biography of the great poetess. April 25, 1910 they got married. But Nikolai Gumilyov, loving his wife, allowed himself to betray. In this marriage, in 1912, a son, Leo, was born.
Born near Odessa (Big Fountain). Daughter of mechanical engineer Andrey Antonovich Gorenko and Inna Erazmovna, nee Stogova. As a poetic pseudonym, Anna Andreevna took the name of the great-grandmother of the Tatar Akhmatova.
In 1890, the Gorenko family moved to Tsarskoe Selo near St. Petersburg, where Anna lived until the age of 16. She studied at the Tsarskoye Selo gymnasium, in one of the classes of which her future husband Nikolai Gumilyov studied. In 1905, the family moved to Evpatoria, and then to Kyiv, where Anna graduated from the gymnasium at the Fundukleevskaya gymnasium.
Akhmatova's first poem was published in Paris in 1907 in the Sirius magazine, published in Russian. In 1912, her first book of poems, Evening, was published. By this time, she was already signing herself with the pseudonym Akhmatova.
In the 1910s Akhmatova's work was closely connected with the poetic group of acmeists, which took shape in the fall of 1912. The founders of acmeism were Sergei Gorodetsky and Nikolai Gumilyov, who since 1910 became the husband of Akhmatova.
Thanks to her bright appearance, talent, sharp mind, Anna Andreevna attracted the attention of poets who dedicated poems to her, artists who painted her portraits (N. Altman, K. Petrov-Vodkin, Yu. Annenkov, M. Saryan, etc.) . Composers created music for her works (S. Prokofiev, A. Lurie, A. Vertinsky and others).
In 1910 she visited Paris, where she met the artist A. Modigliani, who painted several of her portraits.
Along with loud fame, she had to experience many personal tragedies: in 1921 her husband Gumilyov was shot, in the spring of 1924 a decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued, which actually prohibited Akhmatova from being published. In the 1930s repression fell upon almost all of her friends and like-minded people. They also affected the people closest to her: first, her son Lev Gumilyov was arrested and exiled, then her second husband, art critic Nikolai Nikolaevich Punin.
In the last years of her life, living in Leningrad, Akhmatova worked a lot and intensively: in addition to poetry, she was engaged in translations, wrote memoirs, essays, and prepared a book about A.S. Pushkin. In 1964, she was awarded the international poetry prize "Etna Taormina" in recognition of the poet's great merits to world culture, and her scientific work was awarded the honorary degree of Doctor of Literature by Oxford University.
Akhmatova died in a sanatorium in the suburbs. She was buried in the village of Komarovo near Leningrad.
