Analysis of creativity Akhmatova briefly. Features of creativity A

Anna Akhmatova (1889-1966) worked for Russian literature for almost six decades. During all this time, her creative manner has been reborn and evolved, without changing the aesthetic principles that were formed in Akhmatova at the beginning of her career.

Akhmatova entered the literature of the "Silver Age" as a participant in the acmeist movement. Critics immediately drew attention to the first two collections of poems by the young poetess - "Evening" (1912) and "Rosary" (1914). Already here, Akhmatova's formed voice was heard, the features that distinguish her poems were visible: the depth of emotions, psychologism, emphasized restraint, clarity of images.

Akhmatova's early lyrics are painted in sad, lyrical tones. The main theme of the poems is love, often mixed with suffering and sadness. The poetess conveys the whole world of feelings with the help of small but significant details, fleeting sketches that can convey the versatility of the lyrical hero's experiences.

Anna Akhmatova can hardly be called an acmeist "to the marrow of her bones." In her work, modernist views are organically intertwined with the best poetic traditions of Russian literature. In Akhmatova's lyrics, “Adamism”, the unbridled natural principle of man, was not sung. Her poems were more psychological, focused on a person and his inner world than the poetry of other acmeists.

The fate of Anna Akhmatova was very difficult. In the post-October years, new books of her poems "Plantain" (1921) and "Anno Domini" (1922) were published, in which she expanded the themes of her poetry, not succumbing, unlike many other writers of that chaotic time, to the hypnosis of the cult of power. As a result, the poetess is rejected from society several times in her life, and she is prohibited from publishing.

Nevertheless, even having the opportunity to leave the borders of Soviet Russia, Anna Akhmatova does not do this, but remains in her homeland, supports her in the most difficult war years with her work, and during the forced silence she is engaged in translations, studying the work of A. Pushkin.

Akhmatova's poems of the war period are special. They are not full of slogans, praises of heroism, like the verses of other poets. Akhmatova writes on behalf of women living in the rear, who suffer, wait, grieve. Among the anti-totalitarian works of Anna Akhmatova, the poem Requiem occupies a special place, in the center of which is pain, maternal fear for her son, inconsolable cry for the innocent who died in the Yezhovism. ”Among the poetic elite of the“ Silver Age ”Anna Akhmatova won great respect and popularity thanks to her talent, spiritual refinement, integrity of character. It is not for nothing that literary critics still call Akhmatova the “soul of the Silver Age”, “the queen of the Neva”.

Anna Akhmatova, whose life and work we will present to you, is a literary pseudonym with which she signed her poems. This poetess was born in 1889, June 11 (23), near Odessa. Her family soon moved to Tsarskoe Selo, where Akhmatova lived until the age of 16. The work (briefly) of this poetess will be presented after her biography. Let's get acquainted first with the life of Anna Gorenko.

Young years

The early years were not cloudless for Anna Andreevna. Her parents separated in 1905. The mother took her daughters with tuberculosis to Evpatoria. Here for the first time the "wild girl" encountered the life of rough foreign and dirty cities. She also experienced a love drama, made an attempt to commit suicide.

Education in Kiev and Tsarskoye Selo gymnasiums

The early youth of this poetess was marked by her studies at the Kiev and Tsarskoye Selo gymnasiums. She took her last class in Kiev. After that, the future poetess studied jurisprudence in Kiev, as well as philology in St. Petersburg, at the Higher Courses for Women. In Kiev, she learned Latin, which later allowed her to master fluent Italian, read Dante in the original. However, Akhmatova soon lost interest in legal disciplines, so she went to St. Petersburg, continuing her studies at the history and literary courses.

First poems and publications

The first poems, in which Derzhavin's influence is still noticeable, were written by a young schoolgirl Gorenko when she was only 11 years old. The first publications appeared in 1907.

In 1910, from the very beginning, Akhmatova regularly began to publish in Moscow and St. Petersburg publications. After the creation of the "Workshop of Poets" (in 1911), a literary association, she acts as a secretary in it.

Marriage, a trip to Europe

Anna Andreevna in the period from 1910 to 1918 was married to N.S. Gumilev, also a famous Russian poet. She met him while studying at the Tsarskoye Selo gymnasium. After which Akhmatova performed in 1910-1912, where she became friends with the Italian artist who created her portrait. She also visited Italy at the same time.

Akhmatova's appearance

Nikolai Gumilyov introduced his wife to the literary and artistic environment, where her name gained importance early on. Not only the poetic style of Anna Andreevna became popular, but also her appearance. Akhmatova amazed her contemporaries with her majesty and royalty. She was given signs of attention, like a queen. The appearance of this poetess inspired not only A. Modigliani, but also such artists as K. Petrov-Vodkin, A. Altman, Z. Serebryakov, A. Tyshler, N. Tyrsa, A. Danko (below is the work of Petrov-Vodkin) ...

The first collection of poems and the birth of a son

In 1912, a significant year for the poetess, two important events took place in her life. The first collection of poems by Anna Andreevna, entitled "Evening", was published, which marked her work. Akhmatova also gave birth to a son, a future historian, Nikolaevich - an important event in her personal life.

The poems included in the first collection are plastic in the images used in them, they are clear in composition. They forced Russian critics to say that a new talent had arisen in poetry. Although Akhmatova's "teachers" are such symbolist masters as A. Blok and I. F. Annensky, her poetry was perceived from the very beginning as acmeistic. In fact, together with OE Mandel'shtam and NS Gumilev, the poetess at the beginning of 1910 formed the core of this new trend in poetry that appeared at that time.

The next two collections, the decision to stay in Russia

The first collection was followed by a second book entitled "Rosary" (in 1914), and three years later, in September 1917, the collection "White flock" was published, the third in a row in her work. The October coup did not force the poetess to emigrate, although at that time mass emigration began. People close to Akhmatova left Russia one after another: A. Lurie, B. Antrep, and also O. Glebova-Studdeikina, her friend of youth. However, the poet decided to stay in "sinful" and "deaf" Russia. A sense of responsibility towards her country, connection with the Russian land and language prompted Anna Andreevna to enter into a dialogue with those who decided to leave her. For many years those who left Russia continued to justify their emigration before Akhmatova. R. Gul argues with her, in particular, V. Frank and G. Adamovich turn to Anna Andreevna.

Difficult time for Anna Andreevna Akhmatova

At this time, her life changed dramatically, which reflected her work. Akhmatova worked in the library at the Agronomical Institute, in the early 1920s she managed to publish two more poetry collections. These were "Plantain", released in 1921, as well as "Anno Domini" (translated - "In the Summer of the Lord", published in 1922). For 18 years after that, her works did not appear in print. There were various reasons for this: on the one hand, this was the execution of N.S. Gumilyov, an ex-husband who was accused of participating in a conspiracy against the revolution; on the other hand, the rejection of the poet's work by Soviet criticism. Anna Andreevna, during the years of this forced silence, was engaged in the work of Alexander Sergeevich Pushkin.

Visiting Optina Pustyn

Akhmatova associated the change in her "voice" and "handwriting" with the mid-1920s, with a visit in 1922, in May, to Optina Pustyn and a conversation with Elder Nektariy. Probably, this conversation greatly influenced the poet. Akhmatova was related on the maternal side to A. Motovilov, who was a secular novice of Seraphim of Sarov. Through the generations, she has adopted the idea of \u200b\u200bredemption, sacrifice.

Second marriage

In the fate of Akhmatova, the turning point was also associated with the personality of V. Shileiko, who became her second husband. He was an orientalist who studied the culture of such ancient countries as Babylon, Assyria, Egypt. Personal life with this helpless in everyday life and despotic person did not work out, but the poetess attributed the growth of philosophical restrained notes in her work to the influence of his.

Life and work in the 1940s

A collection entitled "From Six Books" appears in 1940. He returned for a short time to modern literature of that time such a poet as Anna Akhmatova. Her life and work at this time are quite dramatic. Akhmatova was found in Leningrad by the Great Patriotic War. She was evacuated from there to Tashkent. However, in 1944 the poetess returned to Leningrad. In 1946, subjected to unfair and harsh criticism, she was expelled from the Writers' Union.

Return to Russian literature

After this event, the next decade in the work of the poetess was marked only by the fact that at that time Anna Akhmatova was engaged in literary translation. The Soviet power was not interested in her creativity. LN Gumilev, her son, was serving a sentence in forced labor camps at that time as a political criminal. The return of Akhmatova's poems to Russian literature took place only in the second half of the 1950s. Since 1958, collections of lyrics by this poetess begin to be published again. Was completed in 1962 "Poem without a Hero", which was created over a period of 22 years. Anna Akhmatova died on March 5 in 1966. The poetess was buried near St. Petersburg, in Komarov. Her grave is shown below.

Acmeism in the works of Akhmatova

Akhmatova, whose work today is one of the heights of national poetry, later treated her first book of poetry rather coolly, only highlighting a single line in it: "... getting drunk with the sound of a voice similar to yours." Mikhail Kuzmin, nevertheless, finished his preface to this collection with the words that a young, new poet is coming to us, having all the data to become a real one. In many ways, the poetics of "Evenings" predetermined the theoretical program of acmeism, a new trend in literature, to which such a poetess as Anna Akhmatova is often referred. Her work reflects many of the characteristic features of this direction.

The photo below was taken in 1925.

Acmeism arose as a reaction to the extremes of the Symbolist style. For example, an article by VM Zhirmunsky, a well-known literary critic and critic, about the work of representatives of this trend was called as follows: "Overcoming Symbolism." Their mystical distances and "purple worlds" were contrasted with life in this world, "here and now." Moral relativism and various forms of the new Christianity were replaced by "rock solid values".

The theme of love in the work of the poetess

Akhmatova came to the literature of the 20th century, its first quarter, with the most traditional theme for world lyricism - the theme of love. However, its solution in the work of this poetess is fundamentally new. Akhmatova's poems are far from the sentimental female lyrics presented in the 19th century by such names as Karolina Pavlova, Yulia Zhadovskaya, Mirra Lokhvitskaya. They are also far from the "ideal", abstract lyrics, characteristic of the love poetry of the Symbolists. In this sense, she relied mainly not on Russian lyrics, but on the prose of the 19th century Akhmatova. Her creativity was innovative. O. E. Mandelstam, for example, wrote about what the complexity of the Russian novel of the 19th century Akhmatova brought to the lyrics. An essay on her work could have begun with this thesis.

In the "Evening" love feelings were presented in different guises, but the heroine was invariably rejected, deceived, suffering. K. Chukovsky wrote about her that Akhmatova was the first to discover that being unloved is poetical (an essay on her work, "Akhmatova and Mayakovsky", created by the same author, largely contributed to her persecution, when the poems of this poetess were not published). Unhappy love was seen as a source of creativity, not a curse. Three parts of the collection are named respectively "Love", "Deception" and "Muse". Fragile femininity and grace were combined in Akhmatova's lyrics with a courageous acceptance of her suffering. Of the 46 poems included in this collection, almost half were devoted to parting and death. This is no coincidence. In the period from 1910 to 1912, the poetess had a sense of short-lived, she had a premonition of death. By 1912, her two sisters had died of tuberculosis, so Anna Gorenko (Akhmatova, whose life and work we are considering) believed that the same fate would befall her. However, she did not associate, unlike the Symbolists, separation and death with feelings of hopelessness, longing. These moods gave birth to the experience of the beauty of the world.

The distinctive features of the style of this poetess were noted in the collection "Evening" and finally took shape first in the "Rosary", then in the "White flock".

Motives of conscience and memory

The intimate lyrics of Anna Andreevna are deeply historical. Already in "Rosary" and "Supper", along with the theme of love, two other main motives arise - conscience and memory.

"Fatal minutes", which marked the national history (which began in 1914, the First World War), coincided with a difficult period in the life of the poetess. She was diagnosed with tuberculosis in 1915, her family has a hereditary disease.

"Pushkinism" by Akhmatova

The motives of conscience and memory in The White Pack are even more strengthened, after which they become dominant in her work. The poetic style of this poetess evolved in 1915-1917. More and more often, criticism refers to the peculiar "Pushkinism" of Akhmatova. Its essence is artistic completeness, precision of expression. The presence of a "citation layer" with numerous calls and allusions both with contemporaries and with predecessors: O. E. Mandel'shtam, B. L. Pasternak, A. A. Blok is also noted. All the spiritual wealth of our country's culture stood behind Akhmatova, and she rightly felt herself to be his heir.

The theme of the homeland in the work of Akhmatova, attitude to the revolution

The dramatic events of the life of the poetess could not but be reflected in the work. Akhmatova, whose life and work took place in a difficult period for our country, perceived the years as a disaster. The former country, in her opinion, is no more. The theme of homeland in Akhmatova's work is presented, for example, in the collection "Anno Domini". The opening section of this collection, published in 1922, is called "After All". The entire book was epigraphized with the line "in those fabulous years ..." by FI Tyutchev. Homeland is no longer for the poetess ...

However, for Akhmatova, the revolution is also a payment for the sinful life of the past, retribution. Even though the lyrical heroine did not do evil herself, she feels that she is involved in a common guilt, so Anna Andreevna is ready to share the hard lot of her people. The motherland in the work of Akhmatova is obliged to redeem her guilt.

Even the title of the book, translated as "In the Year of the Lord," says that the poetess perceives her era as God's will. The use of historical parallels and biblical motives is becoming one of the ways to comprehend artistically what is happening in Russia. Akhmatova is increasingly resorting to them (for example, the poems "Cleopatra", "Dante", "Bible Verses").

In the lyrics of this great poetess, "I" at this time turns into "we". Anna Andreevna speaks on behalf of "many". Every hour, not only of this poetess, but also of her contemporaries, will be justified precisely by the poet's word.

These are the main themes of Akhmatova's work, both eternal and characteristic of the era of the life of this poetess. She is often compared with another - with Marina Tsvetaeva. Both of them are today canons of female lyrics. However, the work of Akhmatova and Tsvetaeva has not only much in common, but also differs in many ways. An essay on this topic is often asked to write to schoolchildren. In fact, it is interesting to speculate about why it is almost impossible to confuse a poem written by Akhmatova with a work created by Tsvetaeva. However, this is another topic ...

Artistic features of A. Akhmatova's lyrics. Early XX century. in Russia it was a time of unprecedented flourishing of poetry, rightly called the "Silver Age" - after the "golden", Pushkin's. This is the period of emergence in Russian art of many new trends: symbolism, futurism, acmeism and others. As a rule, each of them aspired to be a new art; most of them belonged to modernism. One of the most characteristic features of the latter is the desire to break with the art of the previous era, the rejection of tradition, the classics, the formulation and solution of new artistic tasks with new artistic means. And in this respect, acmeism, in the mainstream of which Akhmatova's early work developed, was no exception. Akhmatova's poetry, light, free, simple and hypnotizing at the same time, is a vivid example of both the novelty of Acmeist poetry in general, and the individual author's originality and originality. Akhmatova's skill was recognized almost immediately after the release of her first poetry collection "Evening". And the Rosary, which came out two years later, further confirmed the poet's extraordinary talent. In the poems of these early ones, only in time, but not in the level of skill of the collections, the artistic manner of Akhmatova is clearly visible, which determined the features of all her work. Akhmatova's poems are not melodic, not melodious, like those of the Symbolists. The musical element does not prevail, does not predetermine the entire verbal structure of the poem. But it has a completely different character than, for example, Blok or Balmont. They have a melodiousness, melodiousness, reminiscent of a romance, Akhmatova has frequent changes of rhythm. Alliterations are rare in her, internal rhymes, even ordinary rhymes are, if possible, obscured. Akhmatova loves the discrepancy between the semantic unit - the sentence - with the metric unit - the line, the transition of the sentence from one line to another. This technique also obscures the too intrusive clarity of the metric structure, the rhyme becomes less noticeable: Real tenderness cannot be confused with anything, and it is quiet. Akhmatova loves intermittent slow rhymes. She brings poetic speech closer to colloquial. Her poems give the impression not of a song, but of an elegant, witty conversation, an intimate conversation: As the simple courtesy commands, He came up to me, bowed; Half-soft, half-lazy I touched my hands with a kiss. The basis of her poems is an accurate and subtle observation of barely noticeable external signs of a state of mind and a clear, concise transmission of thoughts, which expressed the mood about what was perceived. Akhmatova's dictionary denounces the conscious striving for the simplicity of colloquial speech, for everyday words and usually far from lyric poetry, the striving for the chaste simplicity of the word, the fear of unjustified poetic exaggerations, excessive metaphors. Her lyrics are based on an accurate perception of the phenomena of the external world, an acutely and subtly conveyed sensation that expresses the mental fact behind it: How unlike the embrace The touches of these hands are. Especially characteristic is the use of such capacious lines as endings of poems: Gasping, I shouted: “Joke All that was. If you leave, I will die. " He smiled, calmly and terribly, And he said to me: "Do not stand in the wind." The absence of melodiousness corresponds, in terms of psychological consideration, to the shading of the emotional element. The main feature in Akhmatova's poetic appearance is that she does not speak about herself directly, she talks about the external environment of the mental phenomenon, about the events of the external world and objects of the external world, and only in the peculiar choice of these objects and their changing perception of them one can feel the true mood, the special spiritual content, which is embedded in words. This makes the poems mentally strict and chaste, she does not say more than what the things themselves say. Any state of mind is indicated by a corresponding phenomenon of the external world: I put the Glove on my left hand on my right hand. Love is the image of the beloved. And the male image, the impression of male beauty, are depicted to full visual clarity: Only laughter in the eyes of his calm Under the light gold of eyelashes. The details in Akhmatova's poems are not symbols. Here, not mystical experiences are put into images and words, but simple, concrete, strictly outlined ones. There is a factual reason for every movement of the soul: a number of Akhmatova's poems are small stories, novellas depicted at the most acute moment of their development. In a brief event, one gesture, a look, Anna Akhmatova conveys the story of ten years of life: As simple courtesy tells me, He walked up to me, smiled, Half-lazily, half-lazily Kiss his hand - And the mysterious, ancient faces The eyes looked at me ... Ten years of fading and screams, All my sleepless nights I put in a quiet word And said it - in vain. You walked away, and it became again In my soul it was both empty and clear. Akhmatova's muse is not a symbolist muse, singing about the metaphysical foundations of a poetic personality, mystical gaps and falls, the desire for a miracle. She avoids abstraction, symbolism, philosophical and social generalizations. Perceiving the verbal art of the symbolic era, she adapted it to the expression of other experiences: simple earthly happiness, personal grief, which everyone understands.

Anna Andreevna Akhmatova is the greatest poet of the "Silver Age". Contemporaries recognized that it was Akhmatova who "after the death of Blok, undoubtedly held the first place among Russian poets." Before Akhmatova, history knew many female poetesses, but only she managed to become the female voice of her time, a woman poet of eternal, universal significance. It was she who, for the first time in Russian literature, showed in her work the universal lyrical character of a woman.

The main collections are Evening (1912), Rosary (1914) and White Flock (1917).

The main features of Akhmatov's poetics were already formed in the first collections. This is a combination of innuendo "with a completely clear and almost stereoscopic image", the expression of the inner world through the external, a combination of male and female views, detail, romance, concreteness of the image.

Akhmatova's lyrics were often compared to a diary. Authentic diaries are a chronologically sequential account of events. "Akhmatov's revelation story captures the milestones of the continuing relationship between" I "and" you "- rapprochement, intimacy, parting, rupture - but they are mixed and in many repetitions (many first meetings, many last), so build a chronicle of a love story is simply unthinkable. "

The beginning of Akhmatova's work is associated with Tsarskoye Selo, where she spent her youth. She almost physically felt the presence of young Pushkin in the "gardens of the Lyceum." He became a guiding star in her poetry and fate, he was invisibly present in her poems. With Pushkin, Akhmatova, as it were, enters into "a special, namely life-literary relationship."

Akhmatova is related to Pushkin's understanding of the fatal tragedy of the path of the Russian poet. Throughout her life she will constantly return to his fate, and in the terrible year of 1943 she will write in the poem "Pushkin":

Who knows what glory is!

At what price did he buy the right,

Opportunity or grace

Everything is so wise and cunning

To joke, to be mysteriously silent

And call a leg a leg? ..

With her poetry Akhmatova, like Pushkin, showed the path of a poet, but a woman poet. This tragedy was already stated in the early poem "Muse", where she wrote about the incompatibility of female happiness and the fate of the creator:

Muse-sister looked in the face

Her look is clear and bright.

And she took away the gold ring

The first spring gift.

Creativity requires the poet's complete dedication, therefore "Muse-sister" takes away the sign of earthly joys - "the golden ring".

The tragedy of her heroine is aggravated by the fact that the man does not understand, does not accept the woman poet:

He talked about summer and how

That it is absurd for a woman to be a poet ...

A man cannot bear the strength and superiority of a woman poet, he does not recognize in her creative equality. Hence - the motive for the murder or the attempt to murder her loved ones her bird song. In the collection "Rosary" she writes:

Charcoal charted on the left side

A place to shoot

To release the bird - my longing

On a desolate night again

The First World War, which began in 1914, left an imprint on all of Akhmatova's work. First of all, she changed the essence of the Akhmatova Muse ("Everything is taken away: both strength and love ..."):

I don't recognize the merry Muse's temper:

She looks and does not utter a word,

And his head in a dark wreath bends,

Exhausted, on my chest.

In her poems about the tragic time of the Russian XX century, about its wars and revolutions, Akhmatov's Muse more and more insistently declares herself not as "I", but as "we", seeing herself as part of a generation. In the poem "Everything is plundered, betrayed, sold ..." the voice of the lyrical heroine now sounds like the voice of the poet of the Russian land, the general voice of the generation:

Everything is plundered, betrayed, sold,

Black death flashed a wing,

Everything is consumed by hunger longing,

Why did it become light for us?

Her Muse becomes the national embodiment of nationwide sorrow: the "leaky kerchief" of the Muse, the Mother of God and the high self-denial of Akhmatova merged in the "Prayer", written on the Spirits Day 1915:

Give me the bitter years of sickness

Choking, insomnia, fever,

Fire up both the child and the friend,

And the mysterious gift of song -

So I pray for Your liturgy

After so many agonizing days

So that a cloud over dark Russia

Became a cloud in the glory of rays.

Akhmatova's fate in the post-revolutionary years was tragic: she survived the death of her husbands at the hands of the regime, the repression of her son, her best friends perished in the camps ... 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 the memory of those who could not stand the torture of the regime, to her friends-poets O. Mandelstam, M. Bulgakov, B. Pasternak.

Akhmatovskaya Muse in those years became the national voice of widows, orphans and mothers, which reached the top in "Requiem".

The poem Courage sounds like an oath on behalf of the entire people:

We know what's on the scales

And what is happening now.

The hour of courage has struck on our watch

And courage will not leave us ...

Akhmatova's poems are always one moment, lasting, unfinished, not yet resolved. And this moment, sad or happy, is always a holiday, as it is a triumph over everyday life. Akhmatova managed to combine these two worlds - internal and external, - to connect her life with the life of other people, to take upon herself not only her own sufferings, but also the sufferings of her people. Her Muse does not hide in a whisper in the room, but rushes to the street, to the square, like the once Nekrasov's "Muse of revenge and sorrow":

I do not lyre a lover

I'm going to seduce the people -

Leper rattle

Sings in my hand.

Although during the hard times of the civil war Akhmatova almost stopped writing, in 1921-1922 "her inspiration again gushed forth with a powerful stream." In the early 1920s, the books "Plantain" and "Anno Domini MCMXXI" ("The Lord's Summer 1921") were published. But in 1923, a sharp decline sets in, and then Akhmatova writes poetry only occasionally, giving herself a living with her unloved translation work. From the heights of glory, she was immediately thrown into complete poetic oblivion. Her poems, according to Akhmatova, were banned "mainly for religion." Under the sword of Damocles, without any contact with the reader, Anna Akhmatova, who voluntarily remained in her homeland after the revolution, was destined to live for decades in poverty.

Creativity of Anna Akhmatova.

1. The beginning of Akhmatova's work
2. Features of Akhmatova's poetry
3. Petersburg theme in Akhmatova's lyrics
4. The theme of love in the work of Akhmatova
5. Akhmatova and the revolution
6. Analysis of the poem "Requiem"
7. Akhmatova and World War II, blockade of Leningrad, evacuation
8. Death of Akhmatova

The name of Anna Andreevna Akhmatova is on a par with the names of outstanding luminaries of Russian poetry. Her quiet soulful voice, depth and beauty of feelings, can hardly leave indifferent at least one reader. It is no coincidence that her best poems have been translated into many languages \u200b\u200bof the world.

1. The beginning of Akhmatova's work.

In her autobiography, entitled “Briefly About Me” (1965), A. Akhmatova wrote: “I was born on June 11 (23), 1889 near Odessa (Big Fountain). My father was a retired naval mechanical engineer at the time. As a one-year-old child, I was transported north to Tsarskoe Selo. I lived there until I was sixteen ... I studied at the Tsarskoye Selo female gymnasium ... The last class was held in Kiev, at the Fundukleevskaya gymnasium, which I graduated in 1907 ”.

Akhmatova began to write during her years at the gymnasium. Father, Andrei Antonovich Gorenko, did not approve of her hobbies. This explains why the poetess took as her pseudonym the surname of her grandmother, who descended from the Tatar khan Akhmat, who came to Russia during the Horde invasion. “That is why it occurred to me to take a pseudonym for myself,” the poet explained later, “because dad, having learned about my poems, said:“ Don't disgrace my name ”.

Akhmatova practically had no literary apprenticeship. Her first collection of poems "Evening", which included poems of her gymnasium years, immediately attracted the attention of critics. Two years later, in March 1917, the second book of her poems, "Rosary", was published. They started talking about Akhmatova as a completely mature, original master of the word, sharply distinguishing her from other acmeist poets. Contemporaries were struck by the indisputable talent, the high degree of creative originality of the young poetess. characterizes the secret state of mind of an abandoned woman. "Glory to you, hopeless pain" - such, for example, the words begins the poem "Gray-eyed King" (1911). Or here are the lines from the poem "He left me on the new moon" (1911):

The orchestra is merry playing

And the lips are smiling.

But the heart knows, the heart knows

That the fifth box is empty!

As a master of intimate lyrics (her poetry is often called “an intimate diary”, “a woman’s confession”, “a confession of a woman’s soul”), Akhmatova recreates emotional experiences with the help of everyday words. And this gives her poetry a special sound: everyday life only enhances the hidden psychological meaning. Akhmatova's poems often capture the most important, and even turning points in life, the culmination of emotional stress associated with a feeling of love. This allows researchers to talk about the narrative element in her work, about the impact of Russian prose on her poetry. So V.M. Zhirmunsky wrote about the novelistic nature of her poems, bearing in mind the fact that in many of Akhmatova's poems, life situations are depicted, as in the short story, at the most acute moment of its development. The “novelism” of Akhmatov's lyrics is enhanced by the introduction of lively colloquial speech, spoken aloud (as in the poem “She clenched her hands under a dark veil.” This speech, usually interrupted by exclamations or questions, is fragmentary. justified unions "a" or "and" at the beginning of the line:

Don't you like, don't you want to watch?

Oh, how beautiful you are, damned!

And I can't take off

And since childhood she was winged.

For Akhmatova's poetry with her colloquial intonation, the transfer of an unfinished phrase from one line to another is characteristic. No less characteristic of her is the frequent semantic gap between the two parts of the stanza, a kind of psychological parallelism. But behind this gap lies a distant associative connection:

How many requests my beloved always has!

A lover has no requests.

How glad I am that now the water

Freezes under colorless ice.

Akhmatova also has poems where the narration is conducted not only from the perspective of the lyrical heroine or hero (which, by the way, is also very remarkable), but from the third person, more precisely, the narration from the first and third person is combined. That is, it would seem that she uses a purely narrative genre, implying both narrative and even descriptiveness. But even in such verses, she still prefers lyrical fragmentariness and lack of agreement:

I came up. I didn't give out excitement.

Looking indifferently out the window.

She sat down. Like a porcelain idol

In the pose she had chosen long ago ...

The psychological depth of Akhmatova's lyrics is created by a variety of techniques: subtext, external gesture, detail, conveying depth, confusion and contradictory feelings. For example, here are lines from the poem "Song of the Last Meeting" (1911). where the emotion of the heroine is conveyed through an external gesture:

So helplessly my chest grew cold

But my steps were easy.

I put it on my right hand

Glove on the left hand.

Akhmatov's metaphors are bright and original. Her poems are literally full of their diversity: "tragic autumn", "shaggy smoke", "quietest snow".

Very often Akhmatova's metaphors are poetic formulas of love feelings:

All to you: and a daily prayer,

And sleepless heat,

And my poems are white flock,

And my eyes are blue fire.

2. Features of Akhmatova's poetry.

Most often, the poetess's metaphors are taken from the world of nature, they personify it: "Early autumn hung up // Yellow flags on the elms"; "Autumn is red in the hem // Red leaves brought."

One of the notable features of Akhmatova's poetics is the unexpectedness of her comparisons (“A cloud was turning gray high in the sky, // Like a spread squirrel skin” or “Sultry heat, like tin, // Pours from heaven to dry earth”).

She often uses such a kind of trope as an oxymoron, that is, a combination of conflicting definitions. This is also a means of psychologizing. A classic example of Akhmatov's oxymoron is the lines from her poem “Statue of Tsarskoye Selo * (1916): Look, she has fun to be sad. So smartly naked.

Details play a very important role in Akhmatova's verse. For example, a poem about Pushkin "In Tsarskoe Selo" (1911). Akhmatova more than once wrote about Pushkin, as well as about Blok - both were her idols. But this poem is one of the best in Akhmatov's Pushkinian:

The swarthy youth wandered through the alleys,

By the lakeside shores,

And the century we cherish

Barely audible rustle of steps.

The needles of the pine trees are thick and prickly

Steep the low lights ...

Here lay his cocked hat

And a disheveled tome Guys.

Just a few characteristic details: a cocked hat, a volume beloved by Pushkin, the Lyceum student Parni, and we almost clearly feel the presence of the great poet in the alleys of Tsarskoye Selo park, we recognize his interests, gait peculiarities, etc. In this regard - the active use of the detail - Akhmatova also goes in line with the creative quests of prose writers of the early 20th century, who gave details a greater semantic and functional load than in the previous century.

In Akhmatova's poems, there are many epithets that the famous Russian philologist A.N. Veselovsky once called syncretic, because they are born from an integral, inseparable perception of the world, when feelings are materialized, objectified, and objects are spiritualized. She calls her passion "white-hot," Her sky is "wounded by yellow fire," that is, the sun, she sees "chandeliers of lifeless heat," etc. But Akhmatova's poems are not isolated psychological studies: the sharpness and unexpectedness of the world view is combined with the sharpness and depth of thought. The poem Song (1911) begins as an unassuming tale:

I'm at the sunrise

I sing about love.

Kneeling in the vegetable garden

Swan field.

And it ends with a biblically deep thought about the indifference of a loved one:

There will be a stone instead of bread

My reward is Evil.

Only the sky above me

The desire for artistic laconicism and at the same time for the semantic capacity of the verse was also expressed in the wide use of Akhmatova aphorisms in the depiction of phenomena and feelings:

One less hope has become -

One more song will be.

From others I praise that ash.

From you and blasphemy - praise.

Akhmatova assigns a significant role to color painting. Her favorite color is white, emphasizing the plastic nature of the object, imparting a major tone to the work.

Often in her poems the opposite color is black, which enhances the feeling of sadness and longing. There is also a contrasting combination of these colors, shading the complexity and contradictory nature of feelings and moods: "Only ominous darkness shone for us."

Already in the early poems of the poetess, not only eyesight, but also hearing and even sense of smell were sharpened.

Music rang in the garden

With such unspeakable grief

Smelled fresh and pungent of the sea

On a platter, oysters in ice.

Due to the skillful use of assonances and alliterations, the details and phenomena of the surrounding world appear as if renewed, pristine. The poetess allows the reader to feel the "barely audible smell of tobacco", to feel how "a sweet smell flows from the rose", etc.

In terms of its syntactic structure, Akhmatova's verse gravitates towards a concise, complete phrase, in which not only secondary, but also the main members of the sentence are often omitted: ("Twenty-first. Night ... Monday"), and especially to colloquial intonation. This imparts a deceptive simplicity to her lyrics, behind which stands a wealth of emotional experiences, high skill.

3. The theme of Petersburg in Akhmatova's lyrics.

Along with the main theme - the theme of love, in the early lyrics of the poetess another was outlined - the theme of Petersburg, the people inhabiting it. The majestic beauty of her beloved city is included in her poetry as an integral part of the emotional movements of the lyrical heroine, in love with squares, embankments, columns, and statues of St. Petersburg. Very often these two themes are combined in her lyrics:

The last time we met was then

On the embankment where we have always met.

There was high water in the Neva

And the city was afraid of floods.

4. The theme of love in the works of Akhmatova.

The image of love, mostly unrequited and full of drama, is the main content of all early poetry of A.A. Akhmatova. But these lyrics are not narrowly intimate, but large-scale in their meaning and significance. It reflects the richness and complexity of human feelings, an inextricable connection with the world, for the lyrical heroine does not lock herself into her sufferings and pains, but sees the world in all its manifestations, and he is infinitely dear and dear to her:

And the boy who plays the bagpipes

And the girl that weaves a wreath.

And two crossed paths in the forest,

And in the far field, a distant light, -

I see everything. I remember everything

Lovingly briefly in the heart of the shore ...

("And the boy who plays the bagpipes")

In her collections, there are many lovingly drawn landscapes, everyday sketches, pictures of rural Russia, she will take the "Tver meager land", where she often visited the estate of N. S. Gumilyov Slepnevo:

Crane at a dilapidated well,

Above him, like boiling clouds,

In the fields creaky collars,

And the smell of bread, and melancholy.

And those dim expanses

And judgmental eyes

Calm tanned women.

("You know, I'm languishing in captivity ...")

Painting the discreet landscapes of Russia, A. Akhmatova sees in nature a manifestation of the almighty Creator:

In every tree is the crucified Lord,

In every ear is the body of Christ,

And prayers are the purest word

Heals aching flesh.

The arsenal of Akhmatova's artistic thinking was ancient myths, folklore, and sacred history. All this is often passed through the prism of deep religious feelings. Her poetry is literally permeated with biblical images and motives, reminiscences and allegories of sacred books. It is correctly noted that "the ideas of Christianity in Akhmatova's work are manifested not so much in the epistemological and ontological aspects as in the moral and ethical foundations of her personality."

From an early age, the poetess was characterized by a high moral self-esteem, a sense of her sinfulness and a desire for repentance, characteristic of the Orthodox consciousness. The face of the lyrical "I" in Akhmatova's poetry is inseparable from the "ringing of bells", from the light of the "house of God"; the heroine of many of her poems appears before the reader with a prayer on her lips, in anticipation of the "final judgment." At the same time, Akhmatova sacredly believed that all fallen and sinful, but suffering and repentant people will find understanding and forgiveness of Christ, for "only the blue is inexhaustible // Heavenly and the mercy of God." Her lyrical heroine “yearns for immortality” and “believes in it, knowing that“ souls are immortal ”. Akhmatova's abundantly used religious vocabulary - the lamp, prayer, monastery, liturgy, mass, icon, vestments, bell tower, cell, temple, images, etc. - creates a special flavor, a context of spirituality. They are focused on spiritual and religious national traditions and many elements of the genre system of Akhmatova's poetry. Such genres of her lyrics as confession, sermon, prediction, etc. are filled with a pronounced biblical content. Such are the poems "Prediction", "Lamentations", the cycle of her "Bible verses", inspired by the Old Testament, etc.

She especially often turned to the genre of prayer. All this gives her creativity a truly national, spiritual, confessional, soil character.

The First World War caused serious changes in Akhmatova's poetic development. Since that time, motives of civicism, the theme of Russia, the native land, have even more widely entered her poetry. Perceiving the war as a terrible national disaster, she condemned it from a moral and ethical standpoint. In her poem July 1914, she wrote:

Juniper smell sweet

It flies from the burning forests.

Soldiers are moaning over the guys,

A widow's lament rings through the village.

In the poem "Prayer" (1915), striking with the power of self-denying feeling, she prays to the Lord for the opportunity to sacrifice to the Motherland everything that she has - both her life and the life of her loved ones:

Give me the bitter years of sickness

Choking, insomnia, fever,

Fire up both the child and the friend,

And the mysterious gift of song

So I pray for Your liturgy

After so many agonizing days

So that a cloud over dark Russia

Became a cloud in the glory of rays.

5. Akhmatova and the revolution.

When, during the years of the October Revolution, every artist of the word faced the question: whether to stay in the homeland or leave it, Akhmatova chose the first. In the 1917 poem "I had a voice ..." she wrote:

He said “Come here,

Leave your land, dear and sinful,

Leave Russia forever.

I will wash the blood from your hands,

I will take out the black shame from my heart

I will cover with a new name

The pain of defeats and offenses. "

But indifferent and calm

I closed my ears with my hands

So that this unworthy speech

The sorrowful spirit was not defiled.

This was the position of a patriotic poet, in love with Russia, who could not imagine his life without her.

This, however, does not mean that Akhmatova unconditionally accepted the revolution. A poem of 1921 testifies to the complexity and contradictory nature of her perception of events. “Everything has been plundered, betrayed, sold”, where despair and pain over the tragedy of Russia is combined with a hidden hope for its revival.

The years of the revolution and civil war were very difficult for Akhmatova: a half-beggarly life, life from hand to mouth, the execution of N. Gumilyov - all this she experienced very hard.

Akhmatova did not write a lot in the 1920s and 1930s. At times it seemed to her herself that the Muse had finally left her. The situation was aggravated by the fact that the critics of those years treated her as a representative of the salon culture of the nobility, alien to the new order.

The 30s turned out to be for Akhmatova at times the most difficult trials and experiences in her life. The repressions that fell on almost all of Akhmatova's friends and associates also affected her: in 1937, their son Lev, a student at Leningrad University, was arrested with Gumilyov. Akhmatova herself lived all these years in anticipation of permanent arrest. In the eyes of the authorities, she was an extremely unreliable person: the wife of the executed "counter-revolutionary" N. Gumilyov and the mother of the arrested "conspirator" Lev Gumilyov. Like Bulgakov, and Mandelstam, and Zamyatin, Akhmatova felt like a hunted wolf. She has more than once compared herself to a beast, torn to pieces and pulled up on a bloody hook.

You me, like a killed beast, Hook up the bloody hook.

Akhmatova perfectly understood her rejection in the "torture chamber":

I do not lyre a lover

I'm going to capture the people -

Leper rattle

Sings in my hand.

You will have time to win,

And howling and cursing,

I will teach to shy away

You brave ones from me.

("The Leper's Rattle")

In 1935, she wrote an invective poem, in which the theme of the poet's fate, tragic and lofty, is combined with a passionate philippic addressed to the authorities:

Why did you poison the water

And they mixed bread with my mud?

Why the last freedom

Are you turning into a nativity scene?

For not being bullied

Over the bitter death of friends?

For the fact that I remained faithful

To my sad homeland?

So be it. Without the executioner and the chopping block

The poet will not be on earth.

We are repentant shirts.

We should go and howl with a candle.

("Why did you poison the water ...")

6. Analysis of the poem "Requiem".

All these poems prepared A. Akhmatova's poem "Requiem", which she wrote in the 1935-1940s. She kept the content of the poem in her head, trusting only her closest friends, and wrote down the text only in 1961. The poem was first published 22 years later. the death of its author, in 1988. "Requiem" was the main 'creative achievement of the poetess of the 30s. The poem ‘consists of ten poems, a prosaic prologue called by the author“ Instead of a preface, ”a dedication, an introduction and a two-part epilogue. Talking about the history of the creation of the poem, A. Akhmatova writes in the prologue: “In the terrible years of Yezhovism, I spent seventeen months in prison lines in Leningrad. Once, someone "identified" me. Then a woman with blue eyes standing behind me, who, of course, had never heard my name in her life, woke up from the numbness we all had in common and asked me in my ear (everyone was talking in a whisper):

Can you describe this? And I said:

Then something like a smile slipped over what had once been her face. "

Akhmatova fulfilled this request by creating a work about the terrible time of repressions of the 30s (“It was when only the dead smiled, happy to be calm”) and about the immense grief of her family (“Before this grief the mountains are bent”), who came to prisons every day to the state security department, in a vain hope to find out something about the fate of their loved ones, to give them food and linen. In the introduction, the image of the City appears, but it now sharply differs from the former Akhmatov's Petersburg, for it is devoid of the traditional "Pushkin" splendor. This is a city-appendage to a gigantic prison, spreading its gloomy buildings over a dead and motionless river ("The great river does not flow ..."):

It was when I smiled

Only dead, glad to be calm.

And dangled as an unnecessary appendage

Near its prisons Leningrad.

And when, mad with agony,

The regiments were already condemned,

And a short song of parting

The locomotives sang beeps

The death stars were above us

And innocent Russia writhed

Under the bloody boots

And under the tires of black marus.

The specific theme of the requiem sounds in the poem - crying for the son. Here, the tragic image of a woman is vividly recreated, from whom the person most dear to her is taken away:

They took you away at dawn

For you, as on a takeaway,

Children were crying in the dark room

At the goddess, the candle swam.

Cold icons on your lips

Death sweat on his brow ... Do not forget!

I will be like streltsy women

Howl under the Kremlin towers.

But the work depicts not only the poetess's personal grief. Akhmatova conveys the tragedy of all mothers and wives both in the present and in the past (the image of the "Streltsy Wives"). From a concrete real fact, the poetess goes on to large-scale generalizations, referring to the past.

The poem sounds not only maternal grief, but also the voice of a Russian poet, brought up on the Pushkin-Dostoyevsky traditions of world responsiveness. Personal misfortune helped to feel more acutely the troubles of other mothers, the tragedies of many people around the world in different historical eras. The tragedy of the 30s. associated in the poem with gospel events:

Magdalene fought and sobbed

The beloved disciple turned to stone,

And to where Mother stood silently,

So no one dared to look.

The experience of a personal tragedy became for Akhmatova the comprehension of the tragedy of the entire people:

And I'm not praying for myself alone

And about everyone who stood there with me

And in the fierce cold, and in the July heat

Under a red, blinded wall, -

she writes in the epilogue of the work.

The poem passionately appeals to justice, to the fact that the names of all innocently convicted and perished become widely known to the people:

I would like to name everyone by name, Yes, they took away the list, and there is nowhere to find out. Akhmatova's work is truly a folk requiem: lamentation for the people, the focus of all their pain, the embodiment of their hope. These are the words of justice and grief, with which "a hundred million people are shouting."

The poem "Requiem" is a vivid evidence of the civic spirit of A. Akhmatova's poetry, which was often reproached for being apolitical. Responding to such insinuations, the poet wrote in 1961:

No, and not under an alien firmament,

And not under the protection of alien wings, -

I was then with my people,

Where my people, unfortunately, were.

The poetess later put these lines as an epigraph to the poem "Requiem".

A. Akhmatova lived with all the sorrows and joys of her people and always considered herself an integral part of it. Back in 1923, in the poem "Many" she wrote:

I am the reflection of your face.

In vain wings, in vain fluttering, -

But all the same, I am with you to the end ...

7. Akhmatova and the Second World War, the blockade of Leningrad, evacuation.

Her lyrics dedicated to the theme of the Great Patriotic War are permeated with the pathos of high civilian sound. She considered the beginning of the Second World War as a stage of a world catastrophe, into which many peoples of the earth would be drawn. This is the main meaning of her poems of the 30s: "When they rake up the era", "Londoners", "In the fortieth year" and others.

The enemy's banner

Will melt like smoke

The truth is behind us

And we will win.

O. Bergholts, recalling the beginning of the Leningrad blockade, writes about Akhmatova of those days: “With a face locked in severity and anger, with a gas mask through a precho, she was on duty as an ordinary fire-fighting fighter”.

A. Akhmatova perceived the war as a heroic act of world drama, when people, bled by internal tragedy (repressions), were forced to engage in mortal combat with external world evil. In the face of mortal danger, Akhmatova makes an appeal to melt pain and suffering into the power of spiritual courage. This is what the poem "The Oath", written in July 1941, is about:

And the one that says goodbye to the dear today -

Let her pain melt into strength.

We swear to children, we swear to graves

That no one will force us to submit!

In this small but capacious poem, the lyrics grow into an epic, the personal becomes common, feminine, maternal pain is melted into a force that resists evil and death. Akhmatova turns here to women: both to those with whom she stood at the prison wall before the war, and to those who now, at the beginning of the war, say goodbye to their husbands and loved ones, it is not for nothing that this poem begins with a repeated union “and” - it means continuation of the story about the tragedies of the century ("And the one that today says goodbye to the dear"). On behalf of all women, Akhmatova swears to children and loved ones to be steadfast. Graves represent sacred sacrifices of the past and present, and children symbolize the future.

Akhmatova often speaks of children in poems of the war years. Children for her are young soldiers going to their death, and the dead Baltic sailors who rushed to the aid of besieged Leningrad, and a neighbor boy who died during the blockade, and even the "Night" statue from the Summer Garden:

Good night!

In a star veil

In mourning poppies, with a sleepless owl ...

Daughter!

How we covered you

Fresh garden soil.

Here, maternal feelings extend to works of art that contain the aesthetic, spiritual and moral values \u200b\u200bof the past. These values, which must be preserved, are also contained in the “great Russian word”, primarily in Russian literature.

Akhmatova writes about this in her poem "Courage" (1942), as if picking up the main idea of \u200b\u200bBunin's poem "Word":

We know what's on the scales

And what is happening now.

The hour of courage has struck on our watch

And courage will not leave us.

It's not scary to lie under the bullets dead,

It is not bitter to be left 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 we will save from captivity

Forever!

During the war, Akhmatova was evacuated to Tashkent. She wrote a lot, and all her thoughts were about the cruel tragedy of the war, about the hope of victory: “I meet the third spring far away // From Leningrad. Third? // And it seems to me that she // Will be the last ... ", - she writes in the poem" I meet the third spring in the distance ... ".

In Akhmatova's poems of the Tashkent period, there appear, changing and varying, now Russian, then Central Asian landscapes, imbued with the feeling of a national life going deep into the depths of times, its steadfastness, strength, eternity. The theme of memory - about the past of Russia, about ancestors, about people close to her - is one of the most important in the work of Akhmatova during the war years. Such are her poems "Under Kolomna", "Smolenskoye Cemetery", "Three Poems", "Our Sacred Craft" and others. Akhmatova is able to poetically convey the very presence of the living spirit of the time, history in today's people's lives.

In the very first post-war year, A. Akhmatova receives a severe blow from the authorities. In 1946, the decree of the Central Committee of the All-Union Communist Party of Bolsheviks "On the magazines" Zvezda "and" Leningrad "was issued, in which the works of Akhmatova, Zoshchenko and some other Leningrad writers were subjected to devastating criticism. In his speech to Leningrad cultural figures, the secretary of the Central Committee A. Zhdanov attacked the poetess with a barrage of rude and insulting attacks, stating that “the range of her poetry, - an enraged lady rushing between the boudoir and the prayer room, is limited to poverty. The main thing for her is love-erotic motives, intertwined with the motives of sadness, longing, death, mysticism, doom ”. Everything was taken away from Akhmatova - the opportunity to continue working, to publish, to be a member of the Writers' Union. But she did not give up, believing that the truth will prevail:

Will they forget? - that's what surprised!

I've been forgotten a hundred times

I lay in my grave a hundred times

Where, perhaps, I am now.

And Muse was both deaf and blind,

In the ground I rotted with grain,

So that after, like a Phoenix from the ashes,

Rise in blue on the air.

("They will forget - that's what they surprised me with!")

During these years, Akhmatova has been doing a lot of translation work. She translated Armenian, Georgian contemporary poets, poets of the Far North, French and ancient Koreans. She creates a number of critical works about her beloved Pushkin, writes memoirs about Blok, Mandelstam and other writers of her contemporaries and past eras, completing work on her greatest work - "Poem without a Hero", on which she worked intermittently from 1940 to 1961 years. The poem consists of three parts: "Petersburg Story" (1913) "," Tails "and" Epilogue ". It also includes several initiations for different years.

“Poem Without a Hero” is a work “about time and about myself”. Everyday pictures of life are fancifully intertwined with grotesque visions, fragments of dreams, with memories shifted in time. Akhmatova recreates Petersburg in 1913 with its varied life, where bohemian life is mixed with worries about the fate of Russia, with heavy forebodings of social cataclysms that began from the moment of the First World War and the revolution. The author pays much attention to the theme of the Great Patriotic War, as well as to the theme of Stalinist repressions. The narrative in "Poem Without a Hero" ends with the image of 1942 - the most difficult, critical year of the war. But there is no hopelessness in the poem, but, on the contrary, there is faith in the people, in the future of the country. This confidence helps the lyric heroine overcome the tragic perception of life. She feels her involvement in the events of the time, in the deeds and achievements of the people:

And meet myself

Unyielding, into the terrible darkness,

As from a mirror in reality,

Hurricane - from the Urals, from Altai

Faithful, young,

Russia was going to save Moscow.

The theme of the Motherland, Russia appears more than once in her other poems of the 50-60s. The idea of \u200b\u200ba person's blood belonging to his native land is broad and philosophical

sounds in the poem "Native Land" (1961) - one of the best works of Akhmatova in recent years:

Yes, for us it's dirt on galoshes,

Yes, for us it is a crunch on the teeth.

And we grind and knead and crumble

The dust is not mixed in anything.

But we lie down in it and become it,

That is why we call it so freely - ours.

Until the end of her days A. Akhmatova did not leave her creative work. She writes about her beloved St. Petersburg and its environs ("Tsarskoye Selo Ode", "The City of Pushkin", "Summer Garden"), reflects on life and death. She continues to create works about the mystery of creativity and the role of art ("I don't need odic ratios ...", "Music", "Muse", "Poet", "Listening to singing").

In each poem by A. Akhmatova, one can feel the heat of inspiration, the outflow of feelings, a touch of mystery, without which there can be no emotional tension, movement of thought. In the poem "I don't need odic rati ..." dedicated to the problem of creativity, both the smell of tar, and the touching dandelion by the fence, and the "mysterious mold on the wall" are captured by one harmonizing look. And their unexpected proximity under the pen of the artist turns out to be a commonwealth, develops into a single musical phrase, into a verse that is "fervent, gentle" and sounds "to the delight" of everyone.

This idea of \u200b\u200bthe joy of being is characteristic of Akhmatova and constitutes one of the main cross-cutting motives of her poetry. There are many tragic and sad pages in her lyrics. But even when circumstances demanded that "the soul be petrified," another feeling inevitably arose: "We must learn to live again." Live even when it seems that all forces are exhausted:

Lord! You see i'm tired

Resurrect and die and live.

Take everything, but this red rose

Let me feel the freshness again.

These lines were written by a seventy-two-year-old poetess!

And, of course, Akhmatova never stopped writing about love, about the need for spiritual unity of two hearts. In this sense, one of the best poems of the poetess of the post-war years - "In a Dream" (1946):

Black and lasting separation

I carry with you on a par.

Why are you crying? Give me your hand

Promise to come back in your sleep.

I am with you, like grief with a mountain ...

I have not met you in the world.

If only you at midnight sometimes

He sent me greetings through the stars.

8. Death of Akhmatova.

A.A. Akhmatova died on May 5, 1966. Dostoevsky once said to young D. Merezhkovsky: "A young man, in order to write, one must suffer." Lyrics Akhmatova poured out of suffering, from the heart. The main driving force behind her work was conscience. In a poem of 1936 "Some look into affectionate gaze ..." Akhmatova wrote:

Some look into affectionate gaze,

Others drink to the sun

And I'm negotiating all night

With an indomitable conscience.

This indomitable conscience made her create sincere, sincere poems, gave her strength and courage in the darkest days. In her short autobiography, written in 1965, Akhmatova confessed: “I never stopped writing poetry. For me, they are 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 were unmatched. " This is true. The talent of this outstanding poetess manifested itself not only in the love poems that brought A. Akhmatova deserved fame. Her poetic dialogue with the World, with nature, with people was diverse, passionate and truthful.

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