Evaluation of Akhmatova’s work by classics and critics. Akhmatova's fate

Review articles and reviews of recent decades devoted to English-language publications about Akhmatova to some extent reflect, although rather fragmentarily, a versatile and ambiguous approach to the personality and work of the poet, testifying at the same time to the uneven degree of development of Anglo-American Akhmatova studies as a whole. This study is devoted to the analysis of literary criticism and literary studies by Russian, English and American scientists about the life and work of A.A. Akhmatova. Here the established views and approaches of Russian and Anglo-American researchers to the literature of the Silver Age are assessed, and the main trends and theories in the study of A. Akhmatova’s work are identified. During the period of development of international cultural relations and due to high integration and interaction

INTRODUCTION

A.A. Akhmatova is an iconic figure in Russian literature of the 20th century. She lived and worked in an era of historical upheaval, a time of social catastrophes, revolutions and wars. At the end of the 20th century, there was still great interest in the work of A.A. Akhmatova both in Russia and abroad. In numerous modern domestic works on Akhmatova, the question of the peculiarities of the reception of A. Akhmatova’s work by foreign literary criticism has still remained unexamined. Naturally, domestic scientists constantly turn to the facts of publications of Akhmatova’s works in the USA and Europe, but there is no complete generalized idea about the peculiarities of Western Slavists’ perception of A. Akhmatova’s work and its place in the world literary process.

Studying the perception of Akhmatova’s work in English-speaking countries inevitably leads to the problem of the relationship and connections between Russian, American and English cultures. The problem that forms the basis of our research is included in the whole range of issues relevant to modern man questions about spiritual and historical ties between Russia and the West, as well as about the uniqueness of Russian cultural heritage.

Review articles and reviews of recent decades devoted to English-language publications about Akhmatova to some extent reflect, although rather fragmentarily, a versatile and ambiguous approach to the personality and work of the poet, testifying at the same time to the uneven degree of development of Anglo-American Akhmatova studies as a whole. This study is devoted to the analysis of literary criticism and literary studies by Russian, English and American scientists about the life and work of A.A. Akhmatova. Here the established views and approaches of Russian and Anglo-American researchers to the literature of the Silver Age are assessed, and the main trends and theories in the study of A. Akhmatova’s work are identified. During the period of development of international cultural relations and in connection with the high integration and interaction of cultures this work makes it possible to show the extent of the spread of interest in Russian literature and the work of Akhmatova in particular in English-speaking countries, and also allows us to clearly reflect some indicative features of the literary practice of foreign Slavic studies, which, without a doubt, gives relevance to this work.

The methodological basis of the dissertation research is cultures; this work makes it possible to show the extent of the spread of interest in Russian literature and the work of A. Akhmatova in particular in English-speaking countries, and also allows us to clearly reflect some indicative features of the literary practice of foreign Slavic studies, which, without a doubt, makes this topic relevant work.

The purpose of this dissertation research is to identify the features of receptive approaches to the facts of literary creativity and biography of A. Akhmatova, developed by domestic and foreign literary studies of the 20th century.

The goal motivates the formulation and solution of main research problems:

1. Consider the theoretical and methodological foundations of domestic Akhmatova studies.

2. Establish the main chronological stages in the development of English and American Akhmatova studies and trace the history of the reception of A.A.’s work. Akhmatova and foreign Slavists, combining a synchronic approach with a diachronic one.

3. Provide a description of the main English and American studies on the life and work of A.A. Akhmatova.

4. Compare the assessments of Anglo-American and Russian criticism and analyze them in interaction and collision.

To implement the assigned tasks and analyze complex material, structural-typological and comparative-historical research methods are used.

The subject of the study is the specifics of reception (perception and interpretation) by foreign Slavists of the life and literary work of A.A. Akhmatova through the prism of domestic Akhmatova studies, as well as scientific results(concepts, observations and conclusions) of research by representatives of Russian and English-language literary studies.

The methodological basis of the dissertation research is

Works of domestic and foreign scientists about the work of Akhmatova (V.M. Zhirmunsky, V.V. Vinogradov, B.M. Eikhenbaum [PO], L.H. Chukovskaya, T.V. Tsivyan, R.D. Timenchik, A. Heit, S. Driver, D-Wells, S. Ketchian, S. Emert, R. Reader, S. Lighter and many others), as well as sections. English books on the history of Russian literature of the 20th century, numerous articles in periodicals, scientific reports, critical responses, publications of Akhmatova’s works in English translation, articles in encyclopedias, anthologies and dictionaries, which represents a huge layer of literary criticism and literary studies materials that reveal the nature of the perception of creativity Russian writer by representatives of Western literary traditions;

Translations of Akhmatova's poems into English by famous Anglo-American translators L. Coffin, D.M. Thomas, J. Kenyon, S. Kunits, K. Proffer;

Correspondence materials with the editor-in-chief of SEEJ magazine, professor of modern and classical Russian language,

Works of domestic and foreign scientists about the work of Akhmatova (V.M. Zhirmunsky, V.V. Vinogradov, B.M. Eikhenbaum, L.K. Chukovskaya, T.V. Tsivyan, R.D. Timenchik, A. Heit, S. Driver, D. Wells, S. Ketchian, S. Emert, R. Reader, S. Laiter and many others), as well as sections of English books on the history of Russian literature of the 20th century, numerous articles in periodicals, scientific reports , critical responses, publications of Akhmatova’s works in English translation, articles in encyclopedias, anthologies and dictionaries, which represents a huge layer of literary criticism and literary criticism materials that reveal the nature of the perception of the Russian writer’s work by representatives of Western literary traditions;

Translations of Akhmatova's poems into English by famous Anglo-American translators L. Coffin, D.M. Thomas, J. Kenyon, S. Cunnitz*, K. Proffer;

An additional source representing the scientific research of foreign philologists on specific aspects of Akhmatova studies are periodicals in the USA and Great Britain: “The Slavic and East European Journal”; Slavic Review; " Russian Review"(Russian Review); "Russian Literature Quarterly" (The Russian Literature Triquarterly); “The Slavonic and East European Review”.

Correspondence materials with the editor-in-chief of SEEJ magazine, professor of modern and classical Russian language, literature and culture at the University of Kentucky, Gerald Janecek. The volume of English-language materials available to domestic researchers is very limited, and the number of works translated and published in Russia is limited to a few. For this reason, all foreign studies presented in this work were translated from English directly by the dissertation author.

The scientific novelty of the research lies in an integrated approach to the analysis of the works of Akhmatova scholars in Russia, England and the USA, it is determined by the lack of knowledge of the chosen perspective and is due to the lack of special dissertation research devoted to the study of literature and culture of the University of Kentucky by Gerald Janecek. The volume of English-language materials available to domestic researchers is is very limited, and the number of works translated and published in Russia is calculated in just a few. For this reason, all foreign studies presented in this work were translated from English directly by the dissertation author.

We considered it necessary to consider Anglo-American Akhmatova studies in a comparative historical comparison with domestic research. General method Our research is built in accordance with a trend recognized both in Russia and abroad, which boils down to an open understanding of the science of literature as an open system in which various ideas and concepts interact; Based on this, none of the theories should be considered the main one or more authoritative than the others. Thus, the criticism present in the dissertation is directed primarily against a one-sided, categorical and subjective view of Akhmatova’s life and work. Thus, we analyzed the positions of foreign authors and noted widespread errors, simplifications, tendentious opinions, as well as positive results in the interpretation of the most important features of A. Akhmatova’s lyrics.

This work does not distinguish between actual critical and critical-journalistic works, since researchers often act as authors of both, as a result of which it becomes difficult to draw a line between the concepts of literary criticism and journalistic criticism.

The scientific novelty of the study lies in an integrated approach to the analysis of the works of Akhmatova scholars in Russia, England and the USA; it is determined by the lack of knowledge of the chosen perspective and is due to the lack of special dissertation research devoted to the study of the reception of A.A. Akhmatova’s work by foreign Slavic studies. Provisions for defense:

3. The most developed direction of foreign literary criticism about Akhmatova is biographical, formed on initial stages development of Akhmatova studies, was transformed into psychological and adjacent psychoanalytic.

The structure of the dissertation is determined by the implementation of the assigned tasks. reception of creativity by A.A. Akhmatova foreign Slavic studies. Provisions for defense:

1. Creativity of A.A. Akhmatova allows us to consider international literary connections and relationships, similarities and differences between literary and artistic phenomena in Russia, England and the USA.

2. The most productive stage in the development of Akhmatology studies is the 70-80s and the adjoining 90s. XX century, which is why this period chronologically limits our study.

3. The most developed direction of foreign literary criticism, about Akhmatova, is biographical, formed at the initial stages of the development of Akhmatova studies, transformed into psychological and adjacent psychoanalytic.

4. The most complete picture of A. Akhmatova’s work can be obtained by combining the assessments of Western and domestic literary scholars. The theoretical significance of the study lies in the fact that it presents the personality and work of A. Akhmatova in the multi-valued and multi-level context of the tendencies of the literary process of the 20th century, determines the significance of A. Akhmatova’s creative heritage, which organically combined the traditions of Russian and European culture, for representatives of Western literary criticism.

The practical application of this dissertation research is possible with further study of the work of A. Akhmatova, both in general and in special courses, at lectures, seminars on the history of Russian literature of the 20th century. Moreover, the main provisions and observations can be used in the study of typologically similar phenomena of Russian and foreign literature of the 20th century.

Approbation of the research was carried out by publishing articles on the topic of the dissertation, reports at scientific and practical international conferences at the PI SFU (2005), (2007).

The structure of the dissertation is determined by the implementation of the assigned tasks.

The dissertation consists of an introduction, three chapters, and a conclusion. The introduction substantiates the relevance of the dissertation research, defines its goals, objectives and methods, and presents the sources of the research.

Chapter 3 Conclusions

When working on the third chapter, we were able to determine the presence of a smaller number of works devoted to the late work of A. Akhmatova. We explained this fact for several reasons: interest in early creativity overshadowed the originality, uniqueness and originality of the later; the existing political system in the Soviet Union did not allow expanding the area of ​​scientific interest towards late creativity; The muse of the great Akhmatova was silent for a long time, forcing scientists to temporarily lose sight of the work of the poet of the late period. We also determined the range of interests of foreign literary scholars. Most of the research is devoted to the late lyric poetry itself, the poems “Requiem” and “Poem without a Hero.”

In the first paragraph of the third chapter we talk about the main themes analyzed by foreign criticism, and the first question is the theme of the poet and poetry in late lyric poetry. According to scientists, Akhmatova defined the role of the poet as the role of a voice capable of open expression of thought. The poet is called upon to glorify the courage and resilience of the people. In connection with this function, scholars turn to Akhmatova’s secret letter during the period of strict censorship. Scientists study in detail the socio-political situation in the country in order to familiarize foreign readers. Quite boldly exposing Akhmatova’s secret letter, foreign researchers point the reader to the myth of artistic and political freedom of speech in the Soviet state.

Also in the range of scientific interests lies the memory motif of late creativity, which is cultivated in another work - “A Poem without a Hero.” Anglo-American researchers methodically trace the development of this motif from its origins to its apotheosis in the “Poem”. Scientists continue to talk about A. Akhmatova’s imitative method, but emphasize that now imitation is not imitative, but accumulative, that is, Akhmatova does not imitate the manner of her teachers, but uses themes and motifs that are most characteristic of their work. Foreign scientists come to the conclusion that the poet sought to pay tribute to his teachers and contemporaries, thereby joining the classical literary tradition, creating in his poems an eternal image of the poet in the world community.

The theme of the city is also being continued. Now, as critics emphasize, St. Petersburg is a symbol of the survivors and survivors of Leningrad, it is a besieged “wired up” city. So, in this section we were able to identify the main problematic issues, studied by Anglo-American literary studies, based on the late poetry of A. Akhmatova.

And finally, the last paragraph of the chapter is devoted to the most mysterious work of A. Akhmatova - “Poem without a Hero.” We were able to determine that research on this work constitutes the majority of all works of the late period, namely: a monograph by a Dutch author published in America, two dissertations issued in 1982 and 1985, 10 articles and chapters of the above monographs. In the course of analyzing “A Poem without a Hero,” Anglo-American researchers turn to the history of the creation of the work, as well as to its historical and cultural origins. Foreign criticism widely uses the decipherments of domestic scientists. And without a doubt, the most widely studied question is the question of prototypes and reminiscences of teachers, and uses themes and motifs that are most characteristic of their work. Foreign scientists come to the conclusion that the poet sought to pay tribute to his teachers and contemporaries, thereby joining the classical literary tradition, creating in his poems an eternal image of the poet in the world community.

The theme of the city is also being continued. Now, as critics emphasize, St. Petersburg is a symbol of the survivors and survivors of Leningrad, it is a besieged “wired up” city. So, in this section we were able to identify the main problematic issues studied by Anglo-American literary criticism based on the late poetry of A. Akhmatova.

The next paragraph is devoted to consideration famous work late period, the poem "Requiem". Foreign researchers have determined that in this work A. Akhmatova mourned her generation, her contemporaries - it is like a hymn to the Russian woman and a hymn of patriotism. It is noteworthy that the foreign assessment of genre originality is quite unambiguous and to some extent simplified. This approach can be justified by the specific perception of the foreign recipient. Despite the visible shortcomings, the Anglo-American study of this work occupies an honorable place in the history of foreign Akhmatology studies.

And finally, the last paragraph of the chapter is devoted to the most mysterious work of A. Akhmatova - “Poem without a Hero.” We were able to determine that research on this work constitutes the majority of all works of the late period, namely: a monograph by a Dutch author published in America, two dissertations issued in 1982 and 1985, 10 articles and chapters of the above monographs. In the course of analyzing “A Poem without a Hero,” Anglo-American researchers turn to the history of the creation of the work, as well as to its historical and cultural origins. Foreign criticism widely uses the decipherments of domestic scientists. And without a doubt, the most widely studied question is the question of prototypes and reminiscences.

So, in the third chapter we found out that the volume of foreign research on late creativity is inferior to work on early creativity. Nevertheless, it was possible to consider the main trends in this aspect, namely, that the study of late lyric poetry is almost not represented in Anglo-American literary studies, and the main interest of foreign scientists is concentrated on the “Requiem” (to a lesser extent) and on the “Poem without a Hero” ( mostly). Thus, we were able to achieve our stated goal - to present the main themes and motives of Anglo-American studies of the late period.

We have come to the conclusion that the judgments of Anglo-American literary scholars are emotionally restrained and historically and biographically oriented, which naturally simplifies the approach to the study of late creativity. Only a comparative typological method of analyzing domestic and foreign works can give a complete picture of the work of A. Akhmatova.

Poems", as well as the question of its genre uniqueness. In conclusion, Anglo-American criticism comes to the conclusion that “A Poem without a Hero” is unique work the great Akhmatova, which is a cultural and historical essay about the events of the early 20th century. And we emphasize that in the process of analysis, foreign critics managed to identify the main features of the work and emphasize its specificity.

So, in the third chapter we found out that the volume of foreign research on late creativity is inferior to work on early creativity. Nevertheless, it was possible to consider the main trends in this aspect, namely, that the study of late lyric poetry is almost not represented in Anglo-American literary studies, and the main interest of foreign scientists is concentrated on the “Requiem” (to a lesser extent) and on the “Poem without a Hero” (mostly). Thus, we were able to achieve our stated goal - to present the main themes and motives of Anglo-American studies of the late period.

We have come to the conclusion that the judgments of Anglo-American literary scholars are emotionally restrained and historically and biographically oriented, which naturally simplifies the approach to the study of late creativity. Only the comparative typological method of analyzing domestic and foreign works can give a complete picture of the work of A. Akhmatova.

Conclusion

After analyzing domestic works, we established that the development of Russian Akhmatova studies began with the publication of Akhmatova’s first collections, and her contemporaries N. Gumilyov, A. Blok, N. Nedobrovo, M. Kuzmin were critics. The simplicity of Akhmatova’s syntax, the colloquial nature of her lyrics, and the materiality of her symbolism were immediately noted. A. Blok noted that Anna Akhmatova was very different from all the Acmeists in her ease and innovation. It is Blok who will become the “famous contemporary” with whom Akhmatova will arrange a “literary game”, which will give rise to many rumors. V. Zhirmunsky will describe these creative and intimate relationships, but with his characteristic tact he will note that this is why it is personal, in order to remain untouched. Unfortunately, not all scientists adhere to this point of view; others reveal facts of personal biography, sometimes too deliberately and dirtyly, trying to erase the significance of A. Akhmatova’s personality and creativity.

We grouped all further research according to the principle: periodicals, memoirs, literary criticism, identifying the features of each of the directions. Among the outstanding memoirists, we noted the works of JI. Chukovskaya, A. Naiman, Y. Annenkov and many others. etc. These researchers depicted A. Akhmatova in living, everyday situations. As for literary criticism itself, among the monumental studies on which all further domestic and foreign literary studies on Akhmatova’s work will be built, we noted the scientific works of V. Vinogradov, B. Eikhenbaum, V. Zhirmunsky. They immediately set the tone for Russian Akhmatova studies, defining the peculiarity of Akhmatova’s verse, its poetic manner and unusual system of symbols. Note that in the 40s. In the 20th century, there was a ban on Akhmatova in connection with the statement of A. A. Zhdanov, which could not but resonate in modern literary criticism, we mean “anti-Akhmatova studies,” the followers of which are A. Zholkovsky and T.

We devoted the second half of the first chapter to considering the basic concepts of Anglo-American Akhmatova studies. We have established that Anglo-American Akhmatova studies are an independent branch of foreign Slavic studies, which became more widespread in the 70-80s. XX century. At this stage of scientific thought, the leading method is biographical, which served as the basis for the development of other methods. The works of biographers made an invaluable contribution to the history of Akhmatova studies and allowed followers to develop the science of the life and work of the great Akhmatova, based on the facts of her biography, studied in such detail by luminaries. Among the outstanding Akhmatova scholars we will name: A. Heit, K. Verhel, S. Driver, R. Reader, S. Ketchian, D. Wells, V. Rosslyn, S. Laiter, J. Niva, G. Klein, F. Fodd, S. .

Also in the first chapter, we were able to consider the most popular question in the science of Akhmatova’s work - the decoding of “Poem without a Hero.” Indeed, this is the most mysterious work with a complex ideological world, artistic originality and historiosophy. Nevertheless, scientists manage to determine the cultural origins of the “Poem” and decipher Akhmatova’s secret writing, which we outline in sufficient detail in the first paragraph of the first chapter. This question also worries modern foreign researchers, and, taking the judgments of Russian scientists as a basis, they also managed to present original decipherments of the work.

Next, we indicated modern trends in Akhmatova studies: Akhmatova in comparison with other poets (Akhmatova and Blok, Akhmatova and Yesenin), the study of Pushkin studies by Akhmatova, as well as studies of the mythopoetics of her lyrics, is widely developing.

Thus, having devoted the first paragraph of the first chapter to a review of domestic Akhmatovian concepts, we came to the conclusion that Russian critical thought about the life and work of A. Akhmatova is monumental and is an informative basis for the construction of concepts by foreign Akhmatova scholars.

We devoted the second half of the first chapter to considering the basic concepts of Anglo-American Akhmatova studies. We have established that Anglo-American Akhmatova studies are an independent branch of foreign Slavic studies, which became more widespread in the 70-80s. XX century. At this stage of scientific thought, the leading method is biographical, which served as the basis for the development of other methods. The works of biographers made an invaluable contribution to the history of Akhmatova studies and allowed followers to develop the science of the life and work of the great Akhmatova, based on the facts of her biography, studied in such detail by luminaries. Among the outstanding Akhmatova scholars we will name: A. Heit, K. Verhel, S. Driver, R. Reader, S. Ketchian, D. Wells, V. Rosslin, S. Laiter, J. Niva, G. Klein, F. Fotz, S. .

Emert et al.

In the second chapter, we analyzed the research materials of Slavists in the USA and England in comparison with domestic theses, identifying the main criteria for assessing and analyzing the early work of A. Akhmatova. Having presented a description of the main English and American studies, we have determined that there are much more works on early creativity than on the later period. Thus, in the range of scientific interests of foreign scientists are the motives of lyrics (religious, urban, love), questions about the diversity of the heroine and the autobiographical nature of poetry and, of course, studies of the poet’s style (nationality, novelism, intertextuality, the desire for cyclization, imitation). All this has been analyzed by us in

Emert et al.

It is noteworthy that Akhmatova studies developed within the university environment, and third-wave emigrants contributed to the celebration of Akhmatova’s work. In this work, it was possible to show the formation and development of Anglo-American Akhmatova studies, and also emphasize that the development of Akhmatova studies in England and the USA at the present stage is carried out in two equivalent directions: in detailing Akhmatova’s biography (in psychological and psychoanalytic Akhmatova studies) and in moving away from the biographical method to studies of mythopoetics. An unconditional contribution to the development of Akhmatova studies was made by translators who sought to bring their translations as close as possible to the original and convey to the English-speaking reader all the uniqueness of the poet’s creative manner, which was established in paragraph 1.2.

Nevertheless, we also talk about some of the shortcomings of Anglo-American thought, paying attention to inaccuracies, and we come to the conclusion that foreign Akhmatova studies in the USA and England are particularly diverse in their judgments, and the conclusions of scientists are not always correct, although they are very interesting. Thus, the criticism present in the dissertation is directed against a one-sided, categorical and subjective view of Akhmatova’s life and work.

In the second chapter, we analyzed the research materials of Slavists in the USA and England in comparison with domestic theses, identifying the main criteria for assessing and analyzing the early work of A. Akhmatova. Having presented a description of the main English and American studies, we have determined that there are much more works on early creativity than on the later period. Thus, in the range of scientific interests of foreign scientists are the motives of lyrics (religious, urban, love), questions about the diversity of the heroine and the autobiographical nature of poetry and, of course, studies of the poet’s style (nationality, novelism, intertextuality, the desire for cyclization, imitation). We analyzed all this in comparison with the works of domestic scientists.

The third chapter of our study is devoted to the late period of A. Akhmatova’s work, although it aroused less interest among foreign critics compared to the early period. Here we study the analysis of the work of D. Wells, who examined in detail Akhmatova’s secret letter during the years of repression. His point of view seems interesting, although it is not without some shortcomings. The investigation of the secret writing found its highest point in the “Poem without a Hero,” which was successfully deciphered by foreign scientists. Another poem - "Requiem" - was called by Anglo-American Akhmatov studies a hymn to the Russian woman, the Russian people. The conclusions on this work are less controversial, so the research in the third chapter does not cause us almost any complaints. Thus, having made an attempt to compare Russian and Anglo-American Akhmatova studies, we came to the conclusion that the most complete picture of A. Akhmatova’s work can be obtained by comparing the assessments of Western and domestic literary scholars. comparison with the works of domestic scientists.

We emphasized that the most developed direction of foreign literary criticism about Akhmatova is biographical, formed at the initial stages of the reception of her work, it was transformed into psychological and adjacent psychoanalytic Akhmatova studies. Of course, due to the heterogeneity of foreign Akhmatova studies, as mentioned above, we consider some thoughts to be one-sided and simplified, while at the same time emphasizing fair and interesting arguments. Thus, in the second chapter, during the analysis, we systematized and assessed the problems and questions about the life and work of A.A. Akhmatova at an early stage, formulated and reviewed by foreign scientists.

The third chapter of our study is devoted to the late period of A. Akhmatova’s work, although it aroused less interest among foreign critics compared to the early period. Here we study the analysis of the work of D. Wells, who examined in detail Akhmatova’s secret letter during the years of repression. His point of view seems interesting, although it is not without some shortcomings. The investigation of the secret writing found its highest point in the “Poem without a Hero,” which was successfully deciphered by foreign scientists. Another poem - "Requiem" - was called by Anglo-American Akhmatov studies a hymn to the Russian woman, the Russian people. The conclusions on this work are less controversial, so the research in the third chapter does not cause us almost any complaints. Thus, having made an attempt to compare Russian and Anglo-American Akhmatova studies, we came to the conclusion that the most complete picture of A. Akhmatova’s work can be obtained by comparing the assessments of Western and domestic literary scholars.

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40. Vilenkin V.Ya. In the one hundred and first mirror. M., 1990.

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278. Driver, Sam.Akhmatova"s "Poema Bez Geroja" And Blok"s "VozmezdieV/Aleksandr Blok: Centennial Conference, 4-5.Columbus., 1984. Pp.89-99

279. Erlich Victor. Modernism And Revolution: Russian Literature In Transition, Cambridge, Mass, London, 1994

280. Erlich, Victor. The Double Image.Baltimore.,1964

281. Finberg, Lawrence E. Measure And Complementarily In Axmatova. Oxford, 1977.

282. Frankland. Poetess Of Genius. New York, 1966

283. Goldman, H.A. Anna Axiaatova's Hamlet the Immortality of Personality and the Discontinuity of Time // Slavic and East European Journal, No. 22.1978. pp. 484-93

284. Goscilo, Helena. Russia. Women. Culture. Bloomington, 1996

285.Guests from the Future: Poems of Anna Akhmatova, Osip Mandelshtam, Boris Pasternak, Moscow, 1998

286. Haight, Amanda, Anna Akhmatova: A Poetic Pilgrimage. London, 1976

287. Hartman A.J., The Metrical Typology of Anna Akhmatova, Columbus, Ohio, 1982

288. Hayward Max, Labedz Leopold. Literature And The Revolution In Soviet Russia, 1917-62: A Symposium. London, Oxford Univ.Pressro, 1963

289. Hay ward Max. Writers In Russia: 1917-1978, San Diego: Harcourt Brace Jovanovich, 1983

290. Heldt B.Terrible Perfection: Women & Russian Literature.Bloomington, Indiana Univ.Press., 1987

291. Hemschemeyer Tr. Judith, ed. Roberta Reeder The Complete Poems of Anna Akhmatova. London., 1990

292. Hemschemeyer, Tr. Judith. A Word About Translating Anna Akhmatova // Northwest Review, 23/3. 1985. pp. 92-93

293. Hingley, Ronald. Nightingale Fever. Russian Poets In Revolution. Knopf, New York, 1981

294. Holmgren, Beth. Women's Works In Stalin's Time: On Lidia Chukovskaia & Nadezda Mandelstam Bloomington. 1993

295. Hosking, G., Russia: People And Empire. 1552-1917., London., 1997

296. Jobes Gertrude, Dictionary of Mythology, Folklore ad Symbols, New York, Scarecrow Press, 1961

297. Jones, Lawrence Gaylord. Anna Akhmatova's Quiet "Tenderness". Paris., 1973

298. Driver, Sam. Akhmatova Anna Andreevna/ZModem Encyclopaedia Of Russian And Soviet Literature, Vol.1/Academic International Press., 1977. Pp.67-77.

299. Driver, Sam. Akhmatova: A Selective, Annotated Bibliography/ZRussian Literature Triquarterly, No. 1 1971.P.432

300. Driver, Sam. Anna Akhmatova: Early Love Poems/ZRussian Literature Triquarterly, No. 1. 1971. Pp.297-325

301. Driver, Sam. Akhmatova's "Poema Bez Geroja" And Blok's "VozmezdieV/Aleksandr Blok: Centennial Conference, 4-5. Columbus., 1984. Pp. 89-99

302. Erlich Victor. Modernism And Revolution: Russian Literature In Transition, Cambridge, Mass, London, 1994

303. Erlich, Victor. The Double Image.Baltimore.,1964

304. Finberg, Lawrence E. Measure And Complementarily In Axmatova. Oxford, 1977.

305. Frankland. Poetess Of Genius. New York, 1966

306. Goldman, H.A. Anna Axiaatova's Hamlet the Immortality of Personality and the Discontinuity of Time // Slavic and East European Journal, No. 22.1978. pp. 484-93

307. Goscilo, Helena. Russia. Women. Culture. Bloomington, 1996

308. Guests from the Future: Poems of Anna Akhmatova, Osip Mandelshtam, Boris Pasternak, Moscow, 1998

309. Haight, Amanda, Anna Akhmatova: A Poetic Pilgrimage. London, 1976

310. Hartman A.J., The Metrical Typology of Anna Akhmatova, Columbus, Ohio, 1982

311. Hayward Max, Labedz Leopold. Literature And The Revolution In Soviet Russia, 1917-62: A Symposium. London, Oxford Univ. Pressio, 1963

312. Hayward Max. Writers In Russia: 1917-1978. San Diego: Harcourt Brace Jovanovich., 1983

313. Heldt B.Terrible Perfection: Women & Russian Literature.Bloomington, Indiana Univ.Press., 1987

314. Hemschemeyer Tr. Judith, ed. Roberta Reeder The Complete Poems of Anna Akhmatova. London., 1990

315. Hemschemeyer, Tr. Judith. A Word About Translating Anna Akhmatova // Northwest Review, 23/3. 1985. pp. 92-93

316. Hingley, Ronald. Nightingale Fever. Russian Poets In Revolution. Knopf, New York, 1981

317. Holmgren, Beth. Women's Works In Stalin's Time: On Lidia Chukovskaia & Nadezda Mandelstam Bloomington. 1993

318. Hosking, G., Russia: People And Empire. 1552-1917., London., 1997

319. Jobes Gertrude, Dictionary of Mythology, Folklore ad Symbols, New York, Scarecrow Press, 1961

320. Jones, Lawrence Gaylord. Anna Akhmatova's Quiet "Tenderness". Paris., 1973

321. Kahler, E. The Nature Of Symbol// Symbolism In Religion And Literature. New-York. 1960.Pp.50-74

322. Kelly Catriona. History Of Russian Women's Poetry. Oxford Univ. Press., 1994

323. Kelly, Catriona Utopias: Russian Modernist Text, 1905-1940. London., 1999.

324. Kelly, Catriona. Constructing Russian Culture In The Age Of Revolution: 1881-1940.0xford., 1998

325. Kelly, Catriona. The Impossibility Of Imitation: Anna Akhmatova And Innokentii Annenskii (Pp.238-243) in W.A.Rosslyn (ed.), The Speech of Unknown Eyes: Akhmatova's Readers on her Poetry, vol.2 Nottingham. 1990

326. Kemball, R. Some Metrical Problems of Russian-English Verse Translation (with Special Reference to Blok and Akhmatova), // in siSchwelzerischer Beltrage zum VIII Internatlonalen Slavlstenkongress In Zagreb und Ljubljana, September 1978, pp. 105-30

327. Kenyon J., A Hundred White Daffodils: Essays, Interviews, the Akhmatova Translations, Newspaper Columns, and One Poem, N-Y, 1999

328. Kenyon J., Twenty Poems: A. Akhmatova, St. Paul, Minn., 1985

329. Ketchian S.I. Anna Akhmatova 1889-1989: Papers From The Akhmatova Centennial Conference. Oakland, 1993

330. Ketchian, S.I.The Genre of "Podrazenie" and Anna Axmatova // Russian Literature, No. 5, 1984, 151-68

331. Ketchian, S.I. A Unique Device For Axmatova Tribute To MandePstam)//SEEJ, No. 20, 1976 Pp.400-404

332. Ketchian, S.I. An Inspiration for Anna Akhmatova's "Requiem" Hovannes Tumanlan"//in Studies In Russian Literature In Honor of Vsevolod Setchkarev, ed by J W Connolly A SI Ketchian Columbus, Slavica, 1987, pp 175-88

333. Ketchian, S. I. Metempsychosis In The Verse Of Anna Axmatova // SEEJ, No. 25, 1981. Pp.44-60

334. Ketchian, S. I. Axmatova's "UciteP: Lessons Learned From Annensky //SEEJ, No. 22., 1978. Pp. 22-29

335. Ketchian, S. I. Anna Akhmatova//In Handbook of Russian Literature, (ed. by V. Terras) New Haven., 1985 Pp. 14-16

336. Ketchian, S. I. Imitation As A Poetic Mode In Axmatova's "Podrazanie AnnenskomuV/Scando-Slavica, No. 25, 1979 Pp. 57-70

337. Ketchian, S. I,. A Source For Anna Axmatova's: "A String Of Quatrains" Hovannes Tumanian's Quatrains // SEEJ, No. 31, 1987 Pp. 520-532

338. Ketchian, S.I. The poetry of A. Akhmatova, a Conquest of time and Space, Munchen, 1986

339. Kiaer, Christina & Naiman Eric, Everyday Life in Early Soviet Russia: Taking the Revolution Inside. Bloomington, Indiana, 2006

340. Knight.Akhmatova As Witness.Tribune., 1976

341. Kahler, E. The Nature Of Symbol// Symbolism In Religion And Literature. New-York.l960.Pp.50-74

342. Kelly Catriona. History Of Russian Women's Poetry. Oxford Univ.Press., 1994

343. Kelly, Catriona Utopias: Russian Modernist Text, 1905-1940. London., 1999.

344. Kelly, Catriona. Constructing Russian Culture In The Age Of Revolution: 1881-1940.0xford.,1998

345. Kelly, Catriona. The Impossibility Of Imitation: Anna Akhmatova And Innokentii Annenskii (Pp.23 8-243) in W.A. Rosslyn (ed.), The Speech of Unknown Eyes: Akhmatova's Readers on her Poetry, vol.2 Nottingham. 1990

346. Kemball, R. Some Metrical Problems of Russian-English Verse Translation (with Special Reference to Blok and Akhmatova), // in siSchwelzerischer Beltrage zum VIII Internatlonalen Slavlstenkongress In Zagreb und Ljubljana, September 1978, pp. 105-30

347. Kenyon J., A Hundred White Daffodils: Essays, Interviews, the Akhmatova Translations, Newspaper Columns, and One Poem, N-Y, 1999

348. Kenyon J., Twenty Poems: A. Akhmatova, St. Paul, Minn., 1985

349. Ketchian S.I. Anna Akhmatova 1889-1989: Papers From The Akhmatova Centennial Conference. Oakland, 1993

350. Ketchian, S.I.The Genre of "Podrazenie" and Anna Axmatova // Russian Literature, No. 5, 1984, 151-68

351. Ketchian, S.I. A Unique Device For Axmatova Tribute To Mandel" stam) // SEE J, No. 20, 1976 Pp.400-404

352. Ketchian, S.I. An Inspiration for Anna Akhmatova's "Requiem" Hovannes Tumanlan"7/in Studies In Russian Literature In Honor of Vsevolod Setchkarev, ed by J W Connolly A SI Ketchian Columbus, Slavica, 1987, pp 175-88

353. Ketchian, S. I. Metempsychosis In The Verse Of Anna Axmatova // SEEJ, No. 25, 1981. Pp.44-60

354. Ketchian, S. I. Axmatova's "UciteP: Lessons Learned From Annensky //SEEJ, No. 22., 1978. Pp. 22-29

355. Ketchian, S. I. Anna Akhmatova/Lp Handbook of Russian Literature, (ed. by V. Terras) New Haven., 1985 Pp. 14-16

356. Ketchian, S. I. Imitation As A Poetic Mode In Axmatova's "Podrazanie AnnenskomuV/Scando-Slavica, No. 25, 1979 Pp. 57-70

357. Ketchian, S. I. A Source For Anna Axmatova's: "A String Of Quatrains" Hovannes Tumanian's Quatrains // SEEJ, No. 31, 1987 Pp. 520-532

358. Ketchian, S.I. The poetry of A. Akhmatova, a Conquest of time and Space, Munchen, 1986

359. Kiaer, Christina & Naiman Eric, Everyday Life in Early Soviet Russia: Taking the Revolution Inside. Bloomington, Indiana, 2006

360. Knight.Akhmatova As Witness.Tribune., 1976

361. Leiter, S. Akhmatova's Petersburg. Philadelphia, Pennsylvania U.P., 1983

362. Lord, R. Russian And Soviet Literature. London, 1972

363. Lord, R. Russian Literature. New York, 1980

364. Lysaght, T.A. Anna Akhmatova In The View Of The Critics. New Zealand, 1966

365. Massie Susan. The Living Mirror: Five Young Poets From Leningrad. London, 1972

366. Michele Roberts, City Limits // Rev. by B. Heldt in Canadian-American Slavic Studies, 18, 1984, 445-446

367. Moore Harry T. Parry Albert Twentieth-Century Russian Literature. Southern Illinois University Press, 1974

368. O"Bell, L. The Russian Symbolists. An Anthology Of Critical And Theoretical Writings. Ann Arbor., 1986

369. Ostrovskaya, S.K. Memoirs Of A. Akhmatova's Years. Liverpool., 1988

370. Papers from the Akhmatova Centennial Conference, Oakland, California, 1993

371. Patera, T. A Concordance To The Poetry Of Anna Akhmatova., 1995

372. Patricia Blake, Hayward Max. Dissonant Voices in Soviet Literature. London., 1964.

373. Poems of A. Akhmatova, Boston-Toronto/tr.by Kunitz Stanley, Hayward Max /, 1973

374. Poems. A. Akhmatova, New-York-London/tr.by Coffin Lyn /, 1983

375. Poem without a Hero // The Slavonic & East European Rev. July 1967. Vol. XLY. No. 105. p. 474-496

376. Proffer, Carl R. A Poem Without A Hero: Notes And Commentary //In "A Poem without Hero". Ann Arbor., 1973

377. Proffer, Carl. R. Russian Literature Of The Twenties, An Anthology .Ann Arbor., 1987

378. Proffer, Carl. R. The Widows Of Russia: And Other Writings Ann Arbor, 1987

379. Proffer, Ellandea. The Ardis Anthology Of Russian Futurism.Ann Arbor., 1980

380. Reeder, Roberta, Anna Akhmatova. Poet And Prophet, New York 1995

381. Reeve, Franklin D. Alexander Blok: Between Image and Idea. New York, 1965.

382. Leiter, S. Akhmatova's Petersburg. Philadelphia, Pennsylvania U.P., 1983

383. Lord, R. Russian And Soviet Literature. London, 1972

384. Lord, R. Russian Literature. New York, 1980

385. Lysaght, T.A. Anna Akhmatova In The View Of The Critics. New Zealand, 1966

386. Massie Susan. The Living Mirror: Five Young Poets From Leningrad. London, 1972

387. Michele Roberts, City Limits // Rev. by B. Heldt in Canadian-American Slavic Studies, 18, 1984, 445-446

388. Moore Harry T. Parry Albert Twentieth-Century Russian Literature. Southern Illinois University Press, 1974

389. O"Bell, L. The Russian Symbolists. An Anthology Of Critical And Theoretical Writings. Ann Arbor., 1986

390. Ostrovskaya, S.K. Memoirs Of A. Akhmatova's Years. Liverpool., 1988

391. Papers from the Akhmatova Centennial Conference, Oakland, California, 1993

392. Patera, T. A Concordance To The Poetry Of Anna Akhmatova., 1995

393. Patricia Blake, Hayward Max. Dissonant Voices in Soviet Literature. London., 1964.

394. Poems of A. Akhmatova, Boston-Toronto/tr.by Kunitz Stanley, Hayward Max/, 1973

395. Poems. A. Akhmatova, New-York-London/tr.by Coffin Lyn /, 1983

396. Poem without a Hero // The Slavonic & East European Rev. July 1967. Vol. XLY. No. 105. p. 474-496

397. Proffer, Carl R. A Poem Without A Hero: Notes And Commentary //In "A Poem without Hero". Ann Arbor., 1973

398. Proffer, Carl. R. Russian Literature Of The Twenties, An Anthology.Ann Arbor., 1987

399. Proffer, Carl. R. The Widows Of Russia: And Other Writings Ann Arbor, 1987

400. Proffer, Ellandea. The Ardis Anthology Of Russian Futurism.Ann Arbor., 1980

401. Reeder, Roberta, Anna Akhmatova. Poet And Prophet, New York 1995

402. Reeve, Franklin D. Alexander Blok: Between Image And Idea. New York, 1965.

403. Reeve, Franklin D. Inconstant Translation: Life Into Art//Anna Akhmatova 1889-1989 Papers from the Akhmatova Centennial Conference. Oakland, California, 1993

404. Reeve, Franklin D. Contemporary Russian Drama. New York, 1968

405. Rosslyn, W. The Function of Architectural Imagery In Akhmatova's Poetry" Irish Slavonic Studies, No. 6 (1985), 19-34

406. Rosslyn, Wendy The Prince, The Fool And The Nunnery: The Religious Theme In The Early Poetry Of Anna Akhmatova. Avebury, 1984

407. Rosslyn, Wendy. Boris Anrep And The Poems Of Anna Akhmatova.//Modern Language Review. No. 74. 1979. Pp.884-896

408. Rosslyn, Wendy. A Propos Of Anna Akhmatova: Boris Vasilyevich Anrep (1883-1969). // New Zealand Slavonic Journal, No. 1. 1980. pp. 25-34

409. Rosslyn, Wendy, The Function Of Architectural Imagery In Akhmatova's Poetry.//Irish Slavonic Studies, No. 6. 1985. Pp. 19-34

410. Rosslyn, Wendy. The Theme Of Light In The Early Poetry Of Anna Akhmatova.//Renaissance and Modern Studies, No. 24. 1980. Pp.79-91

411. Scherr B. Russia Poetry: Meter, Rhythm And Rhyme. Berkely, Los Angeles, London, 1986.

412. Seagul C. Orpheus: The Myth Of He Poet. Baltimore. 1989.

413. Selected Poems. A. Akhmatova, Ann Arbor/tr. by Arndt Walter, Kemball Robin, Proffer Carl R /, Ardis, 1976

414. Selected poems. A. Akhmatova / tr. by Thomas D.M./, London, 1988

415. Selected Poems. A, Akhmatova / tr. by Kunitz Stanley&Hayward Max /, London, 1992

416. Selected Poems. A. Akhmatova/tr.by McKane Richard / N-Y, 1989.

418. Shwartzband S., Anna Akhmatova's Second Book Chetki, in W.A. Rosslyn (ed.), The Speech of Unknown Eyes: Akhmatova's Readers on her Poetry, Nottingham, 1990, vol.1, p. 123.

419. Slavic Studies/ed. by A. Kaun and . Simmons. N. Y. 1943 p. 2.

420. Slonim Marc. From Chekhov To The Revolution: Russian Literature, 1900-1917. Oxford University Press, 1962.

421. Taubman J. A. Tsvetaeva And Akhmatova, Two Female Voices In A Poetic Quartet) Russian Literature Triquarterly, 1974, 9, 335-363,

422. The Pillar of Fire and Selected Poems/N. Gumilev London, 1999.

423. The Silver Age Of Russian Culture. Ann Arbor, Ardis, 1975,

424. Thompson D.B. The Anapaestic Dol"nik In The Poetry Of Axmatova And Gumilev // Russian Language Journal, supplementary issue. New Delhi., 1975,

425. Thompson E.M. Imperial Knowledge: Russian Literature And Colonialism. Greenwood Press, 2000.

426. Thompson E.M. Russian Formalism And Anglo-American New Criticism, A Comparative Study. Hague, 1971

427. Todd, Albert C. and Max Hayward, eds., 20th Century Russian Poetry: Silver and Steel, New York. Doubleday, 1993.

428. Reeve, Franklin D. Inconstant Translation: Life Into Art//Anna Akhmatova 1889-1989 Papers from the Akhmatova Centennial Conference. Oakland, California, 1993

429. Reeve, Franklin D. Contemporary Russian Drama. New York, 1968

430. Rosslyn, W. The Function of Architectural Imagery In Akhmatova's Poetry" Irish Slavonic Studies, No. 6 (1985), 19-34

431. Rosslyn, Wendy The Prince, The Fool And The Nunnery: The Religious Theme In The Early Poetry Of Anna Akhmatova. Avebury, 1984

432. Rosslyn, Wendy. Boris Anrep And The Poems Of Anna Akhmatova.//Modern Language Review. No. 74. 1979. Pp.884-896

433. Rosslyn, Wendy. A Propos Of Anna Akhmatova: Boris Vasilyevich Anrep (1883-1969).//New Zealand Slavonic Journal, No. 1. 1980. pp. 25-34

434. Rosslyn, Wendy. The Function Of Architectural Imagery In Akhmatova's Poetry.//Irish Slavonic Studies, No. 6. 1985. Pp.19-34

435. Rosslyn, Wendy. The Theme Of Light In The Early Poetry Of Anna Akhmatova./ZRenaissance and Modern Studies, No. 24. 1980. Pp.79-91

436. Scherr B. Russia Poetry: Meter, Rhythm And Rhyme. Berkely, Los Angeles, London, 1986.

437. Seagul C. Orpheus: The Myth Of He Poet. Baltimore. 1989.

438. Selected Poems. A. Akhmatova, Ann Arbor/tr. by Arndt Walter, Kemball Robin, Proffer Carl R/, Ardis, 1976

439. Selected poems. A. Akhmatova / tr. by Thomas D.M./, London, 1988

440. Selected Poems. A. Akhmatova / tr. by Kunitz Stanley&Hayward Max /, London, 1992

441. Selected Poems. A. Akhmatova/tr.by McKane Richard / N-Y, 1989.

443. Shwartzband S., Anna Akhmatova's Second Book Chetki, in W.A. Rosslyn (ed.), The Speech of Unknown Eyes: Akhmatova's Readers on her Poetry, Nottingham, 1990, vol.1, p. 123.

444. Slavic Studies/ed. by A. Kaun and . Simmons. N. Y. 1943 p. 2.

445. Slonim Marc. From Chekhov To The Revolution: Russian Literature, 1900-1917. Oxford University Press, 1962.

446. Taubman J. A. Tsvetaeva And Akhmatova, Two Female Voices In A Poetic Quartet) Russian Literature Triquarterly, 1974, 9, 335-363.

447. The Pillar of Fire and Selected Poems/N. Gumilev London, 1999.

448. The Silver Age Of Russian Culture. Ann Arbor, Ardis, 1975.

449. Thompson D.B. The Anapaestic Dol"nik In The Poetry Of Axmatova And Gumilev // Russian Language Journal, supplementary issue. New Delhi., 1975.

450. Thompson E.M. Imperial Knowledge: Russian Literature And Colonialism. Greenwood Press, 2000.

451. Thompson E.M. Russian Formalism And Anglo-American New Criticism, A Comparative Study. Hague, 1971

452. Todd, Albert C. and Max Hayward, eds., 20th Century Russian Poetry: Silver and Steel. New York. Doubleday, 1993.

453. Tucker Janet G. Innokentij Annenskij And The Acmeist Doctrine. Columbus, Ohio, 1986.

454. Turner, S. E., Studies in Russian Literature. London, 1982

455. Twenty Poems: A. Akhmatova (tr. by Jane Kenyon), St. Paul, Minn., 1985.

456. Verheul K., The Theme of Time in the Poetry of Anna Akhmatova, The Hague, 197.

457. Vickery Walter N. Aleksandr Blok//Centennial Conference. Columbus, Ohio., 1984.

458. Way of all the Earth: Poems. A. Akhmatova./tr.by Thomas D.M/, London, 1979.

460. Wells David N. Anna Akhmatova. Her Poetry. Berg. Oxford. Washington, D.C. 1996.

461. Wells David N. Folk Ritual In Anna Akhmatova's "Poema Bez GeroyaV/Scottish Slavonic Review, No. 7. 1986. pp. 69-89

462. Werth A. Akhmatova. Tragic Queen Anna. Oxford, 1977,

463. Tucker Janet G. Innokentij Annenskij And The Acmeist Doctrine. Columbus, Ohio, 1986.

464. Turner, S. E., Studies in Russian Literature. London, 1982

465. Twenty Poems: A. Akhmatova (tr. by Jane Kenyon), St. Paul, Minn., 1985.

466. Verheul K., The Theme of Time in the Poetry of Anna Akhmatova, The Hague, 197.

467. Vickery Walter N. Aleksandr Blok//Centennial Conference. Columbus, Ohio., 1984.

468. Way of all the Earth: Poems. A. Akhmatova./tr.by Thomas D.M/, London, 1979.

470. Wells David N. Anna Akhmatova. Her Poetry. Berg. Oxford. Washington, D.C. 1996.

471. Wells David N. Folk Ritual In Anna Akhmatova's "Poema Bez GeroyaV/Scottish Slavonic Review, No. 7. 1986. pp. 69-89

472. Werth A. Akhmatova. Tragic Queen Anna. Oxford, 1977.

473. The memory of the sun in the heart weakens. The grass is yellower.

474. The wind barely blows early snowflakes.

475. The water in the narrow canals no longer flows and gets cold.

476. Nothing will ever happen here, oh, never!

477. The willow tree spread out a through fan in the empty sky.

478. Maybe it’s better that I didn’t become your wife.

479. The memory of the sun in the heart weakens. What is this? Darkness?

481. The memory of the sun weakens in my heart1. Grass turns yellow,

482. Wind blows the early flakes of snow1.ghtly, lightly

483. Already the narrow canals have stopped flowing Water freezes

484. Nothing will ever happen here Not ever

485. Against the empty sky the willow opens A transparent fan-Maybe it is a good thing I"m not your wife

486. The memory of the sun in the heart weakens. The grass is yellower. .

487. The wind barely blows early snowflakes.

488. The water in the narrow canals no longer flows and gets cold.

489. Nothing will ever happen here, oh, never!

490. The willow tree spread out a through fan in the empty sky.

491. Maybe it’s better that I didn’t become your wife.

492. The memory of the sun in the heart weakens. What is this? Darkness?

494. The memory of the sun weakens in my heart1. Grass turns yellow,

495. Wind blows the early flakes of snow1.ghtly, lightly

496. Already the narrow canals have stopped flowing Water freezes

497. Nothing will ever happen here Not ever

498. Against the empty sky the willow opens A transparent fan. Maybe it is a good thing I"m not your wife1. What"s this? Darkness?1."s possible. And this night be the first night1. Of winter.1. D.M.Thomas (211.17)

499. Memory of the sun sees from the heart.1. Grass grows yellower

500. Faintly if at all the early snowflakes1. Hover, hover.

501. Water becoming ice is snowing in The narrow channels Nothing at all will happen here again Will ever happen

502. Against the sky the willows spreads a fan The silk"s torn off Maybe it"s better I did not become Your wife

503. Memory of sun sees from the heart What is it? Dark?

504. Perhaps! Winter will have occupied us In the night.1. S. Kunitz (212, 45)

505. Heart's memory of the sun grows fainter, Sallow is grass A few flakes toss in the wind Scarcely, scarcely

506. The narrow canals no longer flow They are frozen over Nothing will ever happen here Oh, never!1. What"s this? Darkness?1."s possible. And this night be the first night1. Of winter.1. D.M. Thomas (211.17)

507. Memory of the sun sees from the heart.1. Grass grows yellower

508. Faintly if at all the early snowflakes1. Hover, hover.

509. Water becoming ice is snowing in The narrow channels Nothing at all will happen here again Will ever happen

510. Against the sky the willows spreads a fan The silk"s torn off Maybe it"s better I did not become Your wife

511. Memory of the sun sees from the heart What is it? Dark?

512. Perhaps! Winter will have occupied us In the night.1. S. Kunitz (212, 45)

513. Heart's memory of the sun grows fainter, Sallow is grass A few flakes toss in the wind Scarcely, scarcely

514. The narrow canals no longer flow They are frozen over Nothing will ever happen here Oh, never!1. the bleak sky the willows spreads Its bare-boned fan Maybe I"m better off as I am Not as your wife

515. Heart's memory of sun grows fainter What now? Darkness? Perhaps! This very night unfolds The winter.1.n Coffin (192, 5)

516. Memories of the sun fade as my heart grows numb The wind toys with what snowflakes have already Come -So few, so few.1. narrow canals, there"s already nothing what flows Water stands still

517. Nothing ever happens here, nothing grows -It never will!

518. Against the sky, the willow lifts its skeletal life, Its see through shawl Maybe it"s better that I"m not your wife, After all

519. Memories of the sun fade as my heart grows numb What"s this? Darkness in town? Maybe! And during the night, winter may come And settle down.1.n Coffin (192, 2)

520. The tree things he loved most in life Were white peacocks, music at mass And tattered maps of America. He didn't like kids who cried and he1. the bleak sky the willows spreads Its bare-boned fan Maybe I"m better off as I am Not as your wife

521. Heart's memory of sun grows fainter What now? Darkness? Perhaps! This very night unfolds The winter.1.n Coffin (192, 5)

522. Memories of the sun fade as my heart grows numb The wind toys with what snowflakes have already Come - So few, so few.1. narrow canals, there"s already nothing what flows Water stands still

523. Nothing ever happens here, nothing grows - It never will!

524. Against the sky, the willow lifts its skeletal life, Its see - through shawl Maybe it"s better that I"m not your wife, After all

525. Memories of the sun fade as my heart grows numb What"s this? Darkness in town? Maybe! And during the night, winter may come And settle down.1.n Coffin (192, 2)

526. The tree things he loved most in life Were white peacocks, music at mass And tattered maps of America. He didn't like kids who cried and he

527. Didn't like raspberry jam with tea1. Or womanish hysteriaand I was, like it or not, his wife1. D.M. Thomas (211.18)

528. He loved three things alone: ​​White peacocks evensong Old maps of America He hated children crying And raspberry jam with tea, And womanish hysteria. and he had married me.1. S.Kunitz (212.47)

529. Three things enchanted him: White peacocks, evensong, And faded maps of America He couldn't stand bawling brats Or raspberry jam with his tea, Or womanish hysteria .and he was tied to me

530. Didn't like raspberry jam with tea1. Or womanish hysteriaand I was, like it or not, his wife1. DM. Thomas (211.18)

531. He loved three things alone: ​​White peacocks evensong Old maps of America He hated children crying And raspberry jam with tea, And womanish hysteria. and he had married me.1. S.Kunitz (212, 47)

532. Three things enchanted him: White peacocks, evensong, And faded maps of America He couldn't stand bawling brats Or raspberry jam with his tea, Or womanish hysteria .and he was tied to me