Akhmatova's purpose of the poet. Tests on the work of A.A. Akhmatova (Grade 11)

Tests are designed for students in grade 11 and contain questions of varying degrees of complexity (biography, collections of poems, historical events, etc.). The students were asked to write the answer to the last question in the form of reasoning.

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TESTS

Based on the work of A. A. Akhmatova

Prepared by: teacher of Russian language and literature

School No. 684 in Moscow

Suvorova Natalia Valentinovna

1. List the historical events that Akhmatova experienced during her life.

2. What is the real name of Akhmatova?

_________________________________________________________________________

3. Who was the 1st husband of Akhmatova?

Bryusov -

Parsnip

Gumilyov

Balmont

4. What literary trend did she herself attribute her early work to?

Futurism

Imagism

symbolism

Acmeism

5. What was the name of the 1st collection of her poems?

-"Beads"

-"Evening"

- "Time Run"

- "White Flock"

6. And the last one?

-"Beads"

-"Evening"

- "Time Run"

- "White Flock"

7. Who was Akhmatova's favorite poet?

Block

Pushkin

Lermontov

Gumilyov

8. What was the name of Akhmatova's first poem?

- "Requiem"

- "Poem without a hero"

- "Anno Domini"

- "By the Sea"

9. And the last one?

-"Requiem"

- "Poem without a hero"

-"Anno Domini"

- "By the Sea"

10. Connect the title of the work and the passage from which it is taken:

I was then with my people,

Where my people, unfortunately, was "Prayer"

And we will save you, Russian speech,

Powerful Russian word. "Requiem"

Give me bitter years of sickness

Breathlessness, insomnia fever,

Take away both the child and the friend ... "Courage"

But indifferent and calm

I covered my ears with my hands

So that this speech is unworthy

The proud spirit of "In Tsarskoye Selo" has not been defiled

A dark-skinned youth wandered through the alleys,

At the lake shores sad,

And we cherish a century

11. What literary prize was awarded to Akhmatova in 1964?

Nobel

Stalinist

Leninskaya

Etna-Taormina

12. Honorary doctor of which university was she accepted in the last years of her life?

Oxford

Harvard

Sorbonne

Yale

13. What does Akhmatova see as the purpose of the poet?

Sing about love

Be the spokesman for your time

14. Which of the collections is not "Akhmatova"?

-"Beads"

-"Plantain"

- "White Flock"

- "Swan camp"

-"Evening"

15. When was the poem "Requiem" first published?

In 1937

1946

1952

1988

16. In the poem "Requiem" there are lines: "The husband is in the grave, the son is in prison, / Pray for me." Give the names of both.__________________________________________________________

17. What motive is reflected most clearly in this poem?

Civil

Biblical

Patriotic

anti-soviet

18. Restore the sequence of passages from the poem "Requiem":

(number)

It was when I smiled

Only the dead, glad for peace,

And dangled with an unnecessary pendant

Near the prisons of their Leningrad.

The Quiet Don flows quietly

The yellow moon enters the house

Comes in a cap on one side

Sees the yellow moon shadow.

This woman is alone

This woman is sick

Husband in the grave, son in prison,

Pray for me.

I've been screaming for months

I'm calling you home.

Threw herself at the feet of the executioner

You are my son and my horror.

Mountains bend before this grief

The great river does not flow

And behind them hard labor holes

But the prison gates are strong ...

And the stone word fell

On my still living chest

Nothing, because I was ready

I'll deal with it somehow.

19. What theme do you consider to be the main one in Akhmatova's work and why?

(write the reasoning on the back of the sheet)

I was then with my people
Where my people, unfortunately, were.

And Akhmatova.

• educational- to acquaint students with the personality and characteristics of A. Akhmatova's work; to show how the civic and poetic mission of Anna Akhmatova is fulfilled by the poem, how the history of the country is refracted and reflected in her work.
• developing- develop a sense of beauty, the ability to read poetry and respond emotionally to them, improve the skills of analyzing a poetic text, correlating its content with critical and memoir literature, biography facts that are directly related to this work;
• educational- to cultivate respect for the feelings of another person, the ability to empathize, a patriotic feeling, to show an example of civic courage.

Teaching tools - textbooks, anthologies, texts of poems by A. Akhmatova, reference notes, a computer, Internet materials, CDs with historical and literary materials, tests, an Olympiad.

Teaching methods - frontal survey, reading poems by heart, viewing presentations and CDs using a projector and computer, analyzing a poem, performing tests, working with questions from the Olympiad.

Lesson type - combined.

DURING THE CLASSES.

I. Organizational moment.

The students had a preliminary task to get acquainted with the biography of A. Akhmatova, make a chronological table of her life and work, memorize poems, recall information about the poets of the Silver Age and the features of this period in Russian poetry.

II. New topic.

The presentation slides appear on the screen. Students write the new topic in their notebook. The lesson takes place against the backdrop of a slide show.

1. World War I. Poem "Prayer"
2. Revolution and Civil War. Refusal to leave Russia.
3. The death of Gumilyov, the arrest of his son, the poem "Requiem". Many years of silence, Pushkiniana.
4. Great Patriotic War, "Courage", besieged Leningrad.
5. 1946, new tests.
6. Recognition, Etna-Taormina Prize, Oxford Diploma.
7. Analysis of the poem.

Writing in a notebook:

1. Execution of tests.
2. Answers to the questions of the Olympiad.

IV. Summing up the lesson. Evaluation of student work in class.

V. Homework.

Lesson summary

I. Organizational moment. Activation of students' knowledge.

Performing the preliminary task, you got acquainted with the creative biography of Anna Andreevna Akhmatova, learned her poems. You drew attention to the fact that the beginning of her work is associated with the Silver Age of Russian poetry, and the last works appear in the 60s.

Please remember the definition of the Silver Age of Russian poetry.

Answer: The Silver Age is usually called the heyday of Russian poetry at the beginning of the 20th century.

II.

Open your notebooks and write down the topic of the lesson.

The computer presentation begins.

Slide number 1. Students write the topic in a notebook.

Slide number 2.

1. The history of the appearance of the pseudonym "Akhmatova".

Questions appear on the screen, which students must answer orally.
Answer: Already in her gymnasium years, Akhmatova wrote poetry. Akhmatova is the surname of her grandmother, who became the pseudonym of Anna Andreevna Gorenko.

2. The beginning of creativity, the first poetry collection.
3. Gumilyov, acmeism. Poetic roll call of Gumilyov-Akhmatov.

Slide number 3. The love story of N. Gumilyov and A. Akhmatova is reflected in poetry. Pupils (a boy and a girl) read poems by heart.

Here I am alone in the evening quiet hour, I will think only of you, of you. I will take up a book, but I will read: “She”, And again the soul is drunk and confused. I'll throw myself on a creaky bed The pillow burns ... no, I can’t sleep, but wait. And stealthily I go to the window, I will look at the smoky meadow and at the moon, Over there, by the flower beds, you told me: “Yes”, Oh, this “yes” is with me forever. And suddenly consciousness will throw me back, That you, humble, were not and are not, What is your "yes", your awe at the pine, Your kiss is only the delirium of spring and dreams.

Submissive to you! You are crazy! I am submissive to one Lord's will. I don't want the thrill or the pain. My husband is an executioner, and his house is a prison. But, you see! because I came on my own... December was born, the winds howled in the field, And it was so light in your captivity, And outside the window was darkness. So bird on clear glass Whole body beats in the winter storm, And blood stains the white wing. Now I have peace and happiness. Farewell, my quiet one, you are always sweet to me For letting a wanderer into his house.

Slide number 4. Students answer questions.

Answer: N. Gumilyov created the “Workshop of Acmeist Poets”

(Acmeism, a literary movement that rallied great Russian poets, primarily Nikolai Gumilyov, Osip Mandelstam, Anna Akhmatova, was genetically connected with symbolism, but opposed its extremes. Acmeists tried to rediscover the value of human life, the value of a simple objective world, the original value of the word. Acmeists have developed subtle ways of conveying the inner world of a lyrical hero - through a psychologically significant gesture, movement, detail. The manner of "materializing" experiences was characteristic primarily of Anna Akhmatova's work.)

The first collections of poems by A. Akhmatova were called “Evening” and “Rosary”.

Slide number 5.

Questions: What is the theme of the poem “She squeezed her hands under a dark veil…”?

Who is the hero of this poem?

What patterns do you notice in the poem?

Analysis of the poem “She squeezed her hands under a dark veil...” (1911).

This is a characteristic poem from the book “Evening”, which presents the conflicts of a difficult relationship between a man and a woman. The theme of the poem is love. The lyrical heroine speaks to her conscience (the invisible hero) after a meeting with a man who has no identifying marks in the poem. The whole conversation is omitted, and its content is concentrated in one capacious metaphor “... I tart sadness / Got him drunk.” A woman, seized with sudden compassion, confesses her guilt to the one she makes suffer. Sadness "drunk" his, but now she suffers, to blame for this. Repeated verbs speak of the strength of feeling: “ran away”, “I ran”, “panting, I screamed”. “Not touching the railing”, that is, swiftly, without any caution, is an acmeistically accurate, psychologically rich inner detail. At the end of the first verse of the last stanza, the word “joke” hangs, separated from the end of the phrase by a strong poetic transfer. It is clear that all the previous was serious.

Slide number 6. Poem “I prayed so:“ Satisfy ... ”.

Questions: What is the theme of this poem?

What traditions does Akhmatova continue?

I prayed like this: “Take
Deaf thirst for singing!”
But there is no earthly from the earth
And there was no release.

Like smoke from a victim that couldn't
Soar to the throne of Power and Glory,
But only creeps at the feet,
Prayer kissing grass, -

So I, the Lord, prostrate myself:
Will the fire of heaven touch
My closed eyelashes
And the dumbness of my wonderful?

The theme of the poet and poetry is developed in the traditions of Russian classical poetry, primarily Pushkin's (recall the poem "The Prophet"). Thus, Akhmatova's work does not fit into the framework of acmeism.

Slides number 7-8. It would seem that in the life of A. Akhmatova everything turned out great: marriage with a loved one, recognition, the birth of a son. But the tragic era touched the life of every person.

World War I. Poem "Prayer"

Slide number 9. N. Gumilyov in the army. Correspondence.

Students read the poem “You are my letter, dear, do not crumple ...”

You are my letter, dear, do not crumple,
Read to the end my friend.
I'm tired of being a stranger
Be a stranger in your way.
Don't look like that, don't frown in anger.
I am loved, I am yours.
Not a shepherdess, not a princess
And I'm no longer a nun -
In this gray, everyday dress,
On worn heels...
But, as before, a burning embrace,
The same fear in the huge eyes. You are my letter, dear, do not crumple,
Don't cry about cherished lies
You have him in your poor knapsack
Put it at the very bottom.
1912 Tsarskoye Selo

Slide number 10-11. Poem "Prayer"

Questions: Who is the poem addressed to?

What sacrifice is she willing to make?

What is this sacrifice for?

The blood connection with Russia was especially sharply felt in the most difficult times, starting with the First World War. M. Tsvetaeva called A. Akhmatova "the muse of crying."

Revolution and Civil War. Refusal to leave Russia.

Slide number 12. “I am not with those who left the earth ...”

Akhmatova's relationship with her homeland was not at all simple. Here she experienced suffering and torment, shared the pain with the people, whose voice she rightfully became. But for Akhmatova, the words “motherland” and “power” were never synonymous. For her, there was no choice - to leave Russia or stay. She considered the flight a betrayal:

I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.
But the exile is eternally pitiful to me,
Like a prisoner, like a patient.
Dark is your road, wanderer,
Wormwood smells of someone else's bread.
And here, in the deaf haze of fire
Losing the rest of my youth
We are not a single blow
They didn't turn themselves away.
And we know that in the assessment of late
Every hour will be justified...
But there are no more tearless people in the world,
Haughtier and simpler than us.

In what style is this poem written?

The poem is sustained in a high style: Old Slavonicism "I will not heed", "I will not give songs" in the sense of "I will not dedicate poems", the words "torn apart" .

What kind contrasts we see in this work?

Not only those who left and those who remained are opposed. “Abandoners” and “exiles” are different people, and the author's attitude towards them is different. There is no sympathy for the first. "But the exile is eternally pitiful, / Like a prisoner, like a sick person." Specifically, they mean, as one might assume, writers and philosophers expelled from the Soviet Union. Russia in 1922 as a hostile element. The political protest against the expulsion of the Russian intelligentsia is combined with the majestic acceptance of one's own lot. Historically, "every hour" of torment will be justified.

The tragic fate of Russia experienced by Akhmatova together with her, she shared the fate of her homeland.

Already in the first post-revolutionary years, the name of Akhmatova was often opposed to the names of poets of revolutionary Russia. In 1921, her husband, the poet Nikolai Gumilyov, was arrested on charges of a counter-revolutionary conspiracy and soon shot.

Slide number 13. Friendship with O. Mandelstam.

In fact, not a single blow was deflected from itself. They didn't renounce their friends. They supported those who were subjected to repression.

The death of Gumilyov, the arrest of his son, the poem "Requiem". Many years of silence, Pushkiniana.

Slide number 14-15. The case of N. Gumilyov.

A wave of Stalinist repressions covered Akhmatova as well. The husband was arrested and shot. Then her only son, Lev Gumilyov, was arrested.

It was during these years that Akhmatova began to write the poem "Requiem". Poems lived in the memory of friends and relatives, as it was dangerous to leave them on paper. The main motives of the poem are memory, the bitterness of oblivion, the inconceivability, the impossibility of death, the motive of the crucifixion, the gospel sacrifice.

Massive repressions in the country, tragic events in his personal life (repeated arrests and exiles of his son and husband) brought to life "Requiem" (1935-1940). Akhmatova worked intermittently on this work for five years. The poem was created in inhuman conditions.

The poem was formed from separate poems, created mainly in the pre-war period. Finally, these poems were compiled into a single work only in the autumn of 1962, when it was first written on paper. L. Chukovskaya in “Notes on Anna Akhmatova” recalls that on that day Akhmatova solemnly announced: “Requiem” was known by heart by 11 people, and no one betrayed me.” When getting acquainted with the poem, its structural parts are struck by a strip of dates: “Instead of a preface” is dated 1957, the epigraph “No, and not under an alien firmament ...” - 1961, “Dedication” - 1940, “Introduction” - 1.935- It is also known that the version of the “Epilogue” was dictated by the author to his friend L. D. Bolshintsova in 1964. Consequently, these dates are just different signs that Akhmatova turned to this creation during the last thirty years of her life. It is important to be able to ignore these figures and perceive the "Requiem" as an integral work, dictated by the tragic time. The word "Requiem" is translated as "a funeral mass", as a divine service for the deceased. At the same time, it is the designation of a mournful piece of music.

Already in 1961, the epigraph was prefaced to the poem, strictly but accurately reflecting the civil and creative position of the author: “No, and not under an alien firmament, And not under the protection of alien wings, I was then with my people, Where my people, to unfortunately, was.” Here the word “alien” is repeated twice, the word “people” is repeated twice. The idea of ​​uniting the destinies of the people and their poet is expressed.

The name - "Requiem" - sets in a solemn and mourning mood, it is associated with death, mournful silence, which is proportional to the exorbitance of suffering.

Slides number 16. Students read the passage “I have been screaming for seventeen months ...”

To save her son Akhmatov, she wrote poems for the birthday of I. Stalin, turned to him with a request. Soon released, the son was again arrested, during the war he fought at the front to the bitter end, and in 1949 he was imprisoned for the third time, and only in May 1956 he was released,

Great Patriotic War, "Courage", besieged Leningrad.

Slides number 17-18.

At the beginning of the war, Akhmatova remained in besieged Leningrad, then she was evacuated to Tashkent, and already in 1944 Akhmatova returned to liberated Leningrad.

During the Great Patriotic War, Akhmatova sees her mission in becoming the voice of courage and sorrow, to share the grief of her country.

How is the image of the motherland decided in the poem “Courage”?

Motherland in this poem is identified with Russian speech by a kindred word, with the most expensive, for which it is worth fighting, which must be defended sacrificially. And here Akhmatova says “we” - this is the voice of the whole people, united by the Word.

Akhmatova's fulcrum has always been her native land, and throughout her life she was connected with St. Petersburg. Every line of his appearance is an important detail, a detail of her fate.

1946, new tests.

Slides #19-20-21.

In 1946, a campaign against Akhmatova was opened, persecution was organized: in the speech of A. Zhdanov and the ensuing Decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad”, Akhmatova’s poetry was declared alien to the people, hostile to him. Together with Akhmatova, M. Zoshchenko also came under the pressure of the authorities. Both were expelled from the Writers' Union, deprived of their means of subsistence, turned out to be outcasts in their own country. The circulation of A. Akhmatova's collection of poems already printed in 1946 was destroyed.

She had to live literally in a gatehouse, a booth, in the suburbs of Komarovo. But even here she had friends, students. One of them - I. Brodsky - became a Nobel Prize winner. In 1956, the son was released. A. Akhmatova is starting to publish again.

Recognition, Etna-Taormina Prize, Oxford Diploma.

Slides #22-23-24-25.

March 5, 1966 Anna Akhmatova died. But, apparently, even a dead, real poet is dangerous for unworthy rulers. In the poem “Requiem” the people speak through the mouth of the poet, this is directly stated: “And if my exhausted mouth is clamped, / With which a hundred million people scream ...”

In the "Epilogue" the functions of the poet and poetry are connected, as it were, with the idea of ​​great intercession for people. And this is the great heritage of Russian literature, which makes Akhmatova a national, folk poet. There is no grandiose monument on Akhmatova's grave, only a homemade cross. She doesn't need monuments. Her life and her poems became the eternal and most enduring monument.

III. Consolidation of the material, checking its assimilation at the first level.

Performing tests and answering the questions of the Olympiad (in writing in a notebook).

IV. Summing up the lesson.

Evaluation of student work in class.

V. Homework.

Analyze in writing your favorite poem by Akhmatova.

TEST
to an open lesson on the work of A. A. Akhmatova

Exercise 1

What literary movement did A.A. Akhmatova belong to:

1. Acmeism.
2. Symbolism.
3. Imagism.
4. Futurism.

Task 2

Anna Andreevna Akhmatova is a pseudonym. What is the poet's last name?

1. Anna Suvorova.
2. Anna Gorenko.
3. Anna Gumilyova.
4. Another name.

Task 3

The lyrical heroine of A. Akhmatova coincides with the personality of the author:

Task 4

What does A.A. Akhmatova see as the purpose of the poet:

1. Preserve the tragic national memory.
2. To be the “voice” of the conscience of your people, their faith, their truth.
3. Sing about love.
4. To be the “herald”, the “leader” of your time.

Task 5

The lyrics of A. Akhmatova, especially in her first books, are almost exclusively love. These are collections of poems (find the odd one):

1. "Beads".
2. "Evening".
3. "Swan camp".
4. "White flock".

Task 6

Lyrical heroine A. Akhmatova:

1. A woman surrounded by everyday life, cares of the heart.
2. Revolutionary fighter.
3. A woman immersed in feelings, intimate experiences of personal destiny.

1. As a passionate civil poet, who expressed the voice of the intelligentsia, who made their choice and stayed with their native country.
2. As a poet who understood and accepted the revolution.

Task 8

In the poem “Requiem”, full of despair and grief, A. A. Akhmatova wrote: “Husband in the grave, son in prison, Pray for me. ” What motive of the poet’s work was most clearly expressed in the poem:

1. civic motives.
2. Biblical motives.
3. Motherland motive.

Task 9

A. A. Akhmatova's poem "Requiem" was first published in Russia:

1. In 1937.
2. In 1952.
3. In 1988.

Questions of the Olympiad

1. Which of the poets described the creative process in this way?

1)It happens like this: some kind of languor;
In the ears the clock does not stop;
In the distance, a rumble of fading thunder.
Unrecognized and captive voices
I feel both complaints and groans,
But in this abyss of whispers and calls
Some kind of secret circle narrows,
One, victorious sound rises.
So irremediably quiet around him,
What is heard, how grass grows in the forest,
How dashingly walks on the ground with a knapsack ...
But the words have already been heard
And light rhymes alarm bells -
Then I begin to understand
And just dictated lines
Lie down in a snow-white notebook.

2) Poems grow like stars and like roses,
Like beauty - unnecessary in the family.
And for crowns and apotheoses - One answer:
"Where do I get this from?"
We sleep - and now, through stone slabs,
Heavenly guest in four petals.
O world, understand! Singer - in a dream - open
Star law and flower formula.

2. Determine the nature of rhyme in A. Akhmatova's poems.

1) She clasped her hands under the dark veil.
"Why are you pale today?"
- Because I am tart sadness
Got him drunk.

2) Glory to you, hopeless pain!
The gray-eyed king died yesterday.
The autumn evening was stuffy and scarlet,
My husband, returning, calmly said:
“You know, they brought him from the hunt,
The body was found near an old oak tree.

3) ... I hear: a light quivering bow,
As from a death pain, it beats, it beats,
And I'm scared that my heart will break
I won't finish these tender lines...

3. Which of the poets spoke like this about himself?

1) I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.

2) I will chant
With the whole being in the poet
sixth of the earth
With a short name "Rus".

3)Oh, I want to live crazy
All that exists is to perpetuate,
Impersonal - incarnate,
Unfulfilled - to embody!

4. What does A. Akhmatova tell about in these verses:

And some woman of mine
Won the only place
My most legitimate name is
Leaving me a nickname from which
Have I done everything I can?

6. With which of the poets, with whom she was friends all her life, did the young poetess meet on the “tower” of Vyacheslav Ivanov?

7. Akhmatova was the secretary of which literary group?

8. To the early lyrics of Akhmatova, the line of the great Russian poet would fit into the epigraph: “Oh, how deadly we love!” Whose line is this?

9. We have already said that at first Akhmatova changed literary masks. And what masks did she reject from the very beginning?

10. Who, literally reading the early lyrical revelations of the heroine Akhmatova, will publicly call the poet himself a “half-nun-half-harlot” and make sure that these definitions sound like heavy political accusations by Akhmatova of disloyalty towards the Soviet system and state?

11. Do you know who Akhmatova is talking about in the poem “I had a voice. He called consolingly...”? Whose “voice” was it and where did he call the poet’s heroine?

12. What month did Akhmatova feel tragic for herself?

13. Whom does Akhmatova mourn: “The unique voice fell silent yesterday, / And the interlocutor of the groves left us”?

14. Which university awarded Anna Akhmatova the honorary title of Doctor of Philosophy?

15. Which poet, who considers himself a student of Akhmatova, gained worldwide fame?

ANNA ANDREEVNA AKHMATOVA (1889-1966)

The Russian philosopher N. Berdyaev called the spiritual achievements of the early 20th century the Russian artistic renaissance. One of the bright and original names of this period - the Silver Age - Anna Akhmatova.

"Iwas born on June 11 (23), 1889 near Odessa (Big Fountain). My father was a retired Navy mechanical engineer at the time. As a one-year-old child, I was transported to the north - to Tsarskoye Selo. I lived there until I was sixteen,” Akhmatova writes in her biography “Briefly About Me”.

She spent her childhood and youth in Tsarskoye Selo, and later in Kyiv, where she graduated from the gymnasium and studied at the Higher Women's Courses.

The first poems appeared at the age of eleven. Children were introduced to poetry from the works of G.R. Derzhavin and N.A. Nekrasov, and later A.S. Pushkin.

In the poem "By the Sea" A.A. Akhmatova writes about her impressions of this period of life, when the family rested on the Black Sea.

Bays cut the low coast,

All the sails ran out to sea

And I dried the salty spit

A mile from the ground on a flat stone.

A green fish sailed to me, 1 A white seagull flew to me - And I was impudent, angry and cheerful And I didn’t know at all that it was happiness.

In her early youth, Akhmatova met N. Gumilyov, whom she married in 1910. Gumilyov by this time had already published a collection of poems “The Way of the Conquistador” and “Romantic Flowers”, she considered Innokenty Annensky to be her teacher.

The "Workshop of Poets" that arose under the leadership of Gumilyov became the stronghold of the acmeists, among whom were S. Gorodetsky, O. Mandelstam, M. Zenkevich and V. Narbut. Anna Gorenko also joined this association of poets. Trips to Paris (1910-1911), to Italy (1912) gave a lot of impressions for creative growth, which resulted in the first collection of poems "Evening", published under the pseudonym Akhmatova. It was the surname of the great-grandmother, which went back to Khan Akhmat, Chingizid. The preface to "Evening" was written by M. Kuzmin.

The year 1912 was also significant in that her son Lev Nikolaevich Gumilyov was born, in the future an oriental historian and ethnographer.

The second book of poems "Rosary" was published two years later. Both books were marked by literary criticism, which saw the emergence of a new poetic name.

In the eventful year of 1917, in September, the third book of poems, The White Flock, was published. “This collection appeared under even more formidable circumstances. Transport stopped - the book could not even be sent to Moscow, it was all sold out in Petrograd. Magazines were closed, newspapers too. Therefore, unlike the Rosary, the White Flock did not have a noisy press. Hunger and devastation grew every day ... ”Akhmatova wrote about these events.

Already after the October Revolution, two collections of lyrical poems were published: in 1921 - "Plantain", in 1922 - a book Anno Domini ("In the year of the Lord").

“Shortly after the October Revolution,” Akhmatova wrote, “so many of my contemporaries, as you know, left their homeland. For me, this question never arose. For some time I worked in the library of the Agronomic Institute..., leading the harsh lifestyle that fell to the lot of the then Petersburgers.

Of course, like many compatriots, she could leave the country.

He said, "Come here

Leave your land deaf and sinful,

Leave Russia forever."

But indifferently and calmly, with my hands I blocked my hearing,

So that this unworthy speech would not defile the mournful spirit.

A. Blok knew these verses about loyalty to the motherland by heart, who said about the position of the poetess: “Akhmatova is right, running away from the revolution is a shame.” In poems of 1920, she tells the cruel truth about painful experiences, troubles and losses, but at the same time about new sensations, about the future and its expectation.

Everything is plundered, betrayed, sold,

The wing of the black death flickered,

Everything is devoured by hungry longing,

Why did we get light?

During the day, cherry breaths blow, Unprecedented forest under the city,

At night it shines with new constellations The depth of the transparent July skies -

And the miraculous comes so close To the ruined old houses...

No one, no one knows

But from time immemorial we have desired.

The last collection of poems at the age of 20 was published in 1922, the reprinted White Flock. From that time until 1939, Akhmatova was not published, and her work was subjected to rude and unfair criticism. Only in 1940 was the collection “From Six Books” published with the assistance of M. Sholokhov, who had already become famous. He submitted the book for the Stalin Prize, not counting on a positive outcome.

Tragedies and dramas in the fate of Akhmatova were associated not only with creativity. In 1921, the poet Nikolai Gumilyov was shot, with whom she broke up in 1918. In 1935, the son of Lev Gumilyov was arrested for the first time, and then, in 1938, one of his most beloved friends in the "Workshop of Poets" O. Mandelstam. In the tragic and merciless times of Stalin's repressions, when hundreds of thousands of people were arrested or shot on trumped-up charges, Akhmatova could not keep records of her poems. The closest people (Lydia Korneevna Chukovskaya, O. Mandelstam's wife Nadezhda Yakovlevna, N. A. Olyshevskaya) learned them by heart, and thus the verses from which the poem "Requiem" was compiled after the death of Stalin and the XX Congress of the CPSU were preserved.

Before the Great Patriotic War, a significant meeting with Marina Tsvetaeva took place.

Akhmatova caught the war in Leningrad. Her son Leo, arrested for the second time, was imprisoned; despite the efforts of Anna Andreevna and her friends, it was not possible to release him. Evacuated from the besieged Leningrad to Tashkent in the autumn of 1941, Akhmatova will stay there until 1944, she will learn “what is in the scorching heat - a tree shadow and the sound of water”, what is real human kindness, friendship. The poet's entourage at that time was the actress F.G. Ranevskaya, Elena Sergeevna Bulgakova, Gafur Gulyam, Vladimir Lugovskoy, N.Ya. She read poetry to the wounded in hospitals, actively participated in the cultural life of the republic.

In 1944, Akhmatova returned to Leningrad, a ruined, "terrible ghost town." At the end of 1945, his son Leo returned from the war, who was allowed to go to the front from prison.

In the spring of 1946, she took part in a poetry evening in the Hall of Columns in Moscow. The delegation of poets from Leningrad, which entered the hall, was greeted by the audience with standing applause. Akhmatova read her poems, which the audience happily greeted. It was a triumph that later turned into tragic events, the continuation of new trials.

In August 1946, in the report of the ideologist of the Stalin era A. Zhdanov and in the subsequent resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines“ Zvezda ”and“ Leningrad ”about A. Akhmatova and M. Zoshchenko b A lot of unfair, rude, unfaithful things were said. Akhmatova was expelled from the Writers' Union of the USSR. Following this, publications about Akhmatova's work appeared in many newspapers and magazines, in which her poetry was called "alien", "harmful to the people", "anti-people".

Foreseen a few months before these events were the lines:

Now I'll be forgotten

And the books will rot in the closet.

Akhmatovskaya will not be called Neither the street nor the stanza.

For many years the name of Akhmatova, her poems were deleted from Soviet literature.

In 1949, her son Leo was again arrested.

You ask my contemporaries,

Convicts, stopers, captives,

AndWe will tell you

How they lived in unconscious fear,

How children were raised for the chopping block,

For the dungeon and for the prison.

Trouble for his son through influential literary officials did not bring good luck. The helplessness of the situation was aggravated by the fact that the wave of the Zhdanov pogrom did not weaken. As the greatest feat of the mother, one can imagine the tortured, forced poems in the Ogonyok magazine in 1950: she wrote words glorifying Stalin, sick, abandoned by almost everyone.

The attitude towards Stalin, the executioner of his people, has long been devoid of illusions. For the purposes of conspiracy, she called the verses testifying to the true attitude towards the “leader” “Imitation of the Armenian”.

I will dream of you as a black sheep On unsteady, dry legs,

I’ll come, I’ll bleat, I’ll howl:

“Did you have a sweet supper, padishah?

You hold the universe like a bead

By the bright will of Allah we keep ...

And did my son please both you and your children?

Already in 1950, Lev was transferred to the Lefortovo prison in Moscow, and she was allowed to transfer money to him. The mother of her son, a courageous woman who was not broken by the regime, waited for seven years. Among the close people helping her are architect Rudnev, historians A. Okladnikov and N. Konrad, writers I. Orenburg, M. Sholokhov, A. Fadeev.

The poem "Requiem" will become a monument to all the sufferers and victims of the Stalinist regime.

The official recognition of the great Russian poet Anna Akhmatova, her return to literary life belongs to the last decade. She was chosen as a delegate to writers' conventions in the mid-50s and 60s.

In 1964, Akhmatova was awarded the Etna Taormina International Prize in Italy.

In 1965, Akhmatova was awarded the honorary title of Doctor of Literature with the delivery of a purple-gray robe from Oxford University, in a solemn speech in Latin, her poems were placed on a par with those of the ancient Greek poetess Sappho.

The last years of her life, Akhmatova was engaged in literary translation, the “Poem without a Hero” was completed, poems were published in newspapers and magazines. She also performed on the radio. However, the poem "Requiem" was published only at the end of the 80s.

Akhmatova tried to ennoble, humanize her difficult time with her work.

“I never stopped writing poetry. For me, they are my connection with my time, with the new life of my people ... I am happy that I lived in these years and saw events that had no equal.

Young poets Joseph Brodsky, Vitaly Bobyshev, Anatoly Naiman and Evgeny Rein in the 60s were part of Anna Akhmatova's circle of friends. According to A. Nyman, she was a living symbol of the connection of times.

The origins of creativity. Initiation to the poetic word began with the fact that Derzhavin, Nekrasov, and later Pushkin and Lermontov were read to the children in the Gorenko family. “...Pushkin, the Bible, Dante, Shakespeare, Dostoevsky were her real interlocutors,” K.I. Chukovsky. Reading and erudition are significant features of her personality. An example of high culture, personality - this is how Chukovsky evaluates her. “Examples of this rare breed of people: increased susceptibility to music, poetry and painting, delicate taste, impeccable correctness of carefully polished speech ...”

“In 1910, the crisis of symbolism was clearly revealed, and the beginning poets no longer joined this trend. Some went to futurism, others to acmeism. Together with my comrades in the First Workshop of Poets - Mandelstam, Zenkevich and Narbut - I became an acmeist, ”wrote Akhmatova about the beginning of her creative path. In St. Petersburg literary circles, at first she was perceived as a "student of Gumilyov." However, the collection "Evening" (1912) brought her fame, she declared herself as an independent creative person. The second book, The Rosary (1914), went through ten editions. Her poems are transparent and sincere, they carried a real feeling, were filled with deep penetration into the inner world of the lyrical heroine, and were highly refined.

A poet who enters the literary world, of course, is influenced by the "seniors". Such a teacher for Akhmatova was Innokenty Annensky.

In verses 1910-1917. there is a connection with the traditions of Russian poetry of the 19th century, containing the desire for a deep understanding of the state of mind of the lyrical hero and moral quest through the philosophical and religious understanding of the world.

Based on the achievements of her predecessors, the 19th century poets Baratynsky, Pushkin, Lermontov, Tyutchev, Nekrasov, Akhmatova expressed a new worldview - the value of human life, the diverse and vibrant earthly world.

Within the framework of the new trend, acmeism, the poet professes new values: stylistic balance, pictorial clarity of images, compositions, sharpness of details.

The principles of acmeism led to the search for spiritual values, and culture occupied the highest place in this search. O. Mandelstam called acmeism "longing for world culture." Reliance on different cultural traditions, the use of myths, images of painting, architecture, a passion for detail, a psychological gesture, subtle ways of conveying the inner world of a lyrical heroine - these are the features of Akhmatova's early lyrics.

The eternal theme of love.The first two books of poems "Evening" and "Rosary" are poems about love. It cannot be said that before Akhmatova the poetess was not known to readers. However, with the advent of the literary space at the beginning of the 20th century, Akhmatova revealed an unprecedented public interest in her poems. According to Gumilyov, "Akhmatova captured almost the entire sphere of women's experiences." She does not just talk about her love experiences, but shows the intimate world of feelings of a woman of her time. Her lyrical heroine appears in various guises: a girl waiting for love, a woman experiencing love-torment, an unfaithful wife defending the right to forbidden love.

Blue evening. The winds subsided,

Bright light is calling me home

I wonder who is there? - not the groom,

Is this my fiancé?

On the terrace the silhouette is familiar,

A quiet conversation can be heard.

Oh, such a captivating languor I have not known until now.

"Deceit

For you, I'm gloomy

I took my share.

Or do you love a blonde

Or a redhead?

“My husband whipped me with a pattern...”

I left in the new moon My beloved friend. Well, so what!

He joked: “Rope dancer!

How will you live until May?

She answered him like a brother,

I, not jealous, not grumbling,

But they will not replace my loss. Four new cloaks.

"I was left in the new moon ..."

Mikhail Kuzmin wrote in the preface to Evening: “So, ladies and gentlemen, a new one is coming to us, young, but having all the potential to become a real poet. And his name is Anna Akhmatova. It was a confession. Approval, taking seriously, expressed N. Gumilyov. After the publication of the Rosary collection, N. Nedobrovo in the Russian Thought magazine (1915) gave a thorough analysis of the work of the beginning poet: “Akhmatova should be treated with all the more attention that she largely expresses the spirit of this generation, and her work is loved by them” .

The lyrical heroine of Akhmatova is always a tragic face, anticipating a break, inevitable torment, disappointment.

We will not drink from one glass Neither we water nor sweet wine,

We don't kiss early in the morning

And in the evening we will not look out the window.

You breathe the sun, I breathe the moon

But in you we love one.

(1913)

The psychological state (deep intimate experiences, suffering, mental anguish) is not only a consequence of the loss of feelings, it is a confrontation between two irreconcilable personalities embraced by a "fiery disease".

And when they cursed each other In white-hot passion,

We both didn't understand

How small is the earth for two people...

"And when they cursed each other..." (1909)

A perspicacious reader and connoisseur of Akhmatov's lyrics, a close friend of the poet O. Mandelstam saw in the lyrical miniatures the influence of the Russian psychological novel by Tolstoy, Dostoevsky, Turgenev.

Almost every poem, be it "The Gray-Eyed King", "Clenched her hands under a dark veil ..." or "Guided a friend to the front" is an unfinished novel. V. Gippius (1915), B. Eikhenbaum (1923), K. Chukovsky also spoke about this feature of Akhmatova's lyrical poems.

Akhmatova's poems are concise and emotionally restrained. Often fluctuations of feelings are transmitted through changes in the external world. The author chooses from it objects that seem to be random, existing in parallel. This is the background against which the love drama unfolds.

He talked about summer and

That being a poet to a woman is absurd.

As I remember the high royal house.

And the Peter and Paul Fortress.

“The last time we met was then. ..>>(1914)

Artistic detail is one of the favorite devices in Akhmatova's lyrics: interior detail, landscape, clothing detail, a separate object, with which the experienced minutes are associated, are necessary and organic.

The door is half open

The lindens blow sweetly...

The whip and glove are forgotten on the table.

(1914)

In later lyrics, the details recreate not only the situation, but also the time, the era.

And fumbling in the black memory, you will find gloves to the very elbow,

And the night of Petersburg. And in the twilight of the lies That smell is both stuffy and sweet.

And the wind from the bay. And there, between the lines,

Passing and ahh and ohh,

Blok will smile contemptuously at you -

Tragic tenor of the era.

"Three Poems" (1944-1960)

And yet, love, according to Akhmatova, brings not only sadness and parting, it is a high feeling that inspires a person, ennobles and raises her to a new spiritual height.

On the hard crest of a snowdrift To your white mysterious house,

Both so hushed

In gentle silence we walk.

And sweeter than all the songs sung to me is this fulfilled dream,

The swinging of the affected branches And your spurs' light ringing.

(1917)

The world around, sung by Akhmatova, is full of disturbing sensations. So time invaded the space of a love story, an era invaded. This connection with time is present in the poems of 1914-1916 - the time of the First World War, epic notes begin to sound in them.

The sweet smell of juniper flies from the burning forests.

Soldiers are crying over the guys,

The widow's weeping rings through the village.

"July 1914"

In "Prayer" (1915), epic and civic themes are combined, they acquire a Christian, national sound.

Give me the bitter years of illness, Breathlessness, insomnia, fever, Take away both the child and the friend,

And the mysterious song gift - So I pray for your liturgy. After so many languid days, To make a cloud over dark Russia Become a cloud in the glory of rays.

The theme of the Motherland, the theme of Russia is present in the cycles "Plantain", "White Flock". One of the most famous poems "I had a voice ..." (1917), in which Akhmatova acts as a poet of a civil-patriotic theme. The elation of style, the biblical form of the poem speaks of the high spiritual perception of the historical process by the lyrical heroine (the image of the lyrical heroine merges with the image of the author), expressing the position of the Russian intelligentsia.

Spiritual fortitude of the lyrical heroine, a woman of a tragic era.Journalistic lyrics of the 20s, translation/activities, literary articles, researches of 20-30s. years, love lyrics, addressed to the secret spiritual life, wise and high, are the components of Akhmatova's work of this period.

30 years is a time of severe personal trials associated with the arrest of a son, husband, like-minded friends. But it was during these years that a creative take-off was observed in the work of Akhmatova.

Short poems written on scraps of paper formed the symbolic cycle "Shards", which depicts a broken fate, a ruined house, a broken life.

To me, deprived of fire and water, Separated from my only son... On the shameful platform of misfortune As I stand under the canopy of the throne... You me like a slain beast,

On the bloody raise the hook,

So that, giggling and staring,

Foreigners roamed around...

In the verses of 30 years - a feeling of great evil that happened in the world and drove people to camps, prisons, the inability to resist evil and hence the immense feeling of guilt and repentance. In this terrible decade, Akhmatova was true to her mission as a poet, this is the pathos of citizenship and tragic grandeur. The inner strength of the poet, resistance to the totalitarian system, access to the horizons of people's life is the result of the spiritual quest of an exceptionally whole person, continuing the traditional theme of the appointment of the poet and poetry, raised in the 19th century by Pushkin and Nekrasov.

The theme of small and big history in "Requiem". The suffering of the repressed people is the main theme of the poem "Requiem", composed of ten poems. The poem begins with a prose preface, dedication, introduction, and ends with an epilogue, consisting of two parts.

In 1961, an epigraph to the poem was written.

Not! And not under an alien sky,

And not under the protection of alien wings -

I was then with my people,

Where my people, unfortunately, were.

In the 60s, during the "Khrushchev thaw", it was decided to publish a collection of poems by Akhmatova "The Run of Time", a poem was finally supposed to appear in it. The only condition for publication is to remove the epigraph, because under Soviet rule, in the opinion of the party literary curators of this book, the people could not live in misfortune.

For Akhmatova, it was impossible to abandon the most important thing - the thought of the inhumanity of the Stalinist regime and remove the epigraph ak. Therefore, "Requiem" was published in the magazines "October" and "Neva" in 1988, when the dawn of perestroika was already dawning.

The title of the poem has a deep meaning. The requiem in "Mozart and Salieri" by A.S. Pushkin was written "on order". Akhmatova also created her long-suffering offspring, the right to exist which was defended for decades, also by order. But this order is a duty to the suffering people who have fallen into a historical trap, a duty to their own conscience.

The first, "Streletskaya", chapter of the poem - lamentation for his son, connects the tragedy of the 30s with a distant historical era.

I will be like archery wives,

Howl under the Kremlin towers.

The second chapter takes the reader to the "Quiet Don" - grief has spread over all the land.

This woman is sick

This woman is alone.

Husband in the grave, son in prison.

Pray for me.

The lyrical heroine - “a mocker, a merry sinner from Tsarskoye Selo” - is plunged into the abyss of general misfortune, “three hundredth, with a transfer”, stands under the Crosses, an ominous Leningrad prison.

I've been screaming for seventeen months

I'm calling you home

I threw myself at the feet of the executioner,

You are my son and my horror.

Everything is messed up,

And I can not make out Now, who is the beast, who is the man And how long to wait for the execution.

The motif of the mother's immeasurable suffering (the mother and the executed son) in chapter five correlates with the gospel plot of the tenth chapter "The Crucifixion" (Jesus and the Mother of God).

Magdalene fought and sobbed,

The beloved student turned to stone,

And to where silently Mother stood,

So no one dared to look.

The plot of the biblical tragedy, expanding the scope of the "Requiem", giving a universal sound, is the center of the poem.

And I'm not praying for myself alone

And about everyone who stood there with me

And in the bitter cold, and in the July heat Under the blinded red wall.

And "... if ever a monument is planned to be erected in this country," Akhmatova agrees to the only possible thing: to put it near the prison wall.

The merit of the poet lies in the fact that the strangled cry of a hundred million people was heard, and Akhmatova herself became the voice of a national tragedy.

Akhmatova shared the fate of her country. She felt that she belonged to two eras: the bygone one, the 19th century, and the one that is being experienced, the 20th century.

I am the reflection of your face.

Vain wings flutter in vain, -

After all, I'm with you to the end.

These lines ("Many") were addressed to their reader in 1922. Her work is a confirmation of fidelity to the former ideals.

Akhmatova became the ethical and moral banner of her age.

Questions and tasks

1. What is the peculiarity of the lyrical heroine of Akhmatov's poetry?

2. How is the theme of a woman poet revealed in Akhmatova's work? How does it relate to love?

3. What does Akhmatova see as the purpose of the poet? Why can she be called "the voice of her generation"?

4. What new did the poetess bring to the theme of love?

5. How did the poetess develop the “ideal of the eternally courageous”? Give examples of different manifestations of the lyrical addressee of her poems.

6. How are the Christian foundations of worldview manifested in Akhmatova's work?

7. Why can Akhmatova be called a great civil and national poet?

8. How does the tragic beginning of Akhmatov's work manifest itself?

9. Why did M. Tsvetaeva call Akhmatova "Chrysostom Anna of All Russia"?

10. What is the universal significance of Akhmatov's creativity?

How does Anna Akhmatova see the purpose of the poet? and got the best answer

Answer from GALINA[guru]
Despite the fact that Anna Akhmatova predicted a short life path for herself, she was mistaken: her path was long and extremely creatively rich and complex. At different times, she differently assessed the role of the poet, as she called herself, and poetry in society. The first poetic experiments took place when Akhmatova was in line with the current "Acmeism". But gradually the poetess moved away from the acmeists and chose another landmark, which she considered the only true one: Pushkin. One of the poems of the cycle “In Tsarskoe Selo” is dedicated to him: A dark-skinned youth wandered along the alleys, By the lake shores he was sad, And for a century we cherish the Barely audible rustle of steps ... But despite the fact that Pushkin was the highest literary authority for Akhmatova, she was looking for and her image in the world of her contemporary poetry. The cycle "Secrets of the Craft" was an attempt to understand the secret of poetry, and, consequently, in its own secret. The nature of inspiration became the theme of the opening poem with the unambiguous title "Creativity". Akhmatova does not forget her literary roots, inheriting the traditions of Lermontov, Pushkin, Zhukovsky. The poet's consciousness seeks, carefully selects one single true motive in the chaos of sounds: So irremediably quiet around him, That you can hear grass growing in the forest. Having determined the motive, the poet must solve another necessary task - to put it on paper. For Akhmatova, this process is likened to dictation, and the poet is dictated by his inner impulses and sounds. It doesn’t matter if the dictated definition or image is “low” or “high” - there is no such division for Akhmatova (she declares: “I don’t need odic ratis”). The poetess speaks of the "ordinary miracle" of poetry. It consists in the birth of a verse from an ordinary situation: If only you knew from what rubbish Poems grow, knowing no shame ... The growth of these verses is not just a mechanical writing, but a real re-creation of reality, giving it the form of a verse that carries positive spiritual energy to people. For Akhmatova, no less important was the figure of the reader to whom the positive charge of the poem would reach, because poetry is the essence of a dialogue between the artist and the reader. Without the latter, there would be no one to write for, that is, the idea of ​​poetry would lose all meaning. “I don’t exist without a reader,” Marina Tsvetaeva notes. For Akhmatova, the reader becomes an "unknown friend", who is much more than a simple consumer of spiritual values. In his soul, his poems acquire a new sound, as they are refracted through a unique consciousness, different from the consciousness of the poet: And each reader is like a mystery, Like a treasure buried in the ground. The example of this and other poems clearly shows that the cycle, in full accordance with its name, reveals to the reader the secrets of Akhmatova's poetic craft. But in addition to the "technical" aspect of poetry, there is also the relationship between the poet and the external, often completely unpoetic world. The twenties of the last century put many poets in front of a choice - to emigrate abroad or stay with their country in a troubled time. Akhmatova makes a difficult decision - to stay in the new Russia: "I am not with those who left the earth." This statement sounds rather harsh, but the line emphasizes the author’s position even more clearly: “I won’t give them my songs.” Akhmatova's categorical attitude also finds expression in the fact that she is sure "that every hour will be justified in a late assessment." The poet's gift is his God-given wealth, but the poet is doomed not to hoard it, but to squander it. The poet's task is ungrateful, but noble, it is akin to Christ's. Like Christ, the poet goes through the world - alone - to do his good deed. And, like Christ, he is doomed for this to recognize "the disciples' malicious mockery and indifference of the crowd." Glory appears to the heroine as an inevitable companion of talent, a “withered leaf” under his feet or an annoying guest, a rattle crackling over his ear. The heroine is not afraid of oblivion: Will they forget? - that's what surprised! I've been forgotten a hundred times...

Answer from Mr. corax[guru]
She had a mental disorder, a wonderful poetess. Normal people will not write such poems. =) Pushkin was also a little "that" and Yesenin and Mayakovsky.

A.A. Akhmatova

Test

Exercise 1

What literary movement did A.A. Akhmatova belong to:

Acmeism

symbolism

Imagism

Futurism

Task 2

Anna Andreevna Akhmatova is a pseudonym. What is the poet's last name?

Anna Suvorova

Anna Gorenko

Anna Gumilyova

Another name

Task 3

The lyrical heroine of A. Akhmatova coincides with the personality of the author:

Not

Task 4

What does A. Akhmatova see as the purpose of the poet:

Sing about love

To be the "herald", the "leader" of your time

Task 5

The lyrics of A. Akhmatova, especially in her first books, are almost exclusively love. These are collections of poems (find the odd one):

"Beads"

"Evening"

"Swan camp"

"White Flock"

Task 6

Lyrical heroine A. Akhmatova:

A woman surrounded by everyday life, cares of the heart

Revolutionary Fighter

A woman immersed in feelings, intimate experiences of personal destiny

Task 7

As a passionate civil poet who expressed the voice of the intelligentsia, who made their choice and stayed with their native country

Like a poet who understood and accepted the revolution

Task 8

In the poem "Requiem", full of despair and grief, A. Akhmatova wrote:

"Husband in the grave, son in prison,

Pray for me…”

What motive of the poet's work is most clearly expressed in the poem:

Civic motives

Biblical motives

Motherland motif

Task 9

A. Akhmatova's poem "Requiem" was first published in Russia:

In 1937

In 1952

In 1988

Work number 1.

Song of the last meeting

But my steps were light.

I put on my right hand

Left hand glove.

And I knew there were only three of them!

Autumn whisper between the maples

He asked: "Die with me!

I'm deceived by my despondent,

Changeable, evil fate."

I said, "Darling, dear!

And me too. I'll die with you..."

This is the song of the last meeting.

I looked at the dark house.

Indifferent yellow fire.

(A. Akhmatova, 1911)

AT 8.

AT 9.

AT 10 O'CLOCK. asked : "Die with me ..." - Ianswered

AT 11. "whisper of autumn" )?

AT 12

C3.

C4. Poems by A. Akhmatova are often called the lyrics of deceived female love. In what works of Russian poetry does the male version of the “last meeting” theme sound and how does it differ from the “female version of A. Akhmatova”?

Answers and comments

B8 - glove

B9 - house, bedroom

B10 - dialogue

B11 - paraphrase (paraphrase)

B12 - personification

C3.

C4.

So my feelings are the best

Deceived forever by you!

I buried the past forever

And no worries about the future.

Except your love

to me

no sea...

Work number 2.

Read the poem below and complete tasks B8-B12; С3-С4

When the moon lies with a slice of Chardzhui melon
On the edge of the window and stuffiness all around,
When the door is closed and the house is bewitched
Aerial branch of blue wisteria,
And in a cup of clay cold water,
And snow towels, and a wax candle
It burns like in childhood, calling moths,
Silence rumbles, not hearing my words, -
Then from the blackness of Rembrandt's corners
Something suddenly curls up and hides there,
But I will not startle, I will not even be afraid ...
Here loneliness caught me in the net.
The owner's black cat looks like the eye of centuries,
And in the mirror, the double does not want to help me.
I will sleep sweetly. Good night, night.

1944

AT 8. What is the name of the transfer of the features of a living being to inanimate objects, phenomena, states used in the poem (loneliness caught me in a net)?

AT 9 . What is the name of the technique of internal, hidden comparison of objects and phenomena, which makes the picture figurative, multidimensional (snow towels)?

AT 10 O'CLOCK. Indicate the name of the syntactic device, which consists in repeating the same word at the beginning of poetic lines (when ..., when ...; and ..., and ...).

AT 11. What is the name of the artistic technique used in the poem, based on a clear, open likeness of objects and phenomena (the moon lies like a slice of Chardzhui melon; a black cat looks like the eye of centuries)?

AT 12. What is the name of the figurative, emotional definition of an object or phenomenon (aerial branch, Rembrandt angles)?

C3. How can you determine the main mood of Akhmatova's poem?

C4. What other poems by Russian poets, in which there are motifs of insomnia, loneliness, do you know? How do they echo Akhmatova's poem?

Answers and comments .

B8 impersonation

B9 metaphor

B10 anaphora; unity of command

B11 comparison

B12 epithet

The poem was written in Tashkent, during the evacuation. Signs of a stuffy Asian night, everyday details are concentrated in the first, longest sentence, which occupies 11 lines out of 15. This life is simple (clay cup, towel, candle), but the night makes the surrounding space fabulous, enchanted (the moon turns into a chunk of Chardzhui melon; the cat looks like the eye of centuries).

The loneliness that the heroine experiences is not painful, not tormenting, not scary. Every now and then, motifs of “pleasant” arise in the poem: in the midst of closeness, the water remains cold, the snow of the towel does not melt, the candle burns and calls the moths, as in childhood, and even the blackness of the corners, curled up, hides back. “But I won’t startle, I won’t even be afraid”, “I will sleep sweetly” - the heroine, like the house itself, is enchanted by the loneliness that caught her in the net.

Motives of insomnia, loneliness at night are found in many works of Russian poetry. You can draw for comparison “Poems composed at night during insomnia” by A. Pushkin, “I go out alone on the road ...” M. Lermontov, “On a haystack at southern night ...” A. Fet, “Night, street, lamp, pharmacy…” A. Blok, “Insomnia. Homer. Tight sails ... "O. Mandelstam.

Work number 3.

Read the poem below and complete tasks B8-B12; С3-С4

So many requests from my beloved always!

A loved one does not have requests.

How glad I am that today the water

Freezes under colorless ice.

And I will become - Christ, help me! -

On this cover, light and brittle,

And you take care of my letters,

For posterity to judge us

To be clearer and clearer

You were visible to them, wise and brave.

In your glorious biography

Is it possible to leave spaces?

Too sweet earthly drink

Love networks are too dense.

May someday my name

Children read in the textbook

And, having learned the sad story,

Let them smile slyly...

Not giving me love and peace,

Give me bitter glory.

1913

AT 8. Write out two antonyms from the first two lines of the poem, which allow you to designate the contrast between the two states of the heroine - past and present (write out the words in the nominative case).

AT 9. What is the name of the technique of internal figurative comparison of objects and phenomena (we meet it, for example, in the phraselove nets )?

AT 10 O'CLOCK. Indicate the name of the syntactic device, which consists in repeating the same word at the beginning of poetic lines (to... to... too... too... let... let... ).

AT 11. What is the name of a similar arrangement of elements of speech in adjacent lines (we see it, for example, here: “Earthly drink is too sweet, // Love nets are too dense”)?

B12. The poem is written in anapaest. Only once this size is violated: an unstressed syllable is skipped in one of the feet, and the anapaest turns into a trochee. This is a characteristic rhythmic technique of Akhmatova, who often used the dolnik - a size that combines two- and three-syllable feet. Indicate with a number the number of the stanza in which the choreic foot occurs.

C3. What are the features of staging the theme of love, traditional for lyrics, in this poem?

C4. Do you agree with the words of Osip Mandelstam, “Akhmatova brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the 19th century”? Justify your answer.

Answers and comments

B8 beloved, beloved

B9 metaphor

B10 anaphora; unity of command

B11 parallelism; syntactic parallelism

B12 3

Tasks С3–С4.

Speaking about an early poem by Akhmatova (included in the collection "Rosary"), students can rely on the statement of O. Mandelstam: "Akhmatova brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the 19th century." Before us is the denouement of the drama between two people who loved each other. The heroine (we note that most love poems are written by men and convey their point of view) is abandoned, abandoned (one of the frequent motives of early Akhmatova). However, she experiences this state courageously. The restraint of intonation is occasionally interrupted by irony (3rd stanza), then bitterness (5th stanza). The tragedy of the poem is muted; a short prayer-call (“Christ help!”) side by side with joy (“how glad I am”), “a sad story” with a “sly smile”. From all these interweavings, the complexity noted by Mandelstam is born - and a sense of psychological authenticity.

What caused the breakup, how the addressee of the poem experiences it, how the relationship between the hero and the heroine developed in the past - all this can only be guessed at. The psychological background of the poem is so diverse that it can really contain the content of a whole novel. Schoolchildren can note the roll call with "Eugene Onegin", "A Hero of Our Time", "Oblomov", the novels of Turgenev and Tolstoy, in which the characters explain themselves to each other, part, experience the torment of unrequited or lost love.

Work number 4.

Read the poem below and complete tasks B8-B12; С3-С4

... I had a voice. He called comfortingly
He said, "Come here
Leave your land, deaf and sinful,
Leave Russia forever.

I will wash the blood from your hands,
I will take out black shame from my heart,
I will cover with a new name
The pain of defeat and resentment.

But indifferent and calm
I covered my ears with my hands
So that this speech is unworthy
The mournful spirit was not defiled.

B8 . Name the means of artistic expression, which A. A. Akhmatova repeatedly resorts to in her poem ("deaf and sinful land", "black shame", etc.).

The task has an example of using this means of artistic expression, it helps us a lot to determine it. "deaf and sinful land", "black shame" - figurative definitions appear - epithets. Answer: epithet.

AT 9 . What term denotes the same beginning of adjacent lines in a lyrical work (Leave your land deaf and sinful, / Leave Russia forever)?

Here the same beginning of adjacent lines "Leave". Monotony, the repetition of a word or group of words at the beginning of several lines, stanzas is called an anaphora. Answer: anaphora.

AT 10 O'CLOCK. What is the name of the stylistic device that enhances the sound expressiveness of the verse (The mournful spirit was not defiled)?

We carefully read the question. "Increasing sound expressiveness." The emphasis here is on sounds, more specifically, on the consonant sounds “s”, “k” and “r” (read the line with expression!). Alliteration is the repetition of identical or homogeneous consonants in a verse, giving it a special sound expressiveness. Sound writing - the use of a variety of phonetic techniques to enhance the sound expressiveness of speech. The answer can be both alliteration and sound writing, but sound writing is a broader concept, it includes both assonance (repetition of vowel sounds) and alliteration (repetition of consonant sounds), therefore, looking at our example, we choose alliteration. Answer: alliteration.

B11. Indicate the term denoting the consonance of the ends of poetic lines (consolingly - sinful; here - forever).

B12. What size is Anna Akhmatova's poem "... I had a voice. He called consolingly ..."?

C3 . What is the inner image of the lyrical heroine in A. A. Akhmatova's poem "... I had a voice. He called consolingly ..."?

C4 . Which of the Russian poets turned to the patriotic theme in their work and what brings their works closer to the poem by A. A. Akhmatova?

Work number 5.

Read the poem below and complete tasks B8-B12; С3-С4

The heart beats evenly, measuredly.
What a long year to me!
After all, under the arch on Galernaya
Our shadows forever.

Through drooping eyelids
I see, I see you with me
And in your hand forever
My unopened fan.

Because they got close
We are in a blissful moment of miracles,
At the moment when over the Summer Garden
The pink month has risen, -

I don't need expectations
At the disgusting window
And tedious dates.
All love is quenched.

You are free, I am free
Tomorrow is better than yesterday,
Above the dark-water Neva,
Under a cold smile
Emperor Peter.

A.A. Akhmatova, 1913

Determine the meter.

Answer:

Determine the type of rhyme 1-4 stanzas.

Answer:

What poetic trend of the beginning of the 20th century is traditionally attributed to the early work of A. Akhmatova?

Answer:

What literary technique did the poetess repeatedly use (for example, in the second line of the second stanza and in the first line of the last stanza)?

trochee

cross

B10

acmeism

B11

repeat

B12

inversion

C3. Why is a poem that talks about love, A.A. Akhmatova calls "Poems about Petersburg"?

C4. In the work of which Russian poets does love appear not as a momentary feeling, but rises above time and space, and in what ways can their works be compared with Akhmatova's poem?

Work number 6.

Song of the last meeting

So helplessly my chest went cold,

But my steps were light.

I put on my right hand

the handle from the left hand.

It seemed that many steps

And I knew there were only three of them!

Autumn whisper between the maples

He asked: "Die with me!

I'm deceived by my despondent,

Changeable, evil fate."

I said, "Darling, dear!

And me too. I'll die with you..."

This is the song of the last meeting.

I looked at the dark house.

Candles burned in the bedroom

Indifferent yellow fire.

(A. Akhmatova, 1911)

AT 8. What accessory detail of the “material world” does A. Akhmatova make a psychological “sign of trouble”?

AT 9. The images of what closed spaces are deliberately highlighted by the author of the poem with the help of a “light” detail?

AT 10 O'CLOCK. The work creates a situation of speech communication: “Among the maples, an autumn whisperasked : "Die with me ..." - Ianswered : "Darling, dear ...". What is the name of the form of speech, in which the statement, addressed directly to the interlocutor, is limited in content to the topic of the conversation and is clearly associated with the situation?

AT 11. What is the name of the technique, which consists in replacing a word with a descriptive expression indicating artistically important properties, qualities, signs of an object or phenomenon ("whisper of autumn" )?

AT 12 . What means of artistic depiction allows the author to liken natural phenomena to a person, endowing them with thoughts, feelings, and even “fate”?

C3. On the example of this poem, prove the validity of the statement of K. Chukovsky: A. Akhmatova "The first one discovered that it is poetic to be unloved."

C4. Poems by A. Akhmatova are often called the lyrics of deceived female love. In what works of Russian poetry does the male version of the “last meeting” theme sound and how does it differ from the “female” version of A. Akhmatova?

A. Pushkin "I loved you ...", A. Blok "About valor, about feat, about glory ...", I. Bunin "Loneliness".

Answers and comments

B8 - glove

B9 - house, bedroom

B10 - dialogue

B11 - paraphrase (paraphrase)

B12 - personification

C3. "The Song of the Last Meeting" (1911), according to some memoirists, made the poetess famous. V. Ivanov called this poem an event in Russian poetry. Defining the main theme of A.A. Akhmatova as “the torment of hopeless love”, K.I. Chukovsky rightly noted the poet’s inclination to the motives of separation, non-meeting, dislike. In terms of the level of drama in the "Song ..." there is something Bunin. Specific details: light steps, steps, maples, a glove on the left hand, a bedroom, candles - convey a desire to get away from what happened, to get away from what has been experienced into the ordinary. The only abstract image - "autumn whisper" - carries away into oblivion. Awareness of one's helplessness leads to physical insensitivity. The indifferent silence of the human world determines the dialogue with nature. “The greatest talent to feel loved, unloved, unwanted, rejected” is most fully embodied in this poem. N.S. Gumilyov wrote about the “wonderful youthful pessimism” of Akhmatova, who made “pain, longing, death” the key words of her lyrics.

C4. The situation of the “last meeting”, farewell to the beloved is also presented in the poem “The Beggar” by M.Yu.

So my feelings are the best

Deceived forever by you!

In the poem “Repeating the words of parting ...”, addressed to V.A. Lopukhina, the poet, on the contrary, assures:

I buried the past forever

And no worries about the future.

The beloved tries to bring back the memory of their feelings, but for the hero it's all over.

S.A. Yesenin in "Letter to a Woman" recalls parting with his beloved through the prism of philosophical reflections about his life. The events of history and personal life are closely connected, the poet does not blame his beloved, but in Pushkin's nobility wishes her happiness.

The “last cry” of “offended complaints” sounds from the lips of the hero V.V. Mayakovsky in the poem “Lilichka!”. Huge love fills the entire street space, the “crowned” beloved cannot hide from her:

Except your love

to me

no sea...

The lyrical hero resigns himself to the inevitable parting and asks to “pave with the last tenderness” the “leaving step” of his beloved.

Unlike A. A. Akhmatova, her predecessors and followers throw fair and unfair reproaches to their beloved, accuse, convince, pray; they are wordy, the laconism and emotional restraint of the "Song of the Last Meeting" is alien to them.

Work number 7.

Read the poem below and complete tasks B8-B12; C3-C

Creation

It happens like this: some kind of languor;
In the ears the clock does not stop;
In the distance, a rumble of fading thunder.
Unrecognized and captive voices
I feel both complaints and groans,
Some kind of secret circle narrows,
But in this abyss of whispers and calls
There is one all victorious sound.
So irremediably quiet around him,
What is heard, how grass grows in the forest,
How famously he walks on the ground with a knapsack.
But the words have already been heard
And light rhymes alarm bells -
Then I begin to understand
And just dictated lines

A.A. Akhmatova

B8

What literary trend that appeared in Russia at the beginning of the 20th century does the poetic work of A. Akhmatova belong to?

Answer:

B9

What is the name of a combination of poetic lines fastened together by a common rhyme and intonation?

Answer:

AT 10 O'CLOCK

What artistic technique does the poetess resort to: "So around it is uniquequiet , // What is heard, how grass grows in the forest »?

Answer:

B11

What is the name of the technique of poetic sound writing, based on the repetition of consonant sounds and giving the verse a special musicality?

Answer:

B12

Determine the size of A. Akhmatova's poem.

acmeism

stanza

B10

hyperbola

B11

alliteration

B12

iambic

C3. What, according to Akhmatova, is the true nature of inspiration?

The theme of poetic inspiration is central in the poem "Creativity". It is literally filled with descriptions of the sounds and movements of the surrounding world, which are replaced by “one sound that conquers everything”, analogies with music are born, but it also talks about ways of reflecting the world that are inaccessible to music: grass grows." The richer the soul of the poet, the more diverse his description of the infinitely rich "life of the human spirit." But from all this the poet extracts a complete theme - “one sound that conquers everything”.

In a poemAkhmatova strives to capture and capture that elusive moment when a verse is born from a formless tangle of impressions and sounds, therefore chaos, confusion, a multifaceted abundance of images dominate in the poem. The poetess in her poem says that poems are born from the ordinary that surrounds us every hour. The main “secret of the craft” is not in the complexity and intricacy of the embodiment of the idea, but in seeing beauty and poetry in the simplest things, and this is exactly what Pushkin taught the poet.

But the mystery of poetry still exists, although not everyone can unravel it: everything in poetry is “inappropriate” - illogical, there is no rational explanation, inspiration is an irrational feeling, a kind of revelation. Beauty lurking in everyday life is not available to everyone. (See below).

C4. Which of the Russian poets turned in their work to the theme of the poet and poetry, and in what ways are their poems in tune with A. A. Akhmatova's "Creativity"?

In the poem "Prophet" Pushkin told us about how "they begin to live in verse", and this happens from the birth of an inner vision that pushes the usual framework for seeing the world. This Pushkin tradition is inherited by A. Akhmatova and is found in the quatrain:

The poet is not a man, he is only a spirit -

Be blind like Homer

Or, like Beethoven, deaf, -

Sees everything, hears everything, owns everything.

Akhmatova enhances Pushkin's "inner insight" motif with physical stunning ("like Beethoven, deaf") and blinding ("Be blind like Homer").

The poet is called upon by his prophetic word to awaken the hearts of people to goodness and noble impulses. Such is the high humanistic vocation of the poet and such is the main idea of ​​Pushkin's poem "The Prophet".

In the poem “I so prayed:“ Satisfy ... ”Akhmatova’s lyrical heroine turns to God, waiting for the touch of heavenly fire, which will save her from “dumbness”, fill her with the ability to create.

Pushkin's idea of ​​the heightened perception of the world by the poet is reflected in the work of V. Mayakovsky: in the poem "A Cloud in Pants" a metaphorical image of a "solid heart" appears.

About his poetic inspiration, Pushkin says: "And the solitary excitement was sweet to me in hot thoughts." In another, more detailed description of poetic inspiration ("Autumn"), it is said that the "lyrical excitement" of the creative soul, seeking, "as in a dream", "to pour out at last with free manifestation", is resolved by a meeting between thoughts and rhymes: "thoughts in the head are agitated in courage, and light rhymes run towards them. His testament to the poet is to follow the free path, where his free mind leads, "improving the fruits of free thoughts", and the meaning of his own life amidst sorrow, labor and grief is "to live in order to think and suffer." (S. Frank).

Pushkin's traditions are most clearly revealed in the poems of Anna Akhmatova, dedicated to the birth of creative inspiration, the glorification of the artist's spiritual freedom of speech, in poems that touch upon the problem of the poet and power, and, of course, the theme of the monument, the immortality of the poet.The process of creativity appears to the heroine as a kind of languor, a dream, a vision in which words and rhymes gradually appear, and then

And just dictated lines

Lie down in a snow-white notebook.

Akhmatova is characterized by a religious worldview. In a Christian way, she perceives her poetic gift - this is God's greatest mercy for her and God's greatest test, the poet's way of the cross (as for B. Pasternak and O. Mandelstam). Through the trials that befell Akhmatova, she passed courageously and proudly. The poet, like the Son of Man, suffers for all mankind; only after completing the Way of the Cross does the poet acquire a voice and the moral right to speak with his contemporaries and with those who will live after him.

Following Blok, we can say, now in relation to the work of Akhmatova, that in her poems "sworn enemies miraculously shake hands with each other: beauty and benefit." The pinnacle of the human spirit, the beauty of the soul and the poetic word, "benefit" for those who choose their own path in life - all this is in her poems.

In Tsvetaeva's understanding, a creative person is lonely. This is guessed in many poems, and in some it is announced publicly (“Poets”, “Roland's horn”). And yet the loneliness of the poet is not absolute: he always has a devoted friend - the reader. Often Tsvetaeva's poems are based on dialogue, on full communication with the person who has picked up her book. The poetess refers to the person to whom the poem is dedicated, to an unfamiliar reader, or even to an unborn one (“You - in a hundred years”). Even if there is no direct appeal in the poem, it is still designed for a reaction, for sympathy, for a response.

Poets, reflecting on their destiny, tend to turn to the Muse. Tsvetaeva rarely mentions the Muse, casually, as if she does not see her special merit in her work. Interestingly, in the poems addressed to Akhmatova, she is called the “Muse of Lamentation”. One must think that Tsvetaeva considered Akhmatova her inspiration and had the courage to admit it. There are few appeals to the Muse: Tsvetaeva does not rely on her - on herself. She strives for constant self-improvement, because in this she sees a way to develop her creativity, from which you can’t hide anywhere anyway (“The Table”). The poetess is “nailed” to the desk throughout her career, and creativity has no limits. But for Tsvetaeva, this is not a yoke, but, on the contrary, “a refuge from wild hordes.” She can always take refuge in creativity, as in a safe harbor, and at the same time, without hiding, say what she wants to say.

In the 1930s, Akhmatova created the cycle “Secrets of the Craft. In it, she talks about her poetic vocation. The very names of the poems are characteristic - "Muse" and "Creativity". The poetess wrote poems about the muse long ago, even before the revolution. However, her image is gradually changing: either she walks along the autumn road (“The Muse left along the road ...”), then she appears in a holey scarf, then she enters into a conversation with the lyrical heroine. In the considered poem "Muse", she is called "a nice guest with a pipe in her hands."

But at the end of the 30s, Akhmatova began to describe and consider the very process of poetic creativity. The same theme is developed by the poem "Creativity". It is literally filled with descriptions of the sounds and movements of the surrounding world, which are replaced by “one sound that conquers everything”, analogies with music are born, but it also talks about ways of reflecting the world that are inaccessible to music: grass grows." The richer the soul of the poet, the more diverse his description of the infinitely rich "life of the human spirit." But from all this the poet extracts a complete theme - “one sound that conquers everything”.

Akhmatova strives to capture and capture that elusive moment when a verse is born from a formless tangle of impressions and sounds, therefore chaos, confusion, a multifaceted abundance of images dominate in the poem.

I don't need odic ratis
And the charm of elegiac undertakings.
For me, in poetry everything should be out of place,
Not like people do.

When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.

An angry cry, a fresh smell of tar,
Mysterious mold on the wall...
And the verse already sounds, fervent, gentle,
For the joy of you and me.

A poem by A.A. Akhmatova“I don’t need odic ratis…” is part of the "Secrets of the Craft" cycle. This name will determine the topic of the conversation, since Akhmatova writes in it about the essence, nature of poetry, about how poetic works are born, what is the nature of inspiration, about who a poet is, about a muse and a reader. The title "Secrets of the Craft" reflects an unconventional perception of poetry: in the meaning of the word "craft" there is something objective, too mundane. In these verses, Akhmatova is faithful to the traditions of the poetic direction to which she belonged - acmeism: verbal art is perceived by acmeists as a craft in which one can achieve the highest level of mastery of the poetic word. The very name of the association of acmeists - "Poets' Workshop" - gives rise to associations with a craft workshop.

So what “secrets of the craft” of Akhmatova can be discovered by analyzing this poem?It is written very simply, we find colloquial constructions in it: “not like people have”, “I don’t need anything”, “for the joy of you and me”, “for me”. And the stanza in the poem is constructed in such a way as to give the impression of colloquial speech. This feeling arises due to the fact that the first three verses are written in iambic pentameter, and the fourth verse of each stanza is in trimeter. The intonation drops sharply towards the end of the stanza, the brevity of the last verses in the stanza rhythmically highlights them.

“Odic rati”, “the charm of elegiac inventions” - these phrases of the first two verses of the first stanza stylistically contrast with the deliberately reduced vocabulary of the entire poem. If we consider the objective world, the space of the poem, we will also see images that are not traditional for this topic.

There is too much objective, material, low and everyday: rubbish, dandelion, fence, mugs and quinoa, an angry shout, tar, mold. This manifests both a tendency, characteristic of all acmeist poets, to depict simple, sometimes unpoetic objects, to simplicity and purity of language, clarity of meaning, and Akhmatova’s love for substantive, everyday details.

The poetess in her poem says that poems are born from the ordinary that surrounds us every hour. The main “secret of the craft” is not in the complexity and intricacy of the embodiment of the idea, but in seeing beauty and poetry in the simplest things, and this is exactly what Pushkin taught the poet.

But the mystery of poetry still exists, although not everyone can unravel it: everything in poetry is “inappropriate” - illogical, there is no rational explanation, inspiration is an irrational feeling, a kind of revelation. Beauty lurking in everyday life is not available to everyone.

And after the poems are written, they begin to live an independent life in some way: they are alive, they have their own will, this is emphasized by a detailed personification - “grow ... without shame.” “Knowing no shame” are ready to talk about everything, hiding nothing, poetry - that is, a poet. Adam and Eve created by the Creator did not know shame. The emergence of this association (Creator - Poet - a person endowed with a divine gift) is justified by the use of the word "know".

Written by a “craftsman” poet, “the verse already sounds fervent, gentle,” it comes into being not to solve some practical problems, but “to the delight of you and me.” So, following Pushkin, Akhmatova affirms the intrinsic value of poetry. In poetry, Pushkin believes, there is no need to look for practical benefits. The good is in her. And those who are given to hear true poetry will hear it.

When would you know from what rubbish

Poems grow without shame...

For a poet, any life “rubbish” must turn into a lyrical situation. Poems grow from the prose of life, from the black soil of everyday life, and this is the true essence of art. The poet from everywhere, "left and right", "without a sense of guilt", borrows themes and images of his poetry. It should be clear and open to the world and the reader, “open wide”. The world must fully enter into the verses, everything wordless must be embodied in them:

Much more probably wants

That which, wordless, rumbles,

Or in the darkness the underground stone sharpens ...

That is why the "sacred craft" of the poet exists: with him and without light, the world is light.

In the poem "Pushkin" Akhmatova speaks of the price the poet pays for fame, for the freedom of creativity. prayer(“And Smolenskaya is now a birthday girl”) escorts another Russian poet, Alexander Blok, to Akhmatov's last journey. The poet of the Silver Age is buried "in a silver coffin." For Russia, he is “our heart extinguished in flour”, “a pure swan”. "The sun of Russian poetry" we call Pushkin. Using the symbol of the Sun, Akhmatova brings together two great poets, two Alexanders, whose lives were tragically cut short. Lament for the dead, pray for the departed. The motive of reconciliation and forgiveness in this poem also reveals the Pushkin, Christian foundations of Akhmatova's work.

“And Smolenskaya is now a birthday girl ...”

And Smolenskaya is now a birthday girl,

Blue incense spreads over the grass.

And the dirge song flows,

Not sad now, but bright.

And bring ruddy widows

In the cemetery of boys and girls

Look at my father's graves

And the cemetery is a nightingale grove,

From the radiance of the sun froze.

We brought the Smolensk intercessor,

Brought to the Blessed Virgin Mary

On the hands in a silver coffin

Our sun, extinguished in flour,

Alexander, pure swan.

1921

Pushkin themeimmortality of poetry, monument the poet is further developed by Akhmatova in the poem "Requiem":

And if ever in this country

They will erect a monument to me,

I give my consent to this triumph,

But only with the condition - do not put it

Not near the sea where I was born:

The last connection with the sea is broken,

Not in the royal garden at the treasured stump,

Where the inconsolable shadow is looking for me,

And here,where I stood for three hundred hours

And where the bolt was not opened for me.

Then, as in blissful death I fear

Forget the rumble of black marus.,

Forget how hateful squelched the door

And the old woman howled like a wounded animal.

Pushkin contrasted the recalcitrant poet with the sovereign pillar.

Akhmatov's poet opposes the all-powerful prison. Her literary monument has no likeness. Requiem is a funeral mass, a Catholic service for the deceased, and in literal translation - a request for peace.

10 poems that are perceived as small chapters, and their frames in the form of: "Instead of the preface", "Dedication", "Introduction", as well as "Epilogue", consisting of 2 parts. All of them were written at different times: 1935 - 1940. Epigraph - 1961.

As is now well known, the 1930s were marked in the history of our country by cruel lawlessness, arrests and executions of innocent people who were declared "enemies of the people." "The time was apocalyptic. Trouble followed us all," Akhmatova later wrote in her memoirs of O. Mandelstam. The poem was written in 1935-1940. Akhmatova was afraid to write down poetry and therefore told new lines to her friends (in particular, Lydia Chukovskaya), who then kept the Requiem in memory. So the poem survived for many years when its printing was impossible.

Since the 1960s Akhmatova's "Requiem" was distributed in samizdat. Separate chapters were printed during the "thaw".

In the life of Anna Akhmatova herself, these terrible years also entered into a huge misfortune: in 1935 he was arrested on false charges, sentenced first to death, and then exiled to Siberia, her son, Lev Gumilyov.

At the same time, her third husband, art professor N. N. Lunin, was arrested. Akhmatova then spent 17 months in prison queues, waiting for a terrible sentence:

I've been screaming for seventeen months

I'm calling you home

I threw myself at the feet of the executioner,

You are my son and my horror.

She actually had to "throw" at the feet of the "bloody executioner's doll", when among the charges brought against Lev Gumilyov, there was this: "the mother allegedly persuaded him to kill Zhdanov - to avenge his father who was shot." “It was then that Akhmatova wrote a letter to Stalin in order to courageously ward off this terrible slander that threatened him with death from herself and her son: “We all live for the future, and I don’t want such a dirty stain left on me.”

Oddly enough, the letter had its effect: Lev Gumilyov was released for a while (but arrested again in 1938, exiled to the Turukhansk Territory, from where he volunteered for the front in 1944).A high sense of moral responsibility to her contemporaries as a poet and citizen helped her and gave her the strength to rise above her personal grief and express all the tragic catastrophe of her era. And although sometimes she wrote that she "did not want to sing to the sound of prison keys", in "this horror" of torture, exile and executions, but it was at that time that she began to write her "Requiem", which became a monument to all victims of repression and her civilians. feat.

Composition.

The poem has a ring structure, which makes it possible to correlate it with Blok's "Twelve". The first two chapters form the prologue, and the last two form the epilogue.

The prologue is followed by the first four chapters. These are the original voices of mothers from the past - the times of the Streltsy rebellion, her own voice, a chapter as if from a Shakespearean tragedy, and, finally, Akhmatova's own voice from the 10s.

Chapters V and VI are the culmination of the poem, the apotheosis of the suffering of the heroine.

The next four verses deal with the theme of memory.

The poem has a complex structure. It is preceded by an epigraph taken from a poem by Akhmatova herself in 1961, when she was preparing the text for publication:

No, and not under an alien sky,

And not under the protection of alien wings, -

I was then with my people,

Where my people, unfortunately, were.

"Dedication"

And the people, mostly women, including Akhmatova herself, were then, in the "terrible years of Yezhovism," in prison queues. Once, "identifying" in these queues, she was asked if she could describe everything, and she replied: "I can."

To them, to her "involuntary girlfriends... of those rabid years", Akhmatov sends "farewell greetings" in "Dedication" to the poem, creating which she fulfills her promise to them and her civic, human duty to the memory of the dead and to the court of descendants.

And innocent Russia writhed

Under the bloody boots

And under the tires of black marus.

In the main parts of the poem following the "Introduction", the author recreates the tragic atmosphere of that time, which she called with just a single word in a metaphorical meaning - "Night".

His terrible signs are Crosses, one of the many prisons in Leningrad ("how many innocent lives end there"), and "the rumbling of black marus" (that is, black cars that transported those arrested at that time), and "severe cold" in prison lines at the "red blinded walls", and a meeting "behind the prison gates" with "the words of the last consolations", and "the son's terrible eyes - petrified suffering", and entire "convicted regiments", and "a short song of parting", which "locomotive whistles sang ".

And against this catastrophic background of time, "when the epoch is being buried" (according to Akhmatova herself), the voice of the lyrical heroine of the poem sounds on a high tragic note. Akhmatova uses the form of peasant funeral lamentation in the poem as an expression:

They took you away at dawn
Behind you, as if on a takeaway, I walked,
Children were crying in the dark room,
At the goddess, the candle swam.

And speaking of her own grief, Akhmatova resorts to the style and rhythm of a lullaby (behind which for her there are pictures of a recent peaceful family life), which, in contrast, emphasizes all the pain of her current loneliness and orphanhood:

The quiet Don flows quietly,

The yellow moon enters the house.

Husband in the grave, son in prison,

Pray for me.

The image of a star as a heavenly sign of bloody misfortune is repeated three times in the poem: the "death star" - the "Polar star" over the Yenisei link - "a huge star" that "threatens with imminent death." This is how the recurring theme of violent and inevitable death enters the Requiem. Either this is “deadly longing”, then “deadly sweat on the forehead”, then the grave and “cense ringing”, then the heart from which “life is ... taken out with pain”, then execution, then the executioner. Even death seems “simple and wonderful” to a person, because there is no strength to live in this “horror”. In one of the chapters of the poem, the lyrical heroine, addressing "To death", asks her: "I am waiting for you - it is very difficult for me."

In chapter X, entitled "Crucifixion", the theme of a woman losing her only son sounds (which is emphasized by the epigraph: "Do not cry for Me, Mati, see in the grave ..."). Akhmatova uses the well-known biblical episode of the death of Jesus Christ in front of his mother, who appears here as a statue of sorrow, orphanhood, pride and courage:

And to where silently Mother stood,

So no one dared to look.

Images of the Virgin, church symbols of the Crucifixion. These images do not appear here by chance: they act as signs of high tragedy, the general popular feeling of the immensity and innocence of suffering.

Akhmatova draws in the 1st part of the Epilogue, as it were, a collective portrait of all mourning women, whose faces “fall off”, “fear”, “suffering”, “a smile fades on their lips”, “in laughter .. . trembles fear". These are no longer faces, but some faces of the holy martyrs.

"Epilogue". Akhmatova's lyrical heroine feels her blood connection with them both as a mother and as a citizen poet: "I see, I hear, I feel you." Through her lips in the poem, the whole mother Russia really "screams" in pain, for Akhmatova managed through her own suffering to realize and capture in the "Requiem" a whole tragic era in the life of the country:

It was when I smiled

Only the dead, glad for peace,

And dangled with an unnecessary pendant

Near the prisons of their Leningrad.

Monument theme.

Giving "consent" to the erection of the monument, Akhmatova puts one essential condition: a monument to her should be erected only at the prison walls, where she, like everyone else, "did not open the bolt", on the banks of her native Neva. In 2006, opposite the famous "crosses" monument to Anna Akhmatova. Sculptor Galina Dodonova.

Along with such well-known works today as the books of A. Solzhenitsyn, Yu. Dombrovsky, V. Shalamov, A. Dudintsev, L. Chukovskaya, Akhmatova’s lyric poem is a worthy and high monument to all those who lived, who suffered and died in that terrible era of Stalinist stagnation. It can be likened to "prayer to the most pure word" in the name of all those who suffered then:

And I'm not praying for myself alone

And about everyone who was there with me.

The post-war years began dramatically for Akhmatova: in PocThe formation of the Central Committee of the All-Union Communist Party of Bolsheviks about the magazines Zvezda and Leningrad, her poetry will be called "bourgeois and decadent." It is not reprinted. But she is working on the Poem, which consists of three differently written parts: "Petersburg Tale", "Tails" and "Epilogue". She herself chose her fate, she was firmly convinced that Russia, Pushkin, her few friends could not be taken away from her, that it was very difficult to do good, but she did it. To earn a living, she was engaged in translations, lived with friends.

And only in her declining years Akhmatova was surrounded by attention. Her scientific works dedicated to A. Pushkin, poetic creativity were evaluated. She received a high award in Italy and a doctorate from Oxford University, visited Italy, England, France. Books are published, creativity is studied precisely because her poems contain dignity, sadness, beauty, high freedom of human communication.

I am your voice, the heat of your breath.

I am a reflection of your face.

Vain wings flutter in vain,

After all, I'm with you to the end.

That's why you love so greedily

me in sin and my weakness.

That's why you gave recklessly

To me the best of your sons.