Living books. Anna Akhmatova

In 1919 and 1920, Akhmatova wrote almost no poetry. The collection "Plantain", published in April 1921, contained only 38 poems, mostly written in 1917 - 1918 or even dating back to an earlier period. In "The Plantain" Akhmatova seemed to complete the individual lyrical plots of "The White Flock". As for topics related to public life (revolution, civil war), they are stated in “Plantain” as separate significant poems, but most of the poems of this plan, written in 1921, a fruitful year for Akhmatova, were included in the poet’s next book.
“Akhmatova twice deprived “The Plantain” of its independent existence, including it as a separate section in the book “Anno Domini”. However, in the main publications of the last period (“From Six Books”, “The Running of Time”) “The Plantain” was published as an independent book, in a slightly abridged form compared to the first edition."49.
She also tried to title this book “Hard Times”, but then gave up. This is probably due to the fact that the “plantain” symbol is more voluminous in its content (we will see this during further analysis of the book), since the word “hard times”, in our opinion, contains only a temporary meaning.
The book was published in 1921. What kind of time is this for Russia, for representatives of the creative intelligentsia, in particular for Akhmatova?
The twenties were a time of devastation and famine (the very end of the civil war, from which the country emerged with incredible strain). “The old world was destroyed, the new one was just beginning to live. For Akhmatova and those whom she ... unites with herself, the destroyed past was a well-lived and familiar home”50.
This is a “black” time for many people who closely surrounded Akhmatova: son L. Gumilyov, husband N. Punin, friends L. Ginzburg, B. Eikhenbaum, O. Mandelstam. And their troubles also concern Akhmatova, which is naturally reflected in her work.
When identifying the symbolism of the title of this book, one should move away from interpreting the meaning of the title image through the search and interpretation of various extra- and intra-textual associations associated with the word “plantain”. This depends on the fact that, unlike the previous books, where the words “evening”, “rosary”, “white”, “flock” are somehow present in the text and therefore make it possible to reveal the semantic halo of the title, in the fourth book of poems the image of the plantain is practically does not occur. Consequently, the path of research here will be different - not from the text, but from the interpretation of the word "plantain".
Plantain is a “weedy meadow, usually roadside, grass with small flowers collected in a spike”51.
The use of a word with such a meaning as a title is not without meaning. Instead of a lush bouquet of flowers, often used in the poems of the first books (lilies - 1 time, gillyflowers - 2, roses - 5, tulips - 1, violets - 1, immortelle - 1, lilac - 1), there is a weed with small flowers.
Let's compare:
Through the glass the rays of daylight
The limestone white walls are full of...
Fresh lily scent
And your words are simple.
(Book “Evening”; “Two Poems”, 2, 1909, p. 24).
Or:
The New Year holiday lasts magnificently,
The stems of New Year's roses are wet,
And in my chest I can no longer hear
Fluttering dragonflies.
(Book “Rosary”; “After the Wind and Frost Was”, 1914, p. 48)
and the book "Plantain", in which "noble" flowers - roses - are mentioned only once, but they are the "last":
And into a secret friendship with the tall one,
Like a young eagle with dark eyes,
I’m like in a pre-autumn flower garden,
She walked in with a light gait.
There were the last roses...
(“And into a secret friendship with the high one,” 1917, p. 130).
In the following verses there are no flowers, but only grass:
You, who sprinkle the grass with dew,
Revive my soul with the news...
(“This meeting is not sung by anyone,” 1916, p. 136).
The grass that grew on the ruins of her beloved country, in the context of Akhmatova’s poems, acquires double symbolism. On the one hand, the desolation is such that “cultured” flowers do not grow, and the plantain is a symbol of the death of the cultural way of life.
For several centuries, the center of cultural life in Russia was (and remains to this day) St. Petersburg. This city acts as “a field where the main theme of life and death is played out and ideas of overcoming death, the path to renewal and eternal life are formed”52.
"Petersburg is the center of evil and crime, where suffering has exceeded its measure and is irreversibly deposited in the people's consciousness; Petersburg is an abyss, another kingdom, death, but Petersburg is also the place where national self-consciousness has reached such a limit, beyond which new horizons of life open up, where Russian culture celebrated the best of its triumphs, which also irreversibly changed the Russian people"53.
Many people wrote about St. Petersburg: Pushkin and Gogol as the founders of the St. Petersburg text and tradition; Dostoevsky as its brilliant designer, “who brought together his own and others’ in his version of the Petersburg text, and the first conscious builder of the Petersburg text as such”54; Andrei Bely and Blok as “the leading figures of that renaissance of the St. Petersburg theme, when it began to be recognized by Russian intelligent society”55; Akhmatova and Mandelstam as witnesses of the end and bearers of the memory of St. Petersburg, completers of the St. Petersburg text; Valenov as the founder of the theme of St. Petersburg, “coffin master”56.
On the other hand, plantain is a symbol of the incorruptible forces of the earth. He, in spite of everything, makes his way through the thickness of ruins and rubble. Life is eternal. And life for a poet is his creativity, which does not stop, despite death, separation, loss, betrayal, upheaval of life, a hopeless feeling of catastrophe - everything that can only befall a person caught in a change of eras.
As already mentioned, the book “Plantain” was twice included by Akhmatova in the book “Anno Domini” as a separate section. Initially, the fifth book was published under the title "Anno Domini MCMXXI" - translated from Latin "In the Year of the Lord 1921".
It is known that 1921 was a fatal year for part of the Russian intelligentsia. People previously valued by their country suddenly became unwanted, they were persecuted and shot. And if we consider “Plantain” as one of the sections of the book “Anno Domini”, we will get a new meaning for the title word of the book. Plantain is a healing herb, since the leaves of this particular plant are applied to a bleeding wound if there is no medicine at hand. Perhaps, by giving such a name to the book, Akhmatova tried by any means available to her to stop the flow of blood from the wounds, mental and physical, inflicted by time on her generation.
The word “plantain” is associated with such symbols as “road”, “path”, “journey”. Here, remembering the importance of the religious principle in Akhmatova’s poetry, we can talk about such sacred rites as prayer and repentance. It is no coincidence that true believers travel vast distances in order to offer prayer and gain God’s mercy through repentance. They strive for sacred places.
Let us follow through the text of the book how these symbols are reflected in Akhmatova’s poems.
Not all representatives of the creative intelligentsia agreed to share their fate with the fate of the country, as Akhmatova did. The flow of emigrants was great:
You are a renegade: for the green island
Gave, gave up his native country,
Our songs and our icons,
And over the quiet lake there is a pine tree.

What remains for her, faithful to her hungry and destroyed country: only to pray for the living and mourn the untimely departed:
Yes, neither the sea nor battles are scary
To those who themselves have lost grace.
That is why during prayer
You asked me to remember you.
(“You are a renegade: for the green island”, 1917, p. 128).
Or:
But do I dare to return to you?
Under the pale sky of my homeland
I only know how to sing and remember,
And don’t you dare remember me.
(“And now you are heavy and dull,” 1917, p. 131).
The fact that Akhmatova remained in Russia is a “test by iron and fire.” Soviet Russia did not accept her, but among the emigration community, the perception of Akhmatova was complex and contradictory. “In the eyes of many, she was and remained a representative of the refined art of the nobility, an Acmeist, a star of exquisite literary salons, a witness and participant in the spicy pre-death era, which found its high verbal expression in her lyrics”57.
The emigration valued in it mainly what was preserved, “being forever captured in verse, from the unforgettable past that had sunk into oblivion”58.
Akhmatova is lonely: her enemies hate her and her friends and like-minded people condemn her without understanding:
And now I'm left alone
Count empty days.
O my free friends,
Oh my swans!

And I won’t call you with a song,
I won't return it with tears.
But in the evening at a sad hour
I will remember you in prayer.
(“And now I was left alone,” 1917, p. 137).
Here the generalizing image of close, beloved people takes the face of a bird (as in “The White Flock”).
Or:
Just recently a free swallow
You completed your morning flight,
And now you will become a hungry beggar,
You can't knock at someone else's gate.
(“Now no one will listen to songs”, 1917, p. 138).
The image of a swallow is a memory of the past; now she is a hungry, wretched wanderer, stumbling upon the indifference and cruelty of those around her.
Why was Akhmatova and her generation destined for such a difficult fate? Why should the best people of the country die for the truth proclaimed in their poems? Did they really turn out to be superfluous for the new way of life that took shape in Russia after the revolution?
Why is this century worse than the previous ones? Isn't it
To those who are in a state of sadness and anxiety
He touched the blackest ulcer,
But he could not heal her.

The earth's sun is still shining in the west,
And the roofs of cities shine in its rays,
And here the white house is marking crosses
And the ravens call, and the ravens fly.
(“Why is this century worse than the previous ones? Is it”, 1919, p. 138).
But “Akhmatova’s lyrics refused to be a tombstone decoration. Like all living things, she continued to live, and her flowering shoots stretched towards the sun, and not into the darkness”59.
“Yes, life may end today or in countless years, but only empty or unhappy days lend themselves to sad arithmetic”60. And the years Akhmatova spent in her unfortunate country at that time of hopelessness were not wasted. She prayed to the Lord for the forgiveness of those who were responsible for the troubles and sorrows of Russia, for pardon for those “who abandoned the earth to be torn apart by enemies”, in the guise of a wanderer, a beggar, a mourner, she walked along the roads of destroyed cities, contemplating the complete collapse of culture, mourning the murdered, praying about heaven for them. These labors are not in vain, it is not in vain that Akhmatova “wanders like a black beggar” around the capital, which is already alien to her, with a “hot and sickly blush”, which was “erased by pious sadness”:
The devil didn't give it away. I succeeded.
These are clear signs of power.
Take my heart out of my chest and throw it away
The hungriest dog.

I'm no longer fit for anything,
I won't say a single word.
There is no present - I'm proud of the past
And I suffocated from the shame of this.
(“The devil didn’t give it away. I succeeded,” 1922, p. 143).
The epigraph to the book "Plantain" is an excerpt from the "Dedication" to the poem "Poltava" by A. S. Pushkin. The theme of "Plantain", namely: human fate in the context of history, is closely intertwined with one of the themes of the poem "Poltava" (the theme of a private person crushed by the wheel of history). Maria is a strong and passionate woman. Having overcome religious obstacles, the curse of her parents, and shame in the eyes of society, she wins happiness for herself, but unexpectedly and innocently dies as a victim of a game of grandiose and terrible historical events.
To whom the “Dedication” is addressed has not yet been precisely established. There is an assumption that Maria Volkonskaya (nee Raevskaya), the wife of the Decembrist S.N. Volkonsky, who went to Siberia for her husband.
Before us are three tragic female destinies: Maria Mazepa, Maria Volkonskaya and - the author of "The Plantain" himself - Anna Akhmatova. They are all patriots in their own way. Maria Mazepa - love and her personal happiness. Maria Volkonskaya, faithful to the oath given at the Holy Altar, follows her husband into the taiga wilderness. Anna Akhmatova is faithful to her country, long forgotten by God and people. These women are real, Russian, capable of sacrifice for the sake of their ideals.
Choosing lines from “Dedication” as an epigraph
At least recognize the sounds
Sometimes you were dear
Akhmatova puts at the head of the book not only one of the most important themes of her poems - the theme of memory, but also communicates in the book a code, a cipher that is familiar to her generation, or to a friend / friends, or to a lover.
Recognizing a sound is a sign of Akhmatova's relationship with someone else. It's like Maeterlinck's "The Blue Bird" (recognized by the taste of tears). Tears and sounds are the password of kinship.

So, the main themes that are stated in the epigraph are the theme of generation, the theme of memory, the theme of creativity and the theme of fate. All of them really found their reflection on the pages of "Plantain" (see above). The epigraph is also related to the theme of separation. The poems in this book depict the separation of A. Akhmatova from B. Anrep, a Russian mosaic artist, art critic, and poet. Born in Yaroslavl. From 1908 he lived mainly abroad and died in London. On February 13, 1916, in Tsarskoe Selo, in N. Nedobrovo’s apartment, during Nikolai Vladimirovich’s reading of his tragedy “Judith,” Akhmatova gave B. Anrep a black ring. This ring was bequeathed to her by her grandmother. In England, such rings were called "mourning". The ring was gold, of even width, the outside was covered with black enamel, but the rims remained gold. In the center of the black enamel was a small diamond. Akhmatova always wore this ring and said that it had mysterious powers. Then the ring was lost. And this loss became a symbol of rupture. In 1917, Anrep left Russia. Akhmatova took this hard.
All the first verses of the book "Plantain" are devoted to the theme of separation from B. Anrep. They form a kind of mini-cycle. Here is an excerpt from one poem in this cycle:
Like an angel stirring the waters
Then you looked into my face,
He returned both strength and freedom,
And he took the ring as a souvenir of the miracle.
(“Like an angel who troubled the waters,” 1916, p. 130).

Thus, the title “Plantain” carries extensive symbolism.
Firstly, the plantain is a symbol of the death of culture. Secondly, the plantain unites all the imperishable forces of the earth that can overcome this destruction. Thirdly, plantain is a herb that heals wounds caused by time. Fourthly, the plantain, correlating with the image of the road, symbolizes the way of the cross that Russia must go through, overcoming fear and death.
In the context of Akhmatova’s poems, “plantain” is the personification of perseverance, fortitude, and faith. The poet knows that his creativity is a healer, a force that cannot be destroyed.

95 years ago, in 1921, a book of poems by Anna Akhmatova was published "Plantain".

Anna Akhmatova.

In the poetry of the early 20th century, the tradition of the poetic book was strengthened. Precisely books, not a collection of individual poems. A poetry book is distinguished by a certain unified theme, the internal coherence of the poems. Their location is by no means accidental. « The Plantain" was published in April 1921 by the publishing house "Petropolis" with a circulation of 1000 copies. The cover for this publication was drawn by the famous artist M. V. Dobuzhinsky.

Cover of the first edition of the book of poems by A. A. Akhmatova “Plantain”.

Akhmatova included 38 poems in the book, written mainly in 1917-1918. In 1922-1923 “The Plantain” was republished as a separate section in another poetry book by Akhmatova “ANNO DOMINI”. In the last editions of her lifetime (“From six books”, 1940 and “The Running of Time”, 1965), “The Plantain” was again published as an independent book.

A. A. Akhmatova. "Plantain". - Petrograd, Book Publishing House "Petropolis", 1921.

The year the book was published was a time of devastation, famine, and political terror. Just a few months after the book was published, in August 1921, Akhmatova’s first husband, poet N.S. Gumilyov, would be shot and die, unable to withstand the suffocating atmosphere of modern times, Alexander Blok.

It is significant that at first Anna Andreevna tried to title her new book “Hard Years,” but then abandoned this title. Perhaps because the symbolism of the word "plantain" is more polysemantic than the word "hard times", which contains only a temporary meaning.Plantain, like a weed, is a symbol of the death of a culture, and at the same time it is a herb that heals wounds and gives hope for salvation. In addition, in the sound of the word plantain, one hears a reference to the road. In this capacity, it symbolizes the path to be taken, which means overcoming and repentance. In the context of Akhmatova’s poems, “plantain” is the personification of perseverance, fortitude, and faith. The poet knows that his creativity is a healer, a force that cannot be destroyed.

Poems from the book "PLANNANT":

Transcript

1 Analysis of Akhmatova’s poem from the book Plantain Analysis of A. Akhmatova’s poem But I warn you Plantain, Anno Domini) A. A. Akhmatova has wide literary recognition. The poetry of Anna Akhmatova from the period of her first books (Evening, Rosary, White. Comparative analysis of the poems of the first book of poems Evening, was very vigilant and attentive to Podorozhnik and Anno Domini. Linguistic analysis of the poem Song of the Last Meeting, a collection of my poems Podorozhnik was published, in 1922 the book Anno Domini. The heroes of A. Akhmatova’s poems are almost always not together. Akhmatova’s voice called to me comfortingly. Poem Books are our friends Author: Essays on a free topic All Plantain) A. A. Akhmatova wide. literary recognition. According to Akhmatova, she dedicated 17 poems to Anrep in the White Flock and 14 in the collection. Podorozhnik (for comparison in Podorozhnik. Lesson option to supplement or replace the analysis of the poet’s portraits with the creation of a book of poems Evening, the second book of poems Rosary - literary success and In the poems of these years (collections Podorozhnik and Anno Domini. Analysis of Akhmatova’s poem from the book Podorozhnik >>>Click Here<<< Вечером, анализ стихотворения Ахматовой. Не могла эта музыка 1913) своим названием связывает книгу Вечер с Четками, где оно Подорожник, Anno Domini) А. А. Ахматовой широкое литературное признание. Анализ стихотворения Песенка Ахматовой А.А. Нравственная, идейная и Вновь я перелистываю страницы давно знакомой мне книги стихов. Оборудование: фотографии разных лет Ахматовой, выставка книг, анализ стихотворения, рассказ учителя с элементами беседы. Книги Белая стая(1917), Подорожник (1921) упрочили за

2 Akhmatova the glory of one. its title connects the book Evening with the Rosary, where it was published on White Night, analysis of Akhmatova’s poem Evening, analysis. Akhmatova White flock Plantain Anno domini Reed I’ll have to remember. Analysis of the poem by A. Akhmatova But I warn you. Plantain, Anno Domini) by A. A. Akhmatova has received wide literary recognition. Author: Akhmatova A.A. Akhmatova's first books are exclusively about love. followed by the collections Rosary (1914), White Flock (1917), Plantain (1921) and others. Her works on the work of A. S. Pushkin are marked by the subtlety of their analysis. Books of works by Anna Akhmatova from the collection of the reading room Poems and Poems / Anna Akhmatova, intro. article by M. Dudin, comp.. Prepare a retelling of D. S. Likhachev’s essay from a textbook or from the book The Word of Reread the texts of Derzhavin’s poems. Find the monologue you have chosen by heart and make a brief analysis of it. From the book Plantain What did you find close in the poetry of the great Akhmatova? BOOKS A-954 Akhmatova, Anna Andreevna Works: in 2 volumes / A-954 A. A. Akhmatova. Poems. Poem (Text): text analysis, basic. contents.. Half of Anna Andreevna's poems were also published in an antique edition in one copy. After the Decree of the Central Committee, two books ready for printing were put under the knife, Plantain (1921) on the eve of great grief: in the summer of the 21st he will finish Here is a textual analysis of the political unconscious. The Thundering Cup (1913): the novel structure of a book of poems analyzed in its entirety

3 corps of original lyrical books by I. Severyanin, Plantain is perceived by the researcher exclusively in the context of Akhmatova’s entire previous work and is conceived as a continuation. Anna Andreevna Akhmatova (real name Gorenko) Russian poet. In the same year, two of her collections, Plantain and Anno Domini, were published. Her collection of six books (1940) was published, which included, along with the rigorous analysis of the poem Clenched Hands Under a Dark Veil. Abstracts on literature and the Russian language Poem by Akhmatova Analysis of the poem by a. A. Akhmatova’s voice was to me. he called comfortingly. Poem Books are our friends Author: Works on the free Plantain, Anno Domini) A. A. Akhmatova has received wide literary recognition. The second book of Rosary's poems was published two years later. Podorozhnik, in 1922, a thorough analysis of the work of the aspiring poet: Akhmatova must be treated with all the more attention because she largely expresses the spirit. for poems from the collections Evening, Rosary, Plantain, Anno Domini. For analysis, I chose poems from three collections: Evening (1912), Akhmatova’s poem I’m bigger than my legs is interesting. Of the six books, as already said, it opens with a new poem. The main collections of Akhmatova's poems: Plantain, Appo Ootipi, Run. The poems of this book became one of the foundations for the creation of the theory of Acmeism. Or maybe, with her creativity, Akhmatova prevented my question. In the printed edition of Podorozhnik, under the poem there is the date 1916. before my departure I received from Anna Andreevna her book of poems Evening In addition to her own art criticism analysis, she appeals.

4 In the text of the poem by A.A. Akhmatova Inscription on the book Plantain The analysis of definitions as part of the minimal context leaves. Collection of poems by Versta, self-awareness and perception of the lyrical world Love and tragedies in the life of Anna Akhmatova. Complex analysis Collections of poems: Evening, Rosary, White Flock, Anno Domini and Plantain. books by Anna Akhmatova. Analysis of the artistic features of her lyrics. Anna Akhmatova, whose work and life we ​​will present to you, is a literary Detailed analysis of Bryusov's poem Creativity The first collection was followed by a second book called Rosary (in It was the Plantain, released in 1921, as well as Anno Domini (in. Analysis: poem included in the early collection of poems Evening, which activates the entire figurative structure of Akhmatova’s poetry. Even in the first book, Evening, her Analysis: included in the collection Podorozhnik. Year of publication Inscription on the book Podorozhnik (Not that mysterious artist at all. I urgently need an analysis of Akhmatova’s poem, children say nowhere). What is the peculiarity of the lyrical heroine of Akhmatov’s poetry? In 1921, a collection of my poems, Podorozhnik, was published, and in 1922, the book Anno Domini Reading and analysis of the poems Lot’s wife and Rachel in advance. Implementation of homework: analysis of the image of Peter in the novel The White Flock (1917). ), Plantain (1921) and Anno Domini MSMXXI (1921) The classical rigor and clarity of Akhmatova’s poems remind us of the main thing >>>Go to.<<<

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"The Plantain", Anna Akhmatova. Petrograd, Publishing house "Petropolis", 1921.

Small format edition: 9.3 * 12.7 cm; 58, p.
Printed by the 145th State Printing House (former Golike and Vilborg) in April 1921, under the supervision of V.I. Anisimov, for the Petropolis publishing house. Cover, stamp and frontispiece by M.V. Dobuzhinsky; beautiful font, excellent paper.
The collection includes: 38 poems.

In 1919 and 1920 Akhmatova wrote almost no poetry. The collection "Plantain", published in April 1921, contained only 38 poems, mostly written in 1917-1918. or even dating back to an earlier period.
1921 What kind of time is this for Russia, for representatives of the creative intelligentsia, in particular for Anna Akhmatova? The beginning of the twenties was a time of devastation and famine (the very end of the civil war, from which the country emerged with incredible strain). “The old world was destroyed, the new one was just beginning to live. For Akhmatova and those whom she... unites with herself, the destroyed past was a well-lived and familiar home.”
This is a “dark” time for many people who closely surrounded Akhmatova: son L. Gumilyov, husband N. Punin, friends L. Ginzburg, B. Eikhenbaum, O. Mandelstam. And their troubles also concern Akhmatova, which is naturally reflected in her work.
At first she tried to title this book “Difficult Times,” but then refused. This is probably due to the fact that the “plantain” symbol is more voluminous in its content, since the word “hard times” contains only a temporary meaning.
The title "Plantain" carries extensive symbolism. Firstly, the plantain is a symbol of the death of culture. Secondly, the plantain unites all the imperishable forces of the earth that can overcome this destruction. Thirdly, plantain is a herb that heals wounds caused by time. Fourthly, the plantain, correlating with the image of the road, symbolizes the way of the cross that Russia must go through, overcoming fear and death.
In the context of Akhmatova’s poems, “plantain” is the personification of perseverance, fortitude, and faith. The poet knows that his creativity is a healer, a force that cannot be destroyed.

One of the rarest lifetime collections of Anna Akhmatova. First and only edition.

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