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1. Anna Andreevna Akhmatova - greatest poetess « silver age" Contemporaries recognized that it was Akhmatova who “after Blok’s death undoubtedly holds first place among Russian poets.” Before Akhmatova, history knew many female poets, but only she managed to become in a female voice of her time, a woman poet of eternal, universal significance. It was she who, for the first time in Russian literature, revealed in her work the universal lyrical character of a woman.
The beginning of Akhmatova’s creativity is associated with Tsarskoe Selo where they passed it early years. She almost physically felt the presence of young Pushkin in the “gardens of the Lyceum.” He became in her poetry and fate guiding star, he was invisibly present in her poems. With Pushkin, Akhmatova seems to enter into a “special, namely life-literary relationship.” The “swarthy youth” in the alleys of Tsarskoye Selo echoes Akhmatov’s dark-skinned Muse:
The muse went down the road
Autumn, narrow, steep,
And there were dark legs
Sprayed with coarse dew...
Akhmatova has in common with Pushkin an understanding of the fatal tragedy of the Russian poet’s path. Throughout her life she would constantly return to his fate, and in the terrible year of 1943 she would write in the poem “Pushkin”:
Who knows what fame is!
At what price did he buy the right?
Opportunity or grace
Above everything is so wise and crafty
Joking, mysteriously silent
And call a leg a leg?..
2. With her poetry, Akhmatova, like Pushkin, showed the path of a poet, but a female poet. This tragedy was already announced in early poem“Muse”, where she wrote about the incompatibility of female happiness and the fate of the creator:
The sister muse looked into the face,
Her gaze is clear and bright.
And took it away gold ring,
First spring gift.
Creativity requires the poet’s complete dedication, therefore the “Sister Muse” takes away the sign of earthly joys - the “golden ring”. But it is also impossible to refuse a song - a poetic destiny:
………………………………………..
I looked after her, silent,
I loved her alone;
And there was dawn in the sky,
Like the gateway to her country.
The tragedy of her heroine is further aggravated by the fact that the man does not understand and does not accept the woman poet:
He talked about summer and how
That being a poet for a woman is absurd...
A man cannot tolerate the strength and superiority of a woman poet; he does not recognize her creative equality. Hence the motive for murder or the attempted murder of her beloved song-bird. In the collection “Rosary Beads” she writes:
Charcoal marked on the left side
Place to shoot
To release the bird - my longing
On a deserted night again.
The first one started in 1914 world war left its mark on all of Akhmatova’s work. She, first of all, changed the essence of Akhmatova’s Muse (“Everything has been taken away: both strength and love...”):
I don’t recognize the Merry Muse’s disposition:
She looks and doesn’t say a word,
And he bows his head in a dark wreath,
Exhausted, on my chest.
In poems about the tragic times of the Russian 20th century, about its wars and revolutions, Akhmatov’s Muse increasingly asserts itself not as “I”, but as “we,” seeing itself as part of a generation. In the poem “Everything is stolen, betrayed, sold...” the voice of the lyrical heroine now sounds like the voice of a poet of the Russian land, with a common voice generations:
Everything was stolen, betrayed, sold,
The wing of the black death flashed,
Everything is devoured by hungry melancholy,
Why did we feel light?
Her Muse becomes folk embodiment national grief: the “holey scarf” of the Muse, the shawl of the Mother of God and Akhmatova’s high self-denial merged in the “Prayer” written on Spiritual Day 1915:
Give me the bitter years of illness,
Choking, insomnia, fever,
Take away both the child and the friend,
And the mysterious gift of song -
So I pray at Your liturgy
After so many tedious days,
So that a cloud over dark Russia
Became a cloud in the glory of the rays.
Akhmatova’s fate was tragic in the post-revolutionary years: she survived the death of her husbands at the hands of the regime, the repression of her son, and died in the camps of her best friends... An endless list of losses. Life in those years crowned her Muse with a wreath of sorrow. Akhmatova creates a cycle of poems “Wreath for the Dead”, dedicated to memory those who could not withstand the torture of the regime, to their poet friends O. Mandelstam, M. Bulgakov, B. Pasternak, M. Tsvetaeva:
We are with you today, Marina,
We walk through the capital at midnight,
And behind us there are millions of them,
And there is no more silent procession,
And all around there are death knells
Yes Moscow wild moans
Blizzards, our trail.
Akhmatova's Muse in those years became the national voice of widows, orphans and mothers, which reaches its peak in the "Requiem":
...I remember them always and everywhere,
I won’t forget about them even in a new trouble,
And if they shut my exhausted mouth,
To which a hundred million people shout,
May they remember me in the same way
On the eve of my funeral day...
As the epigraph to “Requiem,” Akhmatova took poems she wrote later, in 1961:
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 path of merging with the fate of the people, when in a series memorable dates“there is not a single one who is not cursed,” helps Akhmatova to feel her continuity with the great Russian poets, whose lyres rang “like a bell on a veche tower”:
There are so many lyres hanging on the branches...
But there seems to be a place for mine too...
Akhmatova’s poetic originality lies in the fact that she especially acutely felt the pain of her era as if it were her own. The Patriotic War of 1941-1945 temporarily interrupted the horror Stalin's repressions, but brought a new misfortune:
Leningrad trouble
I won't shake my hands...
I bow to the ground
In a green field
Let me mention...
(“Lamentation”).
The poem “Courage” sounds like an oath on behalf of the entire people:
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our watch,
And courage will not leave us...
………………………………………..
Great Russian word.
We will carry you free and clean,
We will give it to our grandchildren and save us from captivity
Forever!
3. Akhmatova became the voice of her time; she wisely, simply and mournfully shared the fate of the people. She acutely felt that she belonged to two eras - the one that had passed and the one that reigned. She had to bury not only her loved ones, but also her time, leaving him a “miraculous” monument of poems and poems:
When an era is buried,
The funeral psalm does not sound,
Nettle, thistle
It has to be decorated.
Akhmatova’s poems are always one moment, lasting, unfinished, not yet resolved. And this moment, whether sad or happy, is always a holiday, since it is a triumph over everyday life. Akhmatova managed to combine these two worlds - internal and external - to connect her life with the lives of other people, to take upon herself not only her suffering, but also the suffering of her people. Her Muse does not hide in the whisper of a room, but rushes out into the street, into the square, like Nekrasov’s once “Muse of Revenge and Sorrow”:
Not the lyre of a lover
I'm going to seduce the people -
Leper's Ratchet
Sings in my hand.
In the post-war period, Akhmatova continued to work and create: “I never stopped writing poetry. For me, they contain my connection with time, with new life my people. When I wrote them, I lived by the rhythms that sounded in heroic story my country."
Civic poetry A. Akhmatova. Anna Akhmatova is a bright, original, original poet. It is believed that it was she who discovered “female” poetry in Russian literature - full of secrets, riddles, love and intuitive premonition.
IN poetic creativity A. Akhmatova lyrical heroine
appears in a way that is not quite usual for women's poetry citizen's perspective. The theme of the homeland, Russia, can be traced in many of the poet’s works: starting with half-confession, memories dear to the heart in early lyrics A. Akhmatova, this theme eventually becomes a constant companion to her mature work.
You know I'm languishing in captivity
I pray for the death of the Lord.
But I remember everything painfully
Tver meager land.
During the First World War, the theme of the homeland helped A. Akhmatova take a position that was noticeably different from the official propaganda literature glorifying this national disaster, which brought so much grief and suffering. In Akhmatova’s mind, war has always been an evil and a tragedy, and in her work, people’s grief is shown through the prism of the experiences of a simple Russian woman.
Terrible deadlines are approaching.
Soon it will become crowded with fresh graves.
Expect famine, cowardice, and pestilence,
And eclipses of heavenly bodies...
The images of love in the works of A. Akhmatova are infinitely diverse, but the most comprehensive and global is love for the Motherland, for Russia, especially in a difficult moment for the country, during the suffering of its people.
The sweet smell of juniper flies from the burning forests.
The soldiers are moaning over the guys,
A widow's cry rings through the village.
It was not in vain that prayer services were served,
The earth yearned for rain:
Warmly sprinkled with red moisture
Trampled fields.
A. Akhmatova could not be calm and indifferent to the horrors of war. In the poem “Prayer” she asks God to accept from her any sacrifices, even the most terrible ones for a woman, if only home country regained peace and greatness.
Give me the bitter years of illness,
Choking, insomnia, fever,
Take away both the child and the friend,
And the mysterious gift of song -
So I pray at your liturgy
After so many tedious days,
So that a cloud over dark Russia
Became a cloud in the glory of the rays.
But the revolution brought even more trials to the lot of the great poet. Hard time revaluation of values, destruction of the old and familiar, the beginning of the construction of the unknown new. Many could not stand the difficult situation in the country and went abroad, but A. Akhmatova could not imagine herself being separated from her homeland; emigration seemed to her a betrayal.
I had a voice. He called comfortingly,
He said: “Come here,
Leave your land deaf and sinful,
Leave Russia forever.
I will wash the blood from your hands,
I will take the black shame out of my heart,
I'll cover it with a new name
The pain of defeat and resentment.”
But indifferent and calm
I covered my ears with my hands,
So that with this speech unworthy
Pie was defiled by the mournful spirit.
The pinnacle of A. Akhmatova’s civic poetry can be considered the lyrics of the Great Patriotic War. What is striking in the poems of this period is, first of all, the amazing organic nature, the absence of doubts, uncertainty in expressing one’s life position. Always ready to fight, Akhmatova accepted and overcame the trials of fate with honor and dignity, calling on her people to perseverance and resistance.
And the one who says goodbye to her beloved today -
Let her pain melt into strength,
We swear to the children, we swear to the graves,
That nothing will force us to submit.
Akhmatova’s poetry is amazing in that here the national and historical are revealed through the personal and intimate. A real monument national tragedy became the poem “Requiem”, in which the poet tells us not only about his grief and pain, but also helps us to hear the cruel voice of that time, to see the suffering and misfortune of the entire people.
It was when I smiled
Only dead, glad for peace,
And dangled like an unnecessary pendant
Leningrad is near its prisons...
Death stars stood above us
And innocent Rus' writhed under the bloody boots and under the tires of black marus.
In verse post-war period Motives of reflection on the past, on the fate of one’s generation and people are more often heard. About her poems A. Akhmatova writes: “For me, they contain my connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country. I am happy that I lived during these years and saw events that had no equal.”
And it seemed like they were walking nearby
And an invisible hand beat the tambourine,
And sounds like secret signs,
They circled in front of us in the darkness.
The poem was written as separate poems from 1935 to 1940, and the introductory quatrain and “Instead of a Preface” were added in 1957 and 1961. Published only in 1989, because for many years it did not fit into the communist ideology of the authorities.
The reason for writing the poem is 17 months in terrible prison queues during the years of repression in the 30s, when the son of Anna Akhmatova and Nikolai Gumilyov, Lev Nikolaevich Gumilyov, was arrested on a false denunciation.
The poem expresses maternal grief, pain for her son and for the country. Here is the light of love, and the warmth of a suffering soul, and a sick memory, and the desire to survive in any horror, in any unrighteousness. Spring, summer, “bright day”, but – a murdered memory, a petrified soul, an “empty house” and – “we must learn to live again” (chapter “The Verdict”).
This is not just personal grief. Akhmatova’s lyrical heroine is the mother of all those who suffer:
And I’m not praying for myself alone,
And about everyone who stood there with me...
I would like to call everyone by name,
Yes, the list was taken away, and there is no place to find out.
This is absolutely lyric poem. But the experiences of the lyrical heroine are described in such a way that they lead to an epic generalization - the suffering of an entire people. This opens up a historical aspect in a work devoid of epic descriptions, and turns the poem into a lyric-epic work.
After this poem, it became clear that the history of the country can be written not only in epic, but also in lyric poetry, if lyrical form capable of containing epic content.
Poem by A.A. Akhmatova “Tear-stained autumn, like a widow...” (essay by a high school student)
And when, as after the battle,
Clouds float in blood
He hears my prayers
And words of my love.
A.A.Akhmatova
The lines I included in the epigraph were written by Anna Andreevna Akhmatova in the same year, 1921, in which the poem “ Tear-stained autumn like a widow..." It was in this mournful year for Akhmatova that her ex-husband, the father of her son, the great Russian poet Nikolai Gumilyov, was shot. In the section “Epic Motifs” of the book “ANNO Domini”, which includes this poem, such sad and full of love strings are not uncommon. Sad days, sad lyrics.
Like many lyrical masterpieces, the poem contains only eight lines. Let us remember Pushkin’s “I loved you...” or “Among the worlds...” by Innokenty Annensky. Akhmatova in her miniature does not leave a space between the quatrains, which obviously merges them together, forming a kind of clot of pain. At the same time, every second line of these quatrains ends with an ellipsis. These two dots, born of an excess of experience, expand the space of the poem. The brokenness of the short phrase invites the reader to continue the picture with the help of his own imagination and awakened feelings.
Tear-stained autumn, like a widow
Dressed in black, all hearts are clouded...
Whose “all hearts are clouded” by autumn? Probably the same widows, loving and grieving. Or maybe, thanks to the word “all,” a feeling of universal grief is created. It’s not for nothing that autumn will later be called “mournful and tired,” and not just “tear-stained,” like the widow.
In the best tradition of Russian poetry, in the most amazing way, the widow and autumn, the state of man and the state of nature, merge in the poem to complete inextricability. Autumn is “tear-stained” - from the rains, the widow is from love and grief. In autumn everything gradually turns black, and the widow’s clothes are also black. And the autumn and the widow cry too. Great lines:
And it will be so until the quietest snow
He will not take pity on the mournful and tired...
Firstly, snow is white, it contrasts with the black color of the first quatrain. And secondly, “the quietest”. In this amazing epithet one can hear caring, tenderness, caution, compassion and much more. And snow is also personified, it is alive (“until... it takes pity”). Why should he have mercy? Maybe his help is that he will cool the tears, ease the pain with his cold? And then the desired (or inevitable?) will happen - “oblivion of pain and oblivion of bliss.” After all, if the memories of happy and bitter days do not subside, then how can we live on? The last line suggests that life without a loved one is no longer life in any case. Do you need oblivion or not? Perhaps this remains a mystery. And it is not in the rational beginning, of course, that the mysterious charm of the poem lies.
The work of A.A. Akhmatova amazes, first of all, with its sensuality, the amazing power of femininity, so characteristic of her poems. Akhmatova’s lyrical heroine is a wife, widow, sister, mother. And the main secret of her works is in one and the most important thing. This one and most important thing is contained in the great and eternal word “love”. Her poems are always about love. Of course, the poem “Tearful Autumn...” is also about love. About love, about pain, about memory. And it’s written so simply and transparently in Pushkin’s style! Yes, there is comparison, there are epithets with a metaphorical connotation, there is personification. But this is not the main thing. A true master's professionalism is unnoticeable and discreet. Through the simplicity of syllables, rhythm, and rhymes, Akhmatova’s philosophy of life emerges. This philosophy is not simple, somewhat contradictory, even mysterious, but amazingly charming with the power of the feelings expressed.
This is the philosophy of all-encompassing love, which is inherent only to a woman. As it is well said: “Sorting through my husband’s words...”. No, she's not a widow. She's a wife. Eternal wife.
Topic: Anna Akhmatova. Civil position in the lyrics.
Oral journal.
Goals:
emphasize the high citizenship of the poetry of A.A. Akhmatova and the courage of the poet,deep patriotism;
skills development independent reading and analysis poetic works, education of a sense of citizenship; nsmell, feel, experience what constitutes
n revive a love of poetry
Equipment:
a stand dedicated to the life and work of the poet;
book exhibition;
writing the epigraph on the board.
Life understood as service...
Vl.Vigilyansky
Teacher . Akhmatova is one of the islands of nobility that has always marked Russian culture, an island flooded on all sides by the waters of the raging evil elements. Vl. Vigilyansy said about Anna Akhmatova: “Life understood as service... At the same time, not a shadow of familiarity, foolishness, foolishness. Not a hint of arrogance, disgust, or disdain for her cross... The feat of her service lies in the verbal transformation of this disjointed and meaningless world, transformed into harmony. All extreme manifestations human psyche(panic, madness, fears) straighten up and calm down in a person, to whom the norm of behavior, the essence of what is happening is suddenly revealed...” Today we will try to understand the poet, her civic position. To do this, you need to feel the “taste” of the social atmosphere of the era, understand that the main thing in Akhmatova’s poems is the ability to reach what “the heart knows.”
1 page. “I see everything, I remember everything”
In her autobiography, Anna Andreevna will say: “I never stopped writing poetry. For me, they are my connection with time.” And also: “I am happy that I lived in these years and saw events that had no equal...”, “I see everything, I remember everything.” A. understands that poetry is the lot of the elite, an elite profession, therefore
We have freshness of words and feelings of simplicity
It’s not like losing a painter’s sight
Or an actor - voice and movement,
And what about beauty for a beautiful woman?
But don't try to keep it for yourself
Given to you by heaven:
Convicted - and we know it ourselves -
We spend, not save.
Go alone and heal the blind,
To find out in a difficult hour of doubt
Students' malicious mockery
And the indifference of the crowd. T.1 p.81
A.'s lyrics reveal her spiritual life. But a lot of what she tells in the first person is typical of her entire circle; in her poems there is the experience of her generation, because
Two wars, my generation,
Two wars, my generation,
Illuminated your terrible path.
The fate of Russia is the center of Akhmatova’s grief. The “key” poems are written in a majestic, proud and solemn tone.
1914 World War.
Pretending to be a soldier, grief howled, Like a horse, the dreadnought reared up, And the enraged sea threw out icy foam pillars - To the imperishable stars - from its chest, And they did not count the dead people...
2 page « Black Death...wing"...
The era that came after the revolution was perceived by Akhmatova as a tragic time of loss and destruction, when everything
Stolen, betrayed, sold,
The wing of the Black Death flashed...
1921... Anna Andreevna experienced horror when the three closest to her spiritually, the most dear person: Blok, Gumilyov, brother Andrei Gorenko (committed suicide in Athens). From the memoirs of Anna Akhmatova: “A few days after Blok’s funeral, I went to Tsarskoye Selo, to a sanatorium... Manya Rykova (the sister of a close friend) came to me, we were sitting on the balcony on the second floor. We saw the father (Viktor Ivanovich Rykov), who was approaching... He saw his daughter and called her. Manya ran up, returned to me and said only “Nikolai Stepanovich...” I understood everything...”
All the dear souls are on the high stars.
It's good that there's no one to lose
And you can cry. Tsarskoye Selo air
Was created to repeat songs.
Silver willow near the shore
Touches September bright waters.
Having risen from the past, silent
My shadow is coming towards me.
There are so many lyres hanging on the branches here,
But there seems to be a place for mine too...
And this rain, sunny and rare,
I find comfort and good news. T.1 p.175
Page 3 “I am not with those who abandoned the earth...”
What brings the poet out of a state of hopelessness, loneliness, and melancholy are “superpersonal feelings - love for the Motherland and faith in one’s recognition”
Akhmatova’s life position was also stated in a poem of 1922
I'm not with those who abandoned the earth
To be torn to pieces by enemies.
I don't listen to their rude flattery,
I won’t give them my songs.
But I always feel sorry for the exile
I won’t give them my songs. Like a prisoner, like a patient.
Your road is dark, wanderer,
Someone else's bread smells like wormwood.
And here, in the depths of the fire
Losing the rest of my youth,
We don't hit a single beat
They didn’t turn away from themselves.
And we know that in the late assessment
Every hour will be justified...
But there are no more tearless people in the world,
Haughtier and simpler than us.t.1 p.147
From autobiography:
“Since the mid-20s, my new poems have almost stopped being published, and my old ones have almost stopped being reprinted,” and not a single word of reproach or condemnation, he begins to carefully study the architecture of old St. Petersburg and the life and work of A.S. Pushkin.
Page 4 “I was then with my people, Where my people, unfortunately, were”
(In the 19th century, wire connected people (telephone, telegraph) In the 20th century, it separated (camps)
“Requiem”, dedicated to the most damned dates, became a monument to the terrible era of repression. massacres, when the whole country turned into a single queue, in which Akhmatova stood to give her son food. Lev Nikolaevich was arrested, released, and arrested again. He served 18 years innocently in the camps (1935, 1938, 1949); he was rehabilitated in 1956, when almost the last one was released from the camp. While in line at the Kresty prison, Anna Andreevna received an order from her “unwitting friend”:
Can you describe this?
And I said:
Can.
This is how “Requiem” was born, a terrible chronicle of the 30s (a requiem is a genre of funeral mass dedicated to the memory of the deceased). But Akhmatova has no boundaries between the “living” and the “dead”. And the entire “Requiem,” in violation of tradition, is dedicated to the living and the dead.
I learned how faces fall,
How fear peeks out from under your eyelids,
Like cuneiform hard pages
Suffering appears on the cheeks,
Like curls of ashen and black
They suddenly become silver,
The smile fades on the lips of the submissive,
And fear trembles in the dry laugh.
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.
Once again the funeral hour approached.
I see, I hear, I feel you...
I would like to call everyone by name,
Yes, the list was taken away, and there is no place to find out.
For them I wove a wide cover
From the poor, they have overheard words
I remember them always and everywhere,
I won’t forget about them even in a new trouble,
And if they shut my exhausted mouth,
To which a hundred million people shout, Let them remember me in the same way
On the eve of my funeral day.
The poet is sure that “our land will not be divided by an adversary for his amusement”
And here is a small poem that Akhmatova considered “as the best of her early ones.” Gumilyov loved him very much. “I wrote it in 1915, in the spring, when Nikolai Stepanovich was in the hospital. I went to see him and on Trinity Bridge I came up with it and immediately read it in the infirmary... I didn’t want to print it, I said it as an excerpt, and Nikolai Stepanovich advised me to print it that way.”
We thought: we are beggars, we have nothing,
And how they began to lose one after another,
So what happened every day
On a memorial day, -
We started composing songs
About the great generosity of God
Yes about ours former wealth.
1915 t.1 p.73
Love for native land, we see a manifestation of national pride in the poem “Prayer”:
Give me the bitter years of illness,
Choking, insomnia, fever,
Take away both the child and the friend,
No. 4 And the mysterious gift of song -
So I pray at Your liturgy
After so many tedious days,
So that a cloud over dark Russia
Became a cloud in the glory of the rays.T1.p.99
In the turning point revolutionary year of 1917, Akhmatova found the strength to proudly and decisively rebuke those who invited her to emigrate:
When in the anguish of suicide
The people were waiting for the German guests,
And the harsh spirit of Byzantium
Flew away from the Russian church,
When the Neva capital,
Forgetting my greatness,
Like a drunken harlot
I didn’t know who was taking her, -
Leave your land, deaf and sinful,
Leave Russia forever.
I will wash the blood from your hands,
I will take the black shame out of my heart,
I'll cover it with a new name
The pain of defeat and resentment."
But indifferent and calm
I covered my ears with my hands,
So that with this speech unworthy
The mournful spirit was not defiled. T.1 p.143
Page 5 “Everything became busy with the bustle of war, And from the fires it became light...”
The Great Patriotic War... Anna Akhmatova in the ranks of the defenders of Leningrad. She writes the texts of addresses on the radio, calls on Leningraders to persevere, instilling confidence in victory in their hearts. War poems began with the “Oath,” just as any service begins with an oath. Awareness of fate and fate gives rise to the willingness to endure and withstand:
And the one who today says goodbye to her beloved, -
Let her transform her pain into strength.
We swear to the children, we swear to the graves,
That no one will force us to submit!
July 1941, Leningrad
Akhmatova was a soul together with the people during the evacuation. In Tashkent, she “for the first time learned what the shadow of a tree and the sound of water were like in the scorching heat. And also...what is human kindness. In my sixties – for the first time!”
What was Tashkent for Akhmatova? Pain, compassion, tenderness for those fighting at the front, pride for them, thoughts about the Motherland in Tashkent poems. The thirst for kindness, the need to be with everyone burst forth in poetry.
6 page “We know what is on the scales now”
From the memoirs of Galina Kozlovskaya: “I first saw her sitting on a stool, illuminated by the light of a dim light bulb above, chillyly wrapped in an old, unheated fur coat. I was immediately struck by the fact that at the same time there was pride, and orphanhood, and the command came from her: “Do not dare to regret.” Her inner strength spiritual unbrokenness was as obvious as her indifference to poverty and the disorder of her personal existence was obvious. She was still in the throes of the blockade, and all of her was with those who were left to die there..."
On a cold winter day, Anna Andreevna came in the evening and said almost imperiously: “Sit down, I want to read to you what I wrote yesterday.” And she read "Courage."
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our watch,
And courage will not leave us.
Not scary under dead bullets lie down
It's not bitter to be homeless,
And we will save you, Russian speech,
Great Russian word.
We will carry you free and clean,
We will give it to our grandchildren and save us from captivity
Forever.
All our words are inappropriate. We were silent, realizing that a great poem had entered Russian poetry. She understood everything with her heart and not only forgave our dumbness, but rejoiced at it, reading it on our faces.”
Anna Andreevna spent 2 and a half years in Tashkent (from November 1941 to May 1944). There she worked on “A Poem without a Hero” and wrote over 50 poems, including the most famous, textbook ones. But the main thing is. that in Tashkent Akhmatova became a different poet.
The reasons for the changes are obvious: a common misfortune that Akhmatova shared with all the people, and a common feat in which she, along with everyone else, took part as much as she could. Although in terms of troubles she had complete prosperity even before the German invasion, and with resistance to troubles everything was also in order. In 1965, Akhmatova wrote about this:
I don't know what drove me
Then over such abysses...
Page 7 “...I defend not my voice, but my silence”
Akhmatova called the period from 1946 to 1956 “suffocation.” Why?
We will find the answer in the collection “Glory to the World.” This document of the era is no less convincing than “Requiem.” The wild bacchanalia that arose around the poet’s name after Zhdanov’s report and the Central Committee Resolution ended with her expelled from the Writers’ Union, and she was, in her own words, “doomed to starvation.” But this was not the worst thing: she was not imprisoned, she was given the opportunity to live with her son, who fought at the front and took part in the storming of Berlin. Akhmatova was silent - and this was her main sedition. Silence was regarded as a hostile act. What was to be done? Two new books of poetry have just been put under the knife. Therefore, her poems were not needed. She didn’t know how to write to others, and she didn’t consider it necessary to do so while the troubles concerned her alone.
1949 The “fight against cosmopolitans” began. People in her circle, the closest confidantes of her poems, began to disappear. She indirectly blamed herself for their arrests (the poems could have been the reason for the arrest, she believed, remembering the story with Mandelstam). Akhmatova faced a moral question: what is more important - people, their destinies or poetry: “If because of poetry they are seized and put in prison and behind barbed wire, then poetry is evil.”
The arrest of Punin, the third arrest of his son... Russian literature has not seen such “self-immolation” since the time of Gogol... Everything flew into the fire: photographs of loved ones, drafts of old poems, letters, albums with poems...
She then miraculously remained alive... She had to survive and live in order to help her only son out of trouble...
And so...1950, Ogonyok magazine. Two poems praising Stalin were published. The son was not released. True, on February 14, 1951, she was reinstated as a member of the Writers' Union. This somewhat improved her financial situation and gave her a chance to continue the fight.
8 page « I have no particular complaints...
Neither to the century, nor to those around..." 1965
Anna Akhmatova... About her name in 1962 she wrote:
Tatar, dense
It came from nowhere.
Ebullient for any trouble.
That itself is a problem. (“Name”, “Odd”)
Akhmatova is 10 years older than the century and has experienced everything that her generation had to endure:
When space arched
And time has changed...
Flour turned out to be my muse.
It didn't break her. The poet states:
Enemy Banner
It will melt like smoke.
The truth is behind us
And we will win...
After all, we have something to be proud of.
And there is something to cherish T.2p.49
She is optimistic about the future:
We will wipe away our tears once and for all
Wars to create life, 1963.
When in 1962 Akhmatova was nominated for Nobel Prize in literature, she wrote:
Yes, a Nobel Prize is not enough for this,
To invent such a thing, Fate!
And only in 1966
The need itself has finally come to terms
And she walked thoughtfully aside
I would like to remind you of the following words of Akhmatova:
Will they forget? - that’s what surprised me!
I've been forgotten a hundred times
A hundred times I lay in my grave,
Where maybe I am now.
And the Muse became deaf and blind,
The grain rotted in the ground,
So that after, like a Phoenix from the ashes,
Rise blue on the air.
February 21, 1957, Leningrad T.2p.207, 1957
Reflection .
Blok, Akhmatova, Tsvetaeva, Pasternak, Yesenin, ... History worked hard on their fate. And they were the mirror and conscience of their time, in their poems - our past and today.
By reading Akhmatova’s poems, we learn to love the Russian language, our Motherland, and we learn wisdom.
At home: write your personal impressions about the lesson, calling the written response “My discovery of Anna Akhmatova.”
Essay text:
Me like a river
The harsh era has turned...
A. Akhmatova-Anna Akhmatova is a bright, original, original |i poet. It is believed that it was she who discovered “women’s” poetry in Russian literature, full of mystery, riddles, love and intuitive premonition.
In the poetic works of A. Akhmatova, the lyrical heroine appears from the perspective of a citizen, which is not quite usual for women’s poetry. The theme of the homeland, Russia, can be traced in many of the poet’s works: starting with half-confession, dear memories in the early lyrics of A. Akhmatova, this theme over time becomes a constant companion of her mature creativity.
You know, I languish in captivity, praying to the Lord for the death. But I remember everything painfully about the meager land of Tver.
During the First World War, the theme of the homeland helped A. Akhmatova take a position that was noticeably different from the official propaganda literature glorifying this national disaster, which brought so much grief and suffering. In Akhmatova’s view, war has always been an evil and a tragedy, and in her work, the people’s grief is shown through the prism of the experiences of a simple Russian woman.
Terrible deadlines are approaching. Soon it will become crowded with fresh graves. Expect famine, cowardice, and pestilence, and eclipses of the heavenly bodies...
The images of love in the works of A. Akhmatova are infinitely diverse, but the most comprehensive and global is love for the Motherland, for Russia, especially in difficult times for the country, during the suffering of its people.
The smell of juniper is sweet About the burning forests fly. The soldiers are moaning over the guys, A widow's cry is ringing through the village.
It was not in vain that prayers were served, the earth yearned for rain: the trampled fields were warmly sprinkled with red moisture.
A. Akhmatova could not be calm and indifferent to the horrors of war. In the poem "Prayer" she asks God to accept from her any sacrifice, even the most terrible for a woman, so that her native country can regain peace and greatness. essay with
Give me the bitter years of illness, Choking, insomnia, fever, For both the child and the friend, And the mysterious gift of song. So I pray for your liturgy After so many languid days, So that the cloud over dark Russia Becomes a cloud in the glory of the rays.
But the revolution brought even more trials to the lot of the great poet. A difficult time of reassessment of values, destruction of the old and familiar, the beginning of the construction of the unknown new. Many could not stand the painful situation in the country and went abroad, but A. Akhmatova did not imagine herself being separated from her homeland; emigration seemed to her a betrayal.
I had a voice. He called comfortingly,
He said: "Come here,
Leave your land deaf and sinful,
Leave Russia forever.
I will wash the blood from your hands,
I will take the black shame out of my heart,
I'll cover it with a new name
The pain of defeat and resentment."
But indifferent and calm
I covered my ears with my hands,
So that with this speech unworthy
The mournful spirit was not defiled.
The pinnacle of A. Akhmatova’s civil poetry can be considered the lyrics of the period of the Great Patriotic War. What is striking in the poems of this period is, first of all, the amazing organic nature, the absence of doubts and uncertainty in expressing one’s position in life. Always ready to fight, Akhmatova accepted and overcame the trials of fate with honor and dignity, calling on her people to perseverance and resistance.
And the one who today says goodbye to her beloved, Let her pain melt into strength, We swear to the children, we swear to the graves, That nothing will force us to submit.
Akhmatova’s poetry is amazing in that here the national and historical are revealed through the personal and intimate. The poem “Requiem” became a real monument to the national tragedy, in which the poet tells us not only about his grief and pain, but also helps us to hear the cruel voice of that time, to see the suffering and misfortune of the entire people.
It was when only the dead smiled, glad for the peace, And Leningrad dangled like an unnecessary pretense Near its prisons... The death stars stood above us, And innocent Rus' writhed Under bloody boots And under the tires of black Marus.
Poems of the post-war period often contain motifs of reflection on the past, on the fate of one’s generation and people. About her poems A. Akhmatova writes: “For me, they contain my connection with time, with the new life of my people. When I wrote them, I lived in those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal."
And it seemed like we were walking next to each other, And an invisible hand was beating the tambourine, And sounds, like secret signs, were circling before us in the darkness.
The rights to the essay “Civic Poetry by A. Akhmatova” belong to its author. When quoting material, it is necessary to indicate a hyperlink to
