The lyrical heroine of Anna Akhmatova is bright and original. Along with her most widely known love poems, Akhmatova's poetry includes a whole layer of poetry containing patriotic themes.
In the collection “White Flock” (1917), summing up the early work of the poetess, for the first time the lyrical heroine of Anna Akhmatova is freed from constant love experience. Biblical motifs appear in it, the concepts of freedom and death are comprehended. And already here we find the first poems by Akhmatova on the theme of patriotism. In the collection
The first verses of historical content also appear.
The theme of the Motherland more and more declared itself in her poetry. This topic helped Anna Akhmatova during the First World War to take a position that differed from the official point of view. She appears as a passionate opponent of war:
Juniper smell sweet
Flies from burning forests.
Soldiers are moaning over the guys,
The widow's weeping rings through the village.
It was not in vain that prayers were served,
The earth yearned for rain:
Warmly sprinkled with red moisture
Trampled fields.
Low, low the sky is empty,
And the voice of the supplicant is quiet:
“Your holy body is wounded,
In the poem “Prayer”, Anna Akhmatova prays to fate for the opportunity to sacrifice everything that she has to Russia:
Give me bitter years of sickness
Breathlessness, insomnia, fever,
Take away both the child and the friend,
And the mysterious song gift -
So pray for my liturgy
After so many agonizing days
To cloud over dark Russia
Became a cloud in the glory of rays.
Intuitively feeling the shift of time, Anna Akhmatova cannot but notice how her native country is being torn apart. Her lyrical heroine cannot rejoice when Russia cries. She feels this crisis in her soul:
I had a voice.
He called comfortingly
He said:
"Go 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.
In this poem, Anna Akhmatova acted as a citizen. She did not directly express her attitude to the revolution. But this reflects the position of that part of the intelligentsia that remained together with their homeland.
With the release of the collections “Plantain” and “Appo Vogtsh”, the civil lyrics of Russian poetry were enriched with a new masterpiece, showing that the feeling that gave birth to the 1917 poem “I had a voice. He called consolingly…” not only did not disappear, but, on the contrary, became stronger:
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,
Haughtier and simpler than us.
The pre-revolutionary world dear to the heart of the poetess was destroyed. For Akhmatova and many of her contemporaries, this was a real tragedy. And yet she finds inner strength to bless the eternal newness of life:
Everything is plundered, betrayed, sold,
The wing of the black death flickered,
Everything is devoured by hungry longing,
Why did I get light?
Cherry breaths in the afternoon
Unprecedented forest under the city,
At night it shines with new constellations
The depth of transparent July skies, -
And so close comes the miraculous
To the collapsed old houses ...
No one, no one knows
But from time immemorial we have desired.
In the poems of the 30s, created against the alarming background of the outbreak of the world war, A. Akhmatova turns to folklore - to folk lamentation, to lamentation. In her heart she already felt the impending tragedy:
When an era is buried
The grave psalm does not sound,
Nettle, thistle,
It is to be decorated.
And only gravediggers famously
They work. Things don't wait!
And quietly, so, Lord, quietly,
What you hear is how time goes by.
And then she floats
Like a corpse on a spring river,
But the son does not recognize the mother,
And the grandson will turn away in anguish.
And bow their heads below
Like a pendulum, the moon moves.
So - over the dead
Paris Such silence now.
The thirties became for Anna Akhmatova sometimes difficult life tests. She witnessed not only the Second World War unleashed by fascism, but also the beginning of the war between Soviet Russia and its people. The repressions of the 1930s affected many of Akhmatova's friends and like-minded people and destroyed her family. Despair and pain are heard in the lines from the "Requiem":
Husband in the grave, son in prison,
Pray for me...
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. After all, it was not only about her personal fate, but about the fate of the whole people, about millions of innocent victims ...
Remaining a preacher of universal moral norms, Anna Akhmatova understood her “inopportuneness”, her rejection in a prison state:
Not the lyre of a lover
I'm going to captivate the people -
Ratchet of the Leper
Sings in my hand.
Have a good time,
And howling and cursing.
I will teach you to shy away
You brave ones from me.
In 1935, she wrote a poem in which the theme of the tragic fate of the poet and at the same time a challenge to the authorities sounds:
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.
Us with a candle to go and howl.
The pinnacle of Anna Akhmatova's civil poetry can be called her poem "Requiem", which was published only in 1988. “Requiem”, “woven” from simple “overheard”, as Akhmatova writes, words, with great poetic and civic power, reflected its time and the suffering of the mother’s soul:
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
The poem shows the form of a parable, lamentation. This is the cry of a mother who lost her son. The poem proves to us that the Stalinist regime did not crush the poetic word of Akhmatova, who speaks truthfully and openly about the tragedy of her generation.
During the war years, Akhmatova did not want to leave Leningrad and, being evacuated and then living in Tashkent, she did not stop thinking and writing about the abandoned city. In her poems and maternal tears and compassion:
Knock with your fist - I will open.
I have always opened up to you.
I am now behind a high mountain,
Beyond the desert, beyond the wind and heat,
But I will never betray you...
I didn't hear your moan.
You have bread, you didn’t ask me.
Bring me a maple branch
Or just green blades of grass
As you brought last spring.
Bring me a handful clean
Our Neva icy water,
And from your golden head
I will wash away the bloody traces.
The lyrics of Anna Akhmatova during the war years are full of compassion for the fate of the country and faith in its future:
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 is 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!
The lyrics of Anna Akhmatova, whose life was full of tragedies of hard times, clearly conveys to us the feeling of that time. The lyrical heroine of the poetess is both a passionate patriot of her homeland, and a suffering mother, and a strong-willed woman who managed to endure the hardships of time on her shoulders. The history of Russia in the poetry of Anna Akhmatova is a heartfelt story of a brave woman who, during the years of general silence, managed to tell the hard truth about her country.
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In a poem by Marina Tsvetaeva, it is written about her: “Oh, the Muse of Lamentation, the most beautiful of muses!” Anna Akhmatova was a great tragic poetess, a great and deep artist who caught the formidable era of the “change of times*. The explosive, contradictory image of the era with great revolutionary upheavals that followed one after another, with world wars and an extremely accelerated rhythm of life - all these many-sided events of the 20th century penetrated, filled and voiced its lyrics. Living, constantly developing Akhmatov's poetry was organically connected with the national soil and domestic culture. Awareness of the blood connection with her country, her people helped the poetess choose the right path in the most difficult and critical years.
The poem "Requiem *" was created over many years. Basically, it was completed in the fortieth year. The thirties turned out to be for the poetess sometimes the most difficult trials in her life. She spends these years of her life in constant expectation of arrest. The monstrous repressions of the thirties did not bypass her house, her family. Akhmatova turned out to be the divorced wife of the "counter-revolutionary" N. Gumilev, the mother of the arrested "conspirator" Lev Gumilev. During these years, as well as later, during the Patriotic War, Akhmatova feels herself a part of the people. The people who spent long months in long prison lines to hand over the transmission and learn at least something about the fate of a loved one. In the poem "Requiem" it is not only about the personal fate of Akhmatova. The poem is imbued with maternal unshed tears, a sense of hopeless longing, the deep grief of all mothers whose children are behind bars. For the poet, the incredible scope of the evil that has come to the country becomes clear. And of course, it is no coincidence that Akhmatova is attracted to biblical imagery and associations with gospel stories. The national tragedy, which absorbed millions of destinies, was so huge that only the biblical scale could convey its depth and meaning.
The "crucifixion" in the poem is like a psalm:
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
The final part of the "Epilogue" develops the theme of the "Monument". Under the poet's pen, this theme acquires an unusual, deeply tragic appearance and meaning. Akhmatova erects a monument to all the victims of repression in the terrible years for our country.
With the beginning of the Great Patriotic War, a new stage begins in the life and work of the poetess. The stage is difficult, no less tragic. The diabolical Hitlerite avalanche swallowed up almost all of Western Europe and fell upon Russia. But death, torment and suffering did not break the poetess, who firmly defends her and our right to happiness. On the contrary, her lyrical heroine is a person full of dignity, firm, adamant, hating evil. Her “Oath”, written in the first month of the war, spread all over the country:
And the one that today says goodbye to the dear, -
Let her melt her pain into strength.
We swear to children, we swear to graves,
That no one will force us to submit!
These beautiful lines are filled with patriotic enthusiasm and energy. At one time, The Oath * was published in almost all newspapers and found a wide response in the hearts of millions. During the war, Akhmatova's lyrics attracted everyone's attention. It was at this time that her poems were looked at as poetry that can rally people in difficult times, inspire a feat, fill a person’s heart with courage and courage.
We know what's on the scales today
And what is happening now.
The hour of courage has struck on our clocks
And courage will not leave us.
In this famous "Courage", written in February 1942, the words are solid, like armor.
Adamant and majestic, like an oath.
It's not scary to lie dead under the bullets,
It is 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.
It is characteristic that in her military lyrics, instead of the usual “I”, “we” appears and dominates more often: “we will save you, Russian speech”, “courage will not leave us”, - such lines testify to the blood relationship of the poetess with the country, with the homeland. And Akhmatova's homeland is not only St. Petersburg and Tsarskoye Selo, but the whole vast country, spread over vast expanses. Akhmatova did not want to be aloof either from the common misfortune or from the common courage. Akhmatova caught the blockade. In those days, when the enemy rushed to Leningrad, with all her consciousness, with all her soul, she was one with the people. In the poem “And you, my friends of the last call! ..” there were such lines: “And Leningraders again go through the smoke in rows - the living with the dead: for the glory of the dead there are no ...” Reading such lines, I feel courage and firmness, calmness and confidence . Of course, Akhmatova does not have direct descriptions of the war, but the works of Akhmatova Road in that they expressed feelings of compassion, love, sorrow. For example, here are the lines of her poems to Leningrad children:
Knock with your fist - I will open.
I always open to you.
I live for high grief,
Beyond the desert, beyond the wind and heat,
But I will never betray you...
(Knock with your fist - I will open.-)
Here I see no longer sovereign appeals, but the lyrics of tender, sharp pity for the fate of Leningrad children. Her poems, washed with tears, became an expression of the nationwide compassion that went to Leningraders through the fiery ring of the blockade throughout the endless siege days. Akhmatova always firmly believed that sooner or later, victory would come. Many times in her work, Akhmatova returns to the image of Victory. She writes about the Victory on her knees, as about the great blessing of the newfound world.
Five years have passed - and healed the wounds,
Brutal inflicted by war
My country
And Russian glades
Again full of icy silence.
(Five years have passed - and healed the wounds ...)
In the work of Akhmatova, there is an amazing unity of two tragedies: personal and concerning the country and the people. Personal fate merges with historical and appears to the eyes of the reader as one - a great tragedy.
No, and not under someone else's firmament,
And not under the protection of alien forces, -
I was then with my people,
Where my people, unfortunately, were...
(Requiem)
The poetry of Anna Akhmatova ennobles feelings, elevates, cleanses the soul. It has become the most precious property of the mind and heart of many readers.
Fate and poems by A. Akhmatova essay
Fate and poems by A. Akhmatova. Fate rewarded Anna Akhmatova with a happy gift. Her appearance clearly and eloquently expressed her personality, her rich spirituality. Many famous artists created portraits of Akhmatova, trying to capture not so much the external as the deeply psychological portrait of the poetess.
Description of the presentation on individual slides:
1 slide
Description of the slide:
The fate of Russia and the fate of the poet in the lyrics of A.A. Akhmatova Prepared by Elena Garkusheva, 11th grade student of MBOU "Secondary School No. 1" in Bratsk, teacher Shevchuk A.P.
2 slide
Description of the slide:
Russian poets and writers have never been indifferent to the fate of their homeland, especially at its turning points. Anna Andreevna Akhmatova was no exception. In a difficult time of social upheavals, revolutions, wars, Russia remained a source of inspiration for her, becoming even more precious. If there are bright verses in Akhmatova's lyrics, then these are almost always poems about the motherland. The motherland in her poetry is a sacred concept, and love for the motherland is not a subject of analysis and reflection, but something taken for granted, without which, like without air, human existence is impossible.
3 slide
Description of the slide:
Akhmatova linked her fate forever with the fate of her native land. Even at the beginning of her journey, she determined for herself the main thing - to be together with her homeland on all her paths and crossroads. For her it is clear: "there will be a Motherland - there will be life, children, poems, there is no Motherland - there is nothing." And therefore, when the time came to choose after the revolution, she did not hesitate: she remained with her native country, with the people, declaring this resolutely, loudly. Akhmatova knew that only in Russia could she create, that it was in Russia that her poetry was needed: I had a voice. He called consolingly, He said: "Come here, Leave your land, deaf and sinful, Leave Russia forever." But calmly and indifferently With my hands I closed my hearing, So that this unworthy speech Would not defile the mournful spirit.
4 slide
Description of the slide:
The poem “Not with those I who abandoned the land…” reflects the true patriotism and courage of the poetess, who considers it a shame to leave the country in difficult times. She dismisses the opportunity to leave the Motherland in a difficult hour as an unworthy step, as a betrayal: I am not with those who threw the earth To be torn to pieces by enemies, I will not heed their rude flattery, I will not give them my songs. Those who left the country cause pity, which is caused by seriously ill people, they are “exiles”, deprived of their homeland, and hence of happiness. Their roads are dark, and "foreign bread" smells of wormwood. Akhmatova herself is proud that "she did not deflect a single blow from herself" and was always with her people.
5 slide
Description of the slide:
The theme of the native land, Russia, already during the years of the First World War, entered Akhmatova's poetry with a sharp, ringing sound and turned out to be so organic that it remained in it forever, reaching its climax during the period of the nationwide struggle against fascism. During the First World War, the theme of the Motherland is interpreted by the poetess in an anti-war, pacifist way. So, in the poem “Prayer”, Akhmatova says that she is ready for any sacrifice, ready to accept the “bitter years of illness”, to lose both children and friends, and her talent in order “so that the cloud over dark Russia becomes a cloud in glory rays." The imperialist war is perceived as a national disaster: people are starving, villages and cities are looted. Soldiers moan over the guys, Widow's cry rings through the village ...
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Description of the slide:
Seeing all the hardships and unnecessary, vain deaths of Russian people, the poetess comes to a pessimistic conclusion: "The Russian land loves, loves blood." Akhmatova's lyrics change their tone, acquire a bright civil sound, and become tragic. But the fate of Anna Akhmatova was also tragic. The thirties, marked by cruel lawlessness, arrests and executions, entered the life of the poetess with a huge misfortune. Akhmatova's husband was shot, and her son was arrested, sentenced to death, but then exiled. And then creativity turned out to be the only salvation and consolation for the unfortunate woman. World War II hit Russia with yet another ordeal. To support the strength of the spirit of her people, Akhmatova writes such poems as "Oath", "Courage". From the very beginning of the war, the poetess believed in the victory of the Russians, because she knew that "nothing will force us to submit." This war found Akhmatova in Leningrad and forced her to leave for Moscow. But the feat of the Leningraders, who did not surrender their city to the enemy, is captured in many of her poems: And the Leningraders again go through the smoke in rows - The living with the dead: for glory there are no dead.
Literature abstract on the topic:
“The history of the country and the fate of the people in A. Akhmatova's poem "Requiem".
Made by 11th grade student
Razdelkina Tatiana
MOU SOSH №2 2008
Introduction
Bio pages
The history of writing the poem "Requiem"
Features of the composition of the poem
Conclusion
Applications
Literature
Introduction
Throughout its history, Russia has endured many hardships. Wars with a foreign enemy, internecine strife, national unrest - the shadows of these events look at us through the "veil of times past" from the pages of ancient manuscripts and yellowed books.
The 20th century surpassed all previous centuries in the severity and cruelty of the trials that befell the Russian people, and not only the Russian people. Having won the most terrible and bloody war in the history of mankind, the victorious people, as before the war, were powerless in the face of another enemy. This enemy was more cruel and cunning than the foreign invader, his true nature was hidden under the mask of the “father of all peoples”, and his “fatherly concern” for the well-being of his country could not even be compared with cruelty to the enemy. During the period of the totalitarian regime, mass repressions and terror reached their peak. Millions of people became victims of the ruthless "inquisition", never understanding what their fault is before the fatherland.
A bitter reminder of the events of those years are for us not only the facts given in history books, but also literary works that also reflected feelings, mental anguish and feelings for the fate of the country, people who had to live in those difficult years and be eyewitnesses to the suffering of their people.
In the flow of today's memoir literature, "Requiem" occupies a special place. It is also difficult to write about him because, according to A. Akhmatova's young friend, the poet L. Brodsky, life in those years "crowned her muse with a wreath of sorrow." V. Vilenkin writes in his publications: “Her Requiem least of all needs scientific comments. Its folk origins and folk poetic scale are clear in themselves. Personally experienced, autobiographical sinks in them, retaining only the immensity of suffering. Already in the first poem of the poem, called "Dedication", the great river of human grief, overflowing with its pain, destroys the boundaries between "I" and "we". This is our grief, this is “we are the same everywhere”, this is we hear the “heavy footsteps of the soldiers”, this is us walking through the “wild capital”. “The hero of this poetry is the people... Everyone, to a single person, participates on one side or the other in what is happening. This poem speaks on behalf of the people."
The poem "Requiem" was written as an autobiography of the poetess A. Akhmatova for the period of "two rabid years" of her life and - at the same time - covers decades of humiliation and pain throughout the country.
Innocent Russia writhed
Under the bloody boots
And under the tires of black "marus".
The chapters of the poem are saturated with the suffering of a mother who is deprived of her son: “I was following you like a takeaway.” Akhmatova very accurately conveys what she felt in those days. But the main essence of the poem is not to tell contemporaries and descendants about the tragic fate of the poetess, but to show the people's tragedy. After all, millions of mothers like Akhmatova herself, millions of wives, sisters and daughters across the country stood in such queues, warming their souls with the hope of receiving at least some news from a loved one.
Akhmatova inextricably linked her life with the life of the people and drank the cup of people's suffering to the dregs.
No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
Where my people, unfortunately, were.
The tragic fate of Anna Akhmatova, described in the poem "Requiem", symbolizes the general tragedy of the generation of those terrible decades.
The poem "Requiem" has become a speaking monument to a very difficult time in the history of our country. They remind us of the innocent and senseless victims of the bloody decades and oblige us to prevent a repetition of these terrible events.
The purpose of the abstract is to show how, with the help of composition and artistic means, the poet A. Akhmatova in a small work managed to convey the sinister breath of the Stalinist era, depict the tragedy of personal and national fate, and preserve the memory of the victims of totalitarianism in Russia.
Bio pages
Born in Odessa. Father Andrey Antonovich Gorenko was a naval engineer-mechanic; in 1890 the family settled in Tsarskoye Selo. In the capital's Maritime Department and educational institutions, my father held various administrative and teaching positions. The family had six children. The father soon left the family. He was very skeptical and irritated about his daughter's early poetic studies. For this reason, the first publication ("There are many brilliant rings on his hand ...") in the magazine "Sirius" published by N. Gumilyov in Paris appeared under the initials "AG". Then she came up with a pseudonym for herself, choosing the surname of her great-grandmother, who was descended from the Tatar Khan Akhmat. Subsequently, Akhmatova said: “Only a seventeen-year-old crazy girl could choose a Tatar surname for a Russian poetess ... That’s why it occurred to me to take a pseudonym for myself, because dad, having learned about my poems, said:“ Don’t shame my name. ”-“ And don’t your name to me!" I said.
Unlike her father, Akhmatova's mother was invariably sensitive, attentive to her daughter's activities. Poetic talent came, apparently, from her. In the mother's family there were people involved in literature. For example, the now forgotten, but once famous Anna Bunina (1794-1829) (called Akhmatova "the first Russian poetess") was the aunt of her mother's father, Erasmus Ivanovich Stogov, who left "Notes", published at one time in "Russian Starina".
In Tsarskoye Selo, Akhmatova studied at the Mariinsky Gymnasium, and usually spent the summer with her family near Sevastopol. Impressions from the Black Sea region were subsequently reflected in various works, including her first poem "By the Sea" (1914). Until the end of his life, Tsarskoye Selo, inseparable from the name of Pushkin, remained his spiritual and poetic homeland. She began to write poetry early, and in her girlhood she wrote about two hundred of them; individual poems that have come down to our time date back to 1904-1905. In 1903, Akhmatova met N. Gumilyov - he was three years older than her and also studied at the Tsarskoye Selo gymnasium. (They got married in 1910.) After the divorce of her parents, Akhmatova moved with her mother to Evpatoria - she was threatened with tuberculosis, which was the scourge of the family. She attended the gymnasium at home. But already in 1906-1907, having recovered somewhat, she began to study in the final class of the Fundukleevskaya gymnasium in Kyiv, and in 1908-1910. at the legal department of the Higher Women's Courses. All this time she never stopped writing poetry. Judging by the few of them that have survived, as well as by the statements of Akhmatova herself, then V. Bryusov, A. Blok, somewhat later M. Kuzmin, as well as French symbolists and "damned" (P. Verlaine, C. Baudelaire and others), from prose writers K. Hamsun. In the spring of 1910, Akhmatova, together with N. Gumilyov, left for Paris. There she met A. Modigliani, who captured the appearance of twenty-year-old Akhmatova in pencil portrait. After the first publication in "Sirius" Akhmatova was published in the "General Journal", the journal "Gaudeamus", and also in "Apollo". The latest publication evoked a sympathetic response from V. Bryusov. The poems in "Apollo" caused a parody of V. P. Burenin. In the same year, the first public performance of Akhmatova took place with the reading of her poems in the Society of Zealots of the Artistic Word. She also received approval for her poetic work from N. Gumilyov, who had previously treated the poetic experiments of his bride and wife with some restraint and caution. Every summer, until 1917, Akhmatova spent in the estate of her mother-in-law Slepnevo (Tver province), which played a significant role in her work. The land of this region gave her the opportunity to feel and learn the hidden beauty of the Russian national landscape, and her proximity to peasant life enriched her with knowledge of folk customs and language. Along with Tsarskoye Selo, St. Petersburg, Moscow and the Black Sea region, Slepnevo occupies a special and undoubtedly important place in Akhmatova's work. In the same 1911, Akhmatova was introduced to the "Workshop of Poets" organized by N. Gumilyov, where she acted as secretary. In 1912, the "Workshop of Poets" formed within itself a group of acmeists, who proclaimed in their manifestos and articles reliance on realistic concreteness, thereby starting a creative polemic with the symbolists. Akhmatova's first book, Evening, which appeared in 1912, not only met the requirements formulated by the leaders of acmeism N. Gumilyov and S. Gorodetsky, but to some extent served as an artistic justification for acmeist declarations. The book was prefaced by M. Kuzmin, who noted the characteristic features of Akhmatov's poetry: acute susceptibility, acceptance of the world in its living, sunny flesh and - at the same time - the inner tragedy of consciousness. He also noticed in the artistic world of Akhmatova and the connection of specific objects, things, "shards of life" with "experienced minutes." Akhmatova herself associated these features of her poetics with the influence on her of I. Annensky, whom she called "teacher" and whose "Cypress Casket" was a reference book for her in those years. Acmeistic aesthetics, the loyalty of which Akhmatova emphasized in her later years, opposed symbolism. The poetess wrote:
"Our rebellion against symbolism is completely justified, because we felt like people of the 20th century and did not want to remain in the previous one ..." In 1912-1913. she performed poetry readings at the Stray Dog cabaret, at the All-Russian Literary Society, at the Higher Women's (Bestuzhev) Courses, at the Tenishevsky School, in the building of the City Duma and had exceptionally great success. On September 18, 1912, Akhmatova and N. Gumilyov had a son, Lev (future historian and geographer, author of one of the greatest achievements of the 20th century - ethnological theory). The glory of Akhmatova after the appearance of "Evening" and then "The Rosary" turned out to be dizzying - for some time she clearly covered many of her contemporary poets with herself. About "Rosary" (1914) spoke highly of M. Tsvetaeva("Anna Akhmatova"), V. Mayakovsky, B. Pasternak. She was called the "Russian Sappho", she became a favorite model for artists, poetic dedications made up the anthology "The Image of Akhmatova" (L., 1925), which included works by A. Blok, N. Gumilyov, O. Mandelstam, M. Lozinsky, V. Shileiko, V. Komarovsky, N. Nedobrovo, V. Piast, B. Sadovsky.
Critics, poets, and readers noted the "mysteriousness" of her lyrics; despite the fact that the verses seemed like pages of letters or tattered diary entries, the extreme reticence, the stinginess of speech left the impression of muteness or voice interception. To readers of the 1910s. an artist of great and peculiar power arose. Akhmatova in her poems, as in life, was very feminine, but in the tenderness of her poetic words authority and energy were revealed. Her lyrics, outwardly unlike any of her contemporaries or any of her predecessors, were nonetheless deeply rooted in Russian classics. Akhmatova's lyrical theme was wider and more meaningful than the specific situations indicated. Akhmatova's poems included an era.
After the revolution, Akhmatova published the collection "Plantain" (1921), "Anno Domini MCMXXI" (1921). Unlike many of her friends and acquaintances, she did not emigrate. Her poetic invective "I had a voice. He called comfortingly ..." (1917), confirmed five years later by a poem of the same meaning: "I am not with those who left the earth ..." (1922), became famous. Part of the emigration reacted to these verses with great irritation. But even in her own country, Akhmatova did not find proper understanding after the revolution - in the eyes of many, she remained a poet of old Russia, "a fragment of the empire." This version haunted Akhmatova all her life - right up to the infamous Decree of the Central Committee of the All-Union Communist Party of Bolsheviks "On the magazines Zvezda and Leningrad" (1946). Over the past four decades, she has become much involved in the Pushkin era, including the architecture of St. Petersburg; her research interest in Pushkin and Akhmatova's work in this area is born: "Pushkin's Last Tale", "The Tale of the Golden Cockerel", "Adolf" by Benjamin Constant in Pushkin's work, "Pushkin's Stone Guest", "Pushkin's Death", " Alexandrina", "Pushkin and the Neva Seashore" and others were highly appreciated by authoritative Pushkin scholars.
1930s were in the life of Akhmatova a time of the most difficult trials. Pre-war poems (1924-1940), collected in "Reed" and "The Seventh Book" (collections were prepared by the poetess, but were not published separately), testify to the expansion of the range of her lyrics. Tragedy absorbs the troubles and sufferings of millions of people who have become victims of terror and violence in her own country. The repressions also affected her family - her son was arrested and exiled. The folk tragedy, which also became her personal misfortune, gave new strength to Akhmatova's Muse. In 1940, Mr.. A. writes a poem-lamentation "The way of all the earth" (begun in March 1940, first published in its entirety in 1965). This poem - with the image of a funeral sleigh in the center, with the expectation of death, with the bell ringing of Kitezh - directly adjoins the "Requiem", which was created throughout the 30s. "Requiem" expressed the great national tragedy; in its poetic form, it is close to the folk tale. "Weaved" from simple words, "overheard", as Akhmatova writes, in prison queues, he conveyed both the time and the soul of the people with amazing poetic and civic power. "Requiem" was not known either in the 1930s, or much later (published in 1987), just as, however, the accompanying "Skulls" and many other works of the poetess were not known.
During the Great Patriotic War, having been evacuated from the besieged Leningrad at the beginning of the blockade, Akhmatova worked intensively. Her patriotic poems "Oath" (1941), "Courage" (1942) became widely known:
The hour of courage has struck on our clocks,
And courage will not leave us.
Throughout the war years and later, until 1964, work was underway on "A Poem without a Hero", which became the central work in her work. This is a wide epic-lyrical canvas, where Akhmatova recreates the era of the "eve", returning to memory in 1913. Pre-war Petersburg appears with the characteristic signs of that time; appear, along with the author, the figures of Blok, Chaliapin, O. Glebova-Sudeikina (in the image of Confusion-Psyche, a former one of her theatrical roles), Mayakovsky. Akhmatova judges the era, "spicy" and "disastrous", sinful and brilliant, and at the same time herself. The poem is wide in scope of time - in its epilogue there is a motif of Russia at war with fascism; it is multifaceted and multilayered, exceptionally complex in its composition and sometimes encrypted imagery. In 1946, the well-known decree on the magazines "Zvezda" and "Leningrad" again deprived Akhmatova of the opportunity to publish, but her poetic work, according to her, was never interrupted. There was a gradual, albeit slow, return to the printed pages. In 1964, she was awarded the Etna Taormina Prize in Italy, and in 1965 she was awarded an honorary doctorate from Oxford. Akhmatova's last book was the collection "The Run of Time" (1965), which became the main poetic event of that year and opened up to many readers the whole vast creative path of the poet - from "Evening" to "Komarovsky sketches" (1961).
Akhmatova died in the village of Domodedovo, near Moscow; buried in the village of Komarovo, 50 km from St. Petersburg.
The history of the creation of the poem
1937 A terrible page in our history. I remember the names of O. Mandelstam, V. Shalamov, A. Solzhenitsyn... Dozens, thousands of names. And behind them are crippled destinies, hopeless grief, fear, despair, oblivion. But human memory is strangely arranged. She keeps the most intimate, dear. And terrible ... "White Clothes" by V. Dudintsev, "Children of the Arbat" by A. Rybakov, "By Right of Memory" by A. Tvardovsky, "The Gulag Archipelago" by A. Solzhenitsyn - these and other works about the tragic 30-40s . The 20th century has become the property of our generation, most recently turned our minds, our understanding of history and modernity. A. Akhmatova's poem "Requiem" is a special work in this series. The poetess was able to talentedly and vividly reflect the tragedy of the individual, family, people. She herself went through the horrors of Stalinist repressions: her son Lev was arrested and spent seventeen months in Stalin's dungeons, her husband N. Punin was also under arrest; relatives and dear to her O. Mandelstam, B. Pilnyak died; since 1925, not a single line of Akhmatov's has been published, the poet seemed to have been deleted from life. These events formed the basis of the poem "Requiem". The poem was written in 1935-1940. Akhmatova was afraid to write down poetry and therefore told new lines to her friends (in particular, Lydia Chukovskaya), who then kept the "Requiem" in memory. So the poem survived for many years when its printing was impossible. Since the 1960s Akhmatova's "Requiem" was distributed in samizdat. In 1963, without the consent of the author, the poem was published in Munich. In Russia, the poem was first published in the October magazine, No. 3, 1987. Separate chapters were printed during the "thaw".
"Requiem" is one of the first poetic works dedicated to the victims of the Great Terror of the 1930s. "Requiem" is translated as a funeral mass, a Catholic service for the deceased, in literal translation - a request for peace. At the same time, it is the designation of a mournful piece of music. So, a requiem is a funeral mass. Naming her poem this way, Akhmatova openly declares that her poem is a funeral word dedicated to all those who died in the terrible times of Stalinist repressions, as well as to those who suffered, worrying about their repressed relatives and friends, in whom the soul died from suffering.
Features of the composition of the poem
The poem has a ring structure, which makes it possible to correlate it with Blok's "Twelve". The first two chapters form the prologue, and the last two form the epilogue. They are somewhat different from the rest of the poem. "Requiem" is full of lyrical experiences, and these four verses tend more towards generalization, towards epic.
The poem opens with a prose "Foreword", which resembles a newspaper note and introduces us to the atmosphere of that era. The poetess is not recognized, but “recognized”, the woman’s lips are “blue” from cold and worries, those around her speak in a whisper and “in the ear”. A woman from the prison queue asks Akhmatova to describe this, hoping for the triumph of justice. And the poetess fulfills her duty, writes about friends in misfortune and about herself.
The "Preface" is followed by the "Dedication", revealing the "address" of the poem.
After the "Initiation" there is a significant in volume and content "Introduction", in which images of those leaving for hard labor or execution appear. Leningrad is very peculiar in the "Requiem", it does not at all resemble the poetic and mysterious Petersburg, sung in symbolic poetry; this is a city, for the description of which a mercilessly expressive metaphor is used:
And dangled with an unnecessary pendant
Near the prisons of their Leningrad.
The personal theme of "Requiem" - the arrest of the son and the suffering of the mother - begins to sound only after the "Initiation" and "Entry". The prologue is followed by the first four chapters. These are the original voices of mothers from the past - the times of the Streltsy rebellion, her own voice, the chapter, as if from a Shakespearean tragedy, and, finally, Akhmatova's own voice from the 30s. Akhmatova connects her personal grief with the suffering of all women in Russia and therefore speaks of “streltsy wives” crying for dead husbands and sons, that cruelty and executions stretch from the past to the present.
The motive of the Requiem, very strong in terms of artistic expressiveness, is the comparison of one’s own fate with the fate of the Mother of God, in front of whom the son was crucified (the poem “Crucifixion”). Such a comparison makes it possible to give the image of a grieving mother a truly universal tragedy; it is no coincidence that most literary scholars consider the “Crucifixion” to be the ideological and philosophical center of the entire poem. Chapters V and VI are the culmination of the poem, the apotheosis of the suffering of the heroine.
The next four verses deal with the theme of memory. The “Epilogue” in its meaning echoes the beginning of the work, the image of the prison queue appears again, and then Anna Akhmatova says that she would like to see her monument near the prison wall, where she was waiting for news about her son. One can consider "Requiem" a kind of lyrical testament of the poetess, a reflection of the great tragedy experienced by all the people during the years of Stalinism.
"Requiem", from the Latin - a funeral mass. Many composers V.A. wrote music to the traditional Latin text of the Requiem. Mozart, T. Berlioz, G. Verdi. Akhmatova's "Requiem" preserves the Latin spelling, relying on the basis, primary source, tradition. It is not for nothing that the finale of the work, its "Epilogue", brings the tragic melody of eternal memory for the departed beyond the limits of earthly reality:
And let from motionless and bronze eyelids,
Like tears flowing melted snow,
And the ships are quietly moving along the Neva.
"Requiem" demanded from Akhmatova musical thinking, musical arrangement of separate disparate parts - lyrical poems - into one single whole. It is noteworthy that both the epigraph and "Instead of the Preface", written much later than the main text of the poetic cycle, are organically attached to it precisely by means of music. This is an "overture", an orchestral introduction, in which two main themes of the composition are played: the inseparability of the fate of the lyrical heroine from the fate of her people, personal from the general, "I" from "we". In its structure, Akhmatov's work resembles a sonata. It begins after short musical bars with the powerful sound of the choir, and the presence here of Pushkin's line from the poem "In the depths of Siberian ores" pushes the space apart, gives way to history. Nameless victims cease to be nameless. They are protected by the great traditions of freedom-loving Russian literature.
And when, mad with torment,
There were already condemned regiments,
And a short parting song
The locomotive horns sang.
The death stars were above us...
Russian poetry knew many examples when the genre of a musical work became a form of poetic thought. For Akhmatova, it was an ideal form of mastering the tragic plot of Russian history.
Literary critic and researcher of Akhmatova's creativity Etkind E. G. In the article "The immortality of memory. Anna Akhmatova's poem "Requiem" considers the features of the composition of the poem "Requiem" in this way.
Is the Requiem a poem? Is it not a cycle of individual poems written at different times and more or less accidentally united by the author's will under a common title?
An analysis of the composition of the "Requiem" testifies to the thoughtfulness of the thing both in general and in individual details. The poem includes ten small - from 5 to 20 lines - poems framed by a prologue and an epilogue. Both the prologue and the epilogue are in two parts; prologue 25 + 12, epilogue 12 + 34. The first and last parts (Initiation and Epilogue-II) are longer than each of the others; the second from the beginning and from the end of the part (Introduction and Epilogue-I) are equal in size 12-12.
Of the ten poems that make up the poem, the first and last are correlated in plot - these are variants of the Pieta theme. In poem 1, the grief of a Russian mother from the people for her son being taken away to a certain execution (“Followed you, as if carried away ...”, “Death sweat on her forehead ...”), in poem 10 - Pieta as the world emblem of Christianity; in addition, they both contain 8 lines each (two quatrains each). The plot center of the poem - chapters 5 and 6 are both dedicated to the son and the movement of Time - the time of his imprisonment; begins with the verse "I have been screaming for seventeen months", 6 - with the verse "Light weeks fly". These two central chapters are preceded by four short ones, in which different voices sound, by no means identical with the author's and from it, the author's, more or less distant 1 - a woman from Russian history, perhaps from the time of Peter the Great; 2 - a woman from a Russian (Cossack) folk song; 3 - a woman from a tragedy close in style to Shakespeare's; - 4 - a certain voice, addressing Akhmatova in the 10s and Akhmatova in the thirties, but separated from both the one and the other - this is, as it were, the third. I am a poet, objectified and raised above the events of the biography. Following the two central cupolas - 5 and b - there are four other; they are united by the image of a suffering woman, the idea of the unbearability of suffering and, perhaps, the healing of death, and also of Memory as the meaning of human existence. The theme of Memory will be further developed in both epilogues. We note in passing that, in contrast to chapters 1-4, almost all chapters of the second half - 7, 8, 10 - are provided with titles that give each greater independence. This relative independence made it possible to include them outside the context of the poem in Akhmatov's collections (except for the poem "To Death", which contains lines that are unacceptable from the point of view of censorship "So that I see the top of the blue hat / And the house manager is pale with fear").
As you can see, the architectonics of "Requiem" is thoughtful and precise. On the whole, this is a harmoniously harmonious structure of the classical type, organized according to the laws of symmetry; nothing can be added or taken away without violating the proportionality of the parts and their balance. In other words, "Requiem" is not a combination of separate lyrical things, but a whole work. "Requiem" - in fact, a poem, in genre terms, closest to Blok's "The Twelve".
Personal fate and the fate of the people in the poem
The poem "Requiem" is both an expression of the fate of Akhmatova, whose son was arrested and sentenced to death during the "Yezhovshchina", and a document of the tragic era, the era of repression and violence, when the iron "skating rink of Stalinism" walked through the fate of thousands and thousands of people when they arrested and shot many innocent people without trial or investigation. "Requiem" resurrects the era of the Stalinist regime in all its truth, in it the poet conducts a dialogue with time about the misfortune of the people, about the misfortune of the mother. Akhmatova's poem is both a poet and a chronicler. After her son's arrest, she spent many hours in prison lines hoping to learn something about him. In the prosaic “Instead of a Preface,” Akhmatova writes about her mission to speak on behalf of mothers, wives, and daughters like her, on behalf of people who were subjected to a rink of repression: “In the terrible years of Yezhovshchina, I spent seventeen months in jail. Somehow, someone "recognized" me. Then the blue-lipped woman standing behind me, who, of course, had never heard my name, 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: - I can. Then something like a smile flickered across what had once been her face.” In the "Epilogue" (1940), Akhmatova will also talk about her mission to speak on behalf of all who suffered in the tragic years for our country:
And I'm not praying for myself alone
And about everyone who stood there with me
And in the bitter cold, and in the July heat
Under the blinding red wall.
About the courage of Akhmatova, who managed to convey the tragic page in the history of the country reliably and talentedly, with the fearlessness of the true daughter of her people, A. Urban correctly writes in the article “And the stone word fell”: “Such courage turned out to be within the power of a fragile woman , a visitor to the "Tower" by Vyacheslav Ivanov, a sophisticated model of Modigliani.
The tragedy of the mother in the poem is inseparable from the grief of the people, from the grief of thousands and thousands of mothers, from the theme of the memory of every person who lived at that terrible time. The Requiem lives by the roll call of many voices; the poem is built as a mother's lament for her son, whose life is in mortal danger, and as a citizen poet's lament, whose country is going through a tragedy in its "mad" years:
The death stars were above us
And innocent Russia writhed
Under the bloody boots
And under the tires of black marus.
The author begins the narrative in the “Introduction” with a simple emphasis: “It was when he smiled ...”, but already the second line introduces a poetically impudent image into the verse: “smiling” because “dead, glad for peace.” Poetically bright, bold image is in the poem and the image of the "death star"; the purpose of the stars is to bring light, harmony, but here it's the other way around - after all, they were shot at night. Nature itself and man - its highest particle - rebel against the "forgetfulness of reason", the trampling of life on earth. In contrasting images, the poem captures the duel between the desire for death and the will to live - "We must learn to live again." Based on the poetic means of folklore, Akhmatova rises to her own understanding, vision of the world, giving birth to a unique artistic style. The energy of the narrative, the story of the mother, inscribed in the broad history of the people, give the poem volume, breadth of breath, emphasize its freedom-loving, patriotic idea. Tracing the fate of the people who went through inhuman trials, Akhmatova appeals to reason, affirms goodness, happiness as the norm of life. The will of women who have lost their relatives and friends, sons, husbands, loved ones, Akhmatova endures through her pain - the pain of a mother about her son, and therefore the intonation of folk crying, ancient as life, coming from the depths of history, sounds so organically in the poem. , like the cry of Yaroslavna, and appealing to reason, humanity:
They took you away at dawn
Behind you, as if walking away,
Children were crying in the cramped 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.
Lines about folk tragedy, about folk pain evoke associations with Mussorgsky's musical incarnation in the opera Khovanshchina of the "heart-rending cry" of archery wives in the scene of preparations for the execution of archers on Red Square and encourage active opposition to evil. "Requiem" - a funeral mass in memory of those who suffered, who did not break down and found the strength to live and warm their neighbors with their warmth, and in memory of those who died, who suffer in places of imprisonment and exile; This is a memorial to a grieving mother. The theme of the mother is associated in the poem with the biblical theme of "crucifixion" in the key poem in the cycle "Crucifixion" with an epigraph from the kontakion, church hymn - "Do not weep for Me, Mati, in the grave it is sighted":
The choir of angels glorified the great hour,
And the heavens went up in flames.
He said to his father: “Almost left me!”
And the Mother: "Oh, do not weep for Me."
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
The biblical vocabulary in the verses of the poem emphasizes the universal human nature of the problems explored in the work, gives it a tragic and courageous coloring, focuses on the humanistic thought of the poem about the value of human life. The lyrical hero speaks about himself, about people, about the country, conveys the disturbing atmosphere of the era, and therefore the statement of S.S. Lesnevsky that “... the lyrical, autobiographical motif of the requiem in the poem is surrounded by the widest “Kulikov field” 1 .
Artistic portraits, recreated by Akhmatova in the cycle "The Wreath for the Dead", became a reflection of the image and fate of the people of her generation. They contain both Akhmatova's personal experiences and objective dramatic images of her friends and peers. "A single poetic sound" (S. Lesnevsky) - faith in truth, justice, protest against violence - unites this cycle about people close to the poet in spirit with "Requiem". This cycle includes poems dedicated to writers, with whom the poet was connected not only by friendship, a bright view of the world, uncompromising judgments, but also by a tragic fate. Akhmatov dedicates beautiful lines to the memory of M. Bulgakov, B. Pilnyak, O. Mandelstam, M. Zoshchenko, B. Pasternak, M. Tsvetaeva, who left outstanding works of Russian classics to posterity. These are lines in memory of a “mournful and lofty life”, in which Akhmatova calls herself a “mourner”, who commemorates loved ones, prophesies immortality to them, seeks to save their “unique voices” from oblivion, compares their work with “solar, lily-of-the-valley wedge" burst "into the darkness of the December night".
The final part of the "Requiem" develops the theme of the Monument, well-known in Russian literature, which, under the pen of Akhmatova, acquires a completely unusual - deeply tragic - appearance and meaning. It can be said that never - neither in Russian nor in world literature - has such an unusual image appeared - a monument to the Poet, standing, at his own request, at the prison wall. This is truly a monument to all victims of repression. "Requiem" by Anna Akhmatova is a truly folk work, not only in the sense that the poem reflected a great folk tragedy, but also in its poetic form, close to a folk parable. Summing up, we can add to what has been said only the words of Viktor Astafiev, which exactly convey the state of mind of the lyrical heroine, the idea of the whole poem: "Mothers! Mothers! Why did you submit to the wild human memory, reconciled with violence and death? you are talking about your primitive loneliness in your sacred and bestial longing for children.
Conclusion
"Requiem" by Anna Akhmatova 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 speech. “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.
Exploring the reflection in the poem of the personal fate of the poetess and the fate of the country, we can draw the following conclusions:
The poem was created in inhuman conditions, in the "terrible years of Yezhovshina."
It is to them "involuntary girlfriends ... two rabid ..." the poem "Requiem" is dedicated.
In the “Introduction” a specific time of action is already drawn: Leningrad, the country is not the Soviet Union, but still “innocent Russia”.
The lyrical heroine of the poem seeks consolation from death, great sorrow, however, makes her, as it were, a new Mother of God.
The origins of evil that have prevailed in the country go down in history, the scale of the tragedy is expanded by referring to the images of Christ and the Mother of God, to the biblical story.
Akhmatova showed the hell of the 20th century. The mouth of the poet says 100 million people.
In the epilogue, the theme of a monument sounds, which can be erected to a specific person with a real biography, whose personal grief at the same time symbolizes a huge national grief.
In her poem, A. Akhmatova described quite figuratively and visibly the era in which the people were destined to suffer. The heroine realized her unity with the people, gained the strength of a woman who unraveled her high destiny. It's a memorial to maternal suffering
Despite the fact that the Requiem and other works by Akhmatova of the 1930s were not known to the reader, they are of great importance in the history of Soviet poetry of that time. And they testify that in those difficult years, literature, crushed by misfortune and doomed to silence, continued to exist in defiance of the regime. And it does not matter that in Russia the poem was published only in 1987. The main thing is that this work still saw the light and won the hearts of many readers.
Application
Table 1 Independent work on understanding the poem
Elements theme wording | Questions for understanding the ideological and artistic features of the poem |
What is the origin of this word? What does it mean? What historical and cultural associations do I have? What literary facts known to me are connected with this phenomenon? Why did A.A. Akhmatova call her poem “Requiem”? |
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A.A. Akhmatova | What biographical information about A.A. Akhmatova do I know? What distinguishes A.A. Akhmatova from the poets known to me? What works of A.A. Akhmatova are familiar to me? How do I perceive (feel, understand) the works of A.A. Akhmatova? |
What generic and genre features of the poem do I know? How do epic and lyrical beginnings connect in A.A. Akhmatova's poem? What are the features of the composition (construction) of the poem by A.A. Akhmatova? What is the main emotional tone of the poem "Requiem" and how is it expressed? |
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At what historical time was A.A. Akhmatova's poem "Requiem" written? What are the characteristic features of this historical time? What does the word "epoch" mean? Why is it possible to call the period of the life of the country depicted by the poet an “epoch”? How is the personal fate of A.A. Akhmatova connected with the fate of the people? |
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Reflection | How is the era reflected in A.A. Akhmatova’s poem “Requiem” through the prism: themes, conflict, problems, the image of the lyrical heroine, image of the people. in evaluative vocabulary, formulation of judgments system of parts-symbols. What quotes do I need to select for analysis, interpretation, evaluation? What is the poetic meaning of the poem? |
Sources
:8001/infoteka/root/liter/room2/Chem_02/Ahmatova.htm?
B. Ekhenbaum. "Anna Akhmatova. Analysis experience." L. 1960
V. Zhimursky. "The work of Anna Akhmatova". L. 1973
V. Vilenkin. "In the hundred and first mirror." M. 1987
A.I. Pavlovsky. "Anna Akhmatova, life and work".
Moscow, "Enlightenment" 1991
http://anna.ahmatova
Composition Akhmatova A. - Miscellaneous
Topic: - The fate of Russia in the poetry of Anna Akhmatova
The lyrical heroine of Anna Akhmatova is bright and original. Along with her most widely known love poems, Akhmatova's poetry includes a whole layer of poetry containing patriotic themes.In the collection “White Flock” (1917), summing up the early work of the poetess, for the first time the lyrical heroine of Anna Akhmatova is freed from constant love experience. Biblical motifs appear in it, the concepts of freedom and death are comprehended. And already here we find the first poems by Akhmatova on the theme of patriotism. The collection also contains the first verses of historical content.
The theme of the Motherland more and more declared itself in her poetry. This topic helped Anna Akhmatova during the First World War to take a position that differed from the official point of view. She appears as a passionate opponent of war:
Juniper smell sweet
Flies from burning forests.
Soldiers are moaning over the guys,
The widow's weeping rings through the village.
It was not in vain that prayers were served,
The earth yearned for rain:
Warmly sprinkled with red moisture
Trampled fields.
Low, low the sky is empty,
And the voice of the supplicant is quiet:
“Your holy body is wounded,
They are casting lots for your vestments.”
In the poem “Prayer”, Anna Akhmatova prays to fate for the opportunity to sacrifice everything that she has to Russia:
Give me bitter years of sickness
Breathlessness, insomnia, fever,
Take away both the child and the friend,
And a mysterious song gift -
So pray for my liturgy
After so many agonizing days
To cloud over dark Russia
Became a cloud in the glory of rays.
Intuitively feeling the shift of time, Anna Akhmatova cannot but notice how her native country is being torn apart. Her lyrical heroine cannot rejoice when Russia cries. She feels this crisis in her soul:
I had a voice.
He called comfortingly
He said:
"Go 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.
In this poem, Anna Akhmatova acted as a citizen. She did not directly express her attitude to the revolution. But this reflects the position of that part of the intelligentsia that remained together with their homeland.
With the release of the collections “Plantain” and “Appo Vogtsh”, the civil lyrics of Russian poetry were enriched with a new masterpiece, showing that the feeling that gave birth to the 1917 poem “I had a voice. He called consolingly...” not only didn’t disappear, but, on the contrary, became stronger:
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,
Haughtier and simpler than us.
The pre-revolutionary world dear to the heart of the poetess was destroyed. For Akhmatova and many of her contemporaries, this was a real tragedy. And yet she finds inner strength to bless the eternal newness of life:
Everything is plundered, betrayed, sold,
The wing of the black death flickered,
Everything is devoured by hungry longing,
Why did I get light?
Cherry breaths in the afternoon
Unprecedented forest under the city,
At night it shines with new constellations
The depth of transparent July skies, -
And so close comes the miraculous
To the ruined old houses...
No one, no one knows
But from time immemorial we have desired.
In the poems of the 30s, created against the alarming background of the outbreak of the world war, A. Akhmatova turns to folklore - to folk lamentation, to lamentation. In her heart she already felt the impending tragedy:
When an era is buried
The grave psalm does not sound,
Nettle, thistle,
It is to be decorated.
And only gravediggers famously
They work. Things don't wait!
And quietly, so, Lord, quietly,
What you hear is how time goes by.
And then she floats
Like a corpse on a spring river,
But the son does not recognize the mother,
And the grandson will turn away in anguish.
And bow their heads below
Like a pendulum, the moon moves.
So - over the dead
Paris Such silence now.
The thirties became for Anna Akhmatova sometimes difficult life tests. She witnessed not only the Second World War unleashed by fascism, but also the beginning of the war between Soviet Russia and its people. The repressions of the 1930s affected many of Akhmatova's friends and like-minded people and destroyed her family. Despair and pain are heard in the lines from the "Requiem":
Husband in the grave, son in prison,
Pray for me...
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. After all, it was not only about her personal fate, but about the fate of the whole people, about millions of innocent victims ...
Remaining a preacher of universal moral norms, Anna Akhmatova understood her “inopportuneness”, her rejection in a prison state:
Not the lyre of a lover
I'm going to captivate the people -
Ratchet of the Leper
Sings in my hand.
Have a good time,
And howling and cursing.
I will teach you to shy away
You brave ones from me.
In 1935, she wrote a poem in which the theme of the tragic fate of the poet and at the same time a challenge to the authorities sounds:
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.
Us with a candle to go and howl.
The pinnacle of Anna Akhmatova's civil poetry can be called her poem "Requiem", which was published only in 1988. “Requiem”, “woven” from simple “overheard”, as Akhmatova writes, words, with great poetic and civic power, reflected its time and the suffering of the mother’s soul:
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
The poem shows the form of a parable, lamentation. This is the cry of a mother who lost her son. The poem proves to us that the Stalinist regime did not crush the poetic word of Akhmatova, who speaks truthfully and openly about the tragedy of her generation.
During the war years, Akhmatova did not want to leave Leningrad and, being evacuated and then living in Tashkent, she did not stop thinking and writing about the abandoned city. In her poems and maternal tears and compassion:
Knock with your fist - I will open.
I have always opened up to you.
I am now behind a high mountain,
Beyond the desert, beyond the wind and heat,
But I will never betray you...
I didn't hear your moan.
You have bread, you didn’t ask me.
Bring me a maple branch
Or just green blades of grass
As you brought last spring.
Bring me a handful clean
Our Neva icy water,
And from your golden head
I will wash away the bloody traces.
The lyrics of Anna Akhmatova during the war years are full of compassion for the fate of the country and faith in its future:
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 is 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!
The lyrics of Anna Akhmatova, whose life was full of tragedies of hard times, clearly conveys to us the feeling of that time. The lyrical heroine of the poetess is both a passionate patriot of her homeland, and a suffering mother, and a strong-willed woman who managed to endure the hardships of time on her shoulders. The history of Russia in the poetry of Anna Akhmatova is a heartfelt story of a brave woman who, during the years of general silence, managed to tell the hard truth about her country.
