The meaning of the title of the poem Requiem briefly. The meaning of the title of Akhmatova's poem "Requiem", a reflection of personal tragedy and national grief in it

• Category: Russian literature of the 20th century

Anna Akhmatova's poem Requiem, piercing in terms of the degree of tragedy, was written from 1935 to 1940. Until the 1950s, the poet kept her text in memory, not daring to write it down on paper so as not to be repressed. Only after Stalin's death was the poem written down, but the truth contained in it was still dangerous, and publication was impossible. But "manuscripts do not burn", eternal art remains alive. Akhmatova's poem "Requiem", containing the pain of the hearts of thousands of Russian women, was published in 1988, when its author had been dead for 22 years.

Anna Akhmatova, together with her people, went through a terrible time of "universal dumbness", when torment is overwhelmed, becomes unbearable, and it is impossible to scream. Her fate is tragic. Akhmatova's husband, the remarkable Russian poet Nikolai Gumilyov, was shot in 1921 on false charges of plotting against the new Bolshevik government. Talent and intelligence were persecuted by Stalin's executioners to the tenth generation. Usually, after the arrested person, his wife, ex-wife, their children and relatives went to the camps. The son of Gumilyov and Akhmatova Lev was arrested in the thirties and again on false charges. Akhmatova's husband, N. N. Punin, was also arrested. Arbitrariness reigned in the country, an atmosphere of unbearable fear was escalating, and everyone was waiting for arrest.

The name "Requiem", which means "a funeral mass", very accurately corresponds to the feelings of the poetess, who recalled: "In the terrible years of Yezhovshchina, I spent seventeen months in prison queues in Leningrad."

I was then with my people,

Where my people, unfortunately, were.

In the poem, Akhmatova speaks on behalf of millions of people who did not understand what their relatives were accused of, tried to get at least some information about their fate from the authorities. The “stone word” sounded to the mother the death sentence for her son, later replaced by imprisonment in the camps. For twenty years, Akhmatova was waiting for her son. But even this was not enough for the authorities. In 1946, persecution of writers began. Akhmatova and Zoshchenko were sharply criticized, their works were no longer published. A strong-willed poetess withstood all the blows of fate.

The poem "Requiem" expresses the immeasurable grief of the people, the defenselessness of people, the loss of moral guidelines:

Everything is messed up,

And I can't make out

Now who is the beast, who is the man,

And how long to wait for the execution.

Akhmatova, like no one else, was able to express the extreme state of mind of a person in capacious, short lines of her poems. The situation of hopelessness, doom and absurdity of what is happening makes the author doubt his own mental health:

Already madness wing

Soul covered half

And drink fiery wine

And beckons to the black valley.

And I realized that he

I must give up the victory

Listening to your

Already as if someone else's delirium.

There is no hyperbole in Akhmatova's poem. The grief experienced by the "hundred-million people" can no longer be exaggerated. Fearing to go crazy, the heroine inwardly withdraws from the events, looks at herself from the side:

No, it's not me, it's someone else suffering.

I couldn't do that, but what happened

Let the black cloths cover

And let them carry the lanterns ...

The epithets in the poem increase the aversion to terror against their own people, evoke a feeling of horror, describe desolation in the country: “mortal anguish”, “innocent” Russia, “heavy” footsteps of soldiers, “petrified” suffering. The author creates an image of a “red blind” wall of power, against which the people are beating in the hope of justice:

And I'm not praying for myself alone

And about everyone who stood there with me

And in severe hunger, and in the July heat

Under the blinding red wall.

In the poem, Akhmatova uses religious symbols, for example, the image of the mother of Christ, the Mother of God, who also suffered for her son.

Having survived such grief, Akhmatova cannot be silent, she testifies. The poem creates the effect of polyphony, as if different people are speaking, and the replicas are hanging in the air:

This woman is sick

This woman is alone

Husband in the grave, son in prison,

Pray for me.

There are many metaphors in the poem that amaze with skill and strength of feelings and will never be forgotten: “mountains bend before this grief”, “death stars stood above us”, “... and burn New Year’s ice with their hot tear”. The poem also contains such artistic means as allegories, symbols, personifications. All of them create a tragic requiem for all the innocently killed, slandered, lost forever in the "black convict holes".

The poem "Requiem" ends with a solemn poem in which one feels the joy of victory over the horror and stupor of many years, the preservation of memory and common sense. The creation of such a poem is a real civic feat by Akhmatova.

Anna Andreevna Akhmatova's poem "Requiem" is based on the personal tragedy of the poetess. The result of the experienced years of Stalinist repressions was a work, the publication of which for a long time was out of the question. We suggest that you familiarize yourself with the analysis of the poem, which will be useful to students in grade 11 in preparing for a lesson in literature and the exam.

Brief analysis

Year of writing- 1938-1940.

History of creation– The history of writing the poem is closely connected with the personal tragedy of the poetess, whose husband was shot during the reaction, and her son was arrested. The work is dedicated to all those who died during the period of repression only because they dared to think differently than the current government demanded.

Topic– In her work, the poetess revealed many topics, and all of them are equivalent. This is the theme of people's memory, grief, maternal suffering, love and homeland.

Composition- The first two chapters of the poem form the prologue, and the last two - the epilogue. The 4 verses following the prologue are a generalization of maternal grief, chapters 5 and 6 are the culmination of the poem, the highest point of the heroine's suffering. The following chapters deal with the theme of memory.

genre- Poem.

Direction- Acmeism.

History of creation

The first drafts of "Requiem" date back to 1934. Initially, Anna Andreevna planned to write a cycle of poems dedicated to the reactionary period. One of the first victims of totalitarian arbitrariness were the closest and dearest people of the poetess - her husband, Nikolai Gumilyov, and their common son, Lev Gumilyov. The husband was shot as a counter-revolutionary, and the son was arrested only because he bore his father's "shameful" surname.

Realizing that the reigning regime is merciless in its bloodthirstiness, Akhmatova after a while changed her original plan and began writing a full-fledged poem. The most fruitful period of work was 1938-1940. The poem was completed, but for obvious reasons not published. Moreover, Akhmatova immediately burned the manuscripts of the "Requiem" after she read them to the closest people whom she trusted without limit.

In the 1960s, during the thaw period, Requiem gradually began to spread among the reading public thanks to samizdat. In 1963, one of the copies of the poem went abroad, where it was first published in Munich.

The full version of "Requiem" was officially allowed to print only in 1987, with the beginning of perestroika in the country. Subsequently, the work of Akhmatova was included in the compulsory school curriculum.

Meaning of the title of the poem deep enough: a requiem is a religious term that means holding a funeral church service for a deceased person. Akhmatova dedicated her work to all the prisoners - the victims of the regime, who were destined for death by the ruling power. This is the heartbreaking groan of all mothers, wives and daughters, seeing off their loved ones to the chopping block.

Topic

The theme of folk suffering is revealed by the poetess through the prism of her own, personal tragedy. At the same time, she draws parallels with mothers of different historical eras, who sent their innocent sons to death in the same way. Hundreds of thousands of women literally lost their minds in anticipation of a terrible sentence that would forever separate her from her loved one, and this pain is timeless.

In the poem, Akhmatova experiences not only personal grief, she is heartbroken for her patronymic, forced to become an arena for senselessly cruel executions of her children. She identifies her homeland with a woman who is forced to look helplessly at the torment of her child.

The poem is beautifully revealed boundless love theme, stronger than which there is nothing in the world. Women are not able to help their loved ones who are in trouble, but their love and loyalty can warm you during the most difficult life trials.

The main idea of ​​the work- memory. The author urges never to forget about the people's grief, and to remember those innocent people who became victims of the merciless machine of power. This part of history, and to erase it from the memory of future generations is a crime. To remember and never allow the repetition of a terrible tragedy is what Akhmatova teaches in her poem.

Composition

Analyzing the work in the poem "Requiem", one should note the peculiarity of its compositional construction, indicating Akhmatova's original intention - to create a cycle of completed individual poems. As a result, one gets the impression that the poem was written spontaneously, in fits and starts, in separate parts.

• The first two chapters ("Dedication" and "Introduction") are the prologue of the poem. Thanks to them, the reader will know what the place and time of the action of the work are.
• The next 4 verses represent historical parallels between the bitter lot of mothers of all times. The lyrical heroine recalls her youth, which did not know any problems, the arrest of her son, the days of unbearable loneliness that followed him.
• In chapters 5 and 6, the mother is tormented by the premonition of the death of her son, she is frightened by the unknown. This is the climax of the poem, the apotheosis of the suffering of the heroine.
• Chapter 7 - a terrible sentence, a message about the son's exile to Siberia.
• Verse 8 - a mother in a fit of despair calls for death, she wants to sacrifice herself, but save her child from the evil fate.
• Chapter 9 - a prison date, forever imprinted in the memory of an unfortunate woman.
• Chapter 10 - in just a few lines, the poetess draws a deep parallel of the suffering of her son with the torment of the innocent crucified Christ, and compares her maternal pain with the anguish of the Virgin.
• In the epilogue, Akhmatova urges people not to forget the suffering that the people endured during those terrible years of repression.

genre

The literary genre of the work is a poem. However, the "Requiem" also has the characteristic features of the epic: the presence of a prologue, the main part of the epilogue, a description of several historical eras and drawing parallels between them.

Anna Akhmatova's poem Requiem, piercing in terms of the degree of tragedy, was written from 1935 to 1940. Until the 1950s, the poet kept her text in memory, not daring to write it down on paper so as not to be repressed. Only after Stalin's death was the poem written down, but the truth contained in it was still dangerous, and publication was impossible. But "manuscripts do not burn", eternal art remains alive. Akhmatova's poem "Requiem", containing the pain of the hearts of thousands of Russian women, was published in 1988, when its author had been dead for 22 years.

Anna Akhmatova, together with her people, went through a terrible time of “universal dumbness”, when torment is overwhelmed, becomes unbearable, and it is impossible to scream. Her fate is tragic. Akhmatova's husband, the remarkable Russian poet Nikolai Gumilyov, was shot in 1921 on false charges of plotting against the new Bolshevik government. Talent and intelligence were persecuted by Stalin's executioners to the tenth generation. Usually, after the arrested person, his wife, ex-wife, their children and relatives went to the camps. The son of Gumilyov and Akhmatova Lev was arrested in the thirties and again on false charges. Akhmatova's husband, N. N. Punin, was also arrested. Arbitrariness reigned in the country, an atmosphere of unbearable fear was escalating, and everyone was waiting for arrest.

The name "Requiem", which means "a funeral mass", very accurately corresponds to the feelings of the poetess, who recalled: "In the terrible years of Yezhovshchina, I spent seventeen months in prison queues in Leningrad."

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

In the poem, Akhmatova speaks on behalf of millions of people who did not understand what their relatives were accused of, tried to get at least some information about their fate from the authorities. The “stone word” sounded to the mother the death sentence for her son, later replaced by imprisonment in the camps. For twenty years, Akhmatova was waiting for her son. But even this was not enough for the authorities. In 1946, persecution of writers began. Akhmatova and Zoshchenko were sharply criticized, their works were no longer published. A strong-willed poetess withstood all the blows of fate.

The poem "Requiem" expresses the immeasurable grief of the people, the defenselessness of people, the loss of moral guidelines:

Everything is messed up forever, And I can't make out Now, who is the beast, who is the man, And how long to wait for the execution.

Akhmatova, like no one else, was able to express the extreme state of mind of a person in capacious, short lines of her poems. The situation of hopelessness, doom and absurdity of what is happening makes the author doubt his own mental health:

Madness has already covered half of the Soul with its wing, And gives fire wine to drink, And beckons to the black valley. And I realized that I must concede the victory to him, Listening to my own, Already, as it were, someone else's delirium.

There is no hyperbole in Akhmatova's poem. The grief experienced by the "hundred-million people" can no longer be exaggerated. Fearing to go crazy, the heroine inwardly withdraws from the events, looks at herself from the side:

No, it's not me, it's someone else suffering. I wouldn't have been able to, but what happened, Let black cloth cover And let the lanterns take away... Night.

The epithets in the poem increase the aversion to terror against their own people, evoke a feeling of horror, describe desolation in the country: “mortal anguish”, “innocent” Russia, “heavy” footsteps of soldiers, “petrified” suffering. The author creates an image of a “red blind” wall of power, against which the people are beating in the hope of justice:

And I pray not for myself alone, but for all those who stood there with me And in the fierce hunger, and in the July heat Under the blinded red wall.

In the poem, Akhmatova uses religious symbols, for example, the image of the mother of Christ, the Mother of God, who also suffered for her son.

Having survived such grief, Akhmatova cannot be silent, she testifies. The poem creates the effect of polyphony, as if different people are speaking, and the replicas are hanging in the air: material from the site

This woman is sick, This woman is alone, Husband in the grave, son in prison, Pray for me.

There are many metaphors in the poem that amaze with skill and strength of feelings and will never be forgotten: “mountains bend before this grief”, “death stars stood above us”, “... and burn New Year’s ice with their hot tear”. The poem also contains such artistic means as allegories, symbols, personifications. All of them create a tragic requiem for all the innocently killed, slandered, lost forever in the "black convict holes".

The poem "Requiem" ends with a solemn poem in which one feels the joy of victory over the horror and stupor of many years, the preservation of memory and common sense. The creation of such a poem is a real civic feat by Akhmatova.

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The meaning of the title of the poem by A. A. Akhmatova "Requiem", a reflection in it of personal tragedy and national grief

Anna Akhmatova's poem Requiem, piercing in terms of the degree of tragedy, was written from 1935 to 1940. Until the 1950s, the poet kept her text in memory, not daring to write it down on paper so as not to be repressed. Only after Stalin's death was the poem written down, but the truth contained in it was still dangerous, and publication was impossible. But "manuscripts do not burn", eternal art remains alive. Akhmatova's poem "Requiem", containing the pain of the hearts of thousands of Russian women, was published in 1988, when its author had been dead for 22 years.

Anna Akhmatova, together with her people, went through a terrible time of "universal dumbness", when torment is overwhelmed, becomes unbearable, and it is impossible to scream. Her fate is tragic. Akhmatova's husband, the remarkable Russian poet Nikolai Gumilyov, was shot in 1921 on false charges of plotting against the new Bolshevik government. Talent and intelligence were persecuted by Stalin's executioners to the tenth generation. Usually, after the arrested person, his wife, ex-wife, their children and relatives went to the camps. The son of Gumilyov and Akhmatova Lev was arrested in the thirties and again on false charges. Akhmatova's husband, N. N. Punin, was also arrested. Arbitrariness reigned in the country, an atmosphere of unbearable fear was escalating, and everyone was waiting for arrest.

The name "Requiem", which means "a funeral mass", very accurately corresponds to the feelings of the poetess, who recalled: "In the terrible years of Yezhovshchina, I spent seventeen months in prison queues in Leningrad."

I was then with my people,

Where my people, unfortunately, were.

In the poem, Akhmatova speaks on behalf of millions of people who did not understand what their relatives were accused of, tried to get at least some information about their fate from the authorities. The “stone word” sounded to the mother the death sentence for her son, later replaced by imprisonment in the camps. For twenty years, Akhmatova was waiting for her son. But even this was not enough for the authorities. In 1946, persecution of writers began. Akhmatova and Zoshchenko were sharply criticized, their works were no longer published. A strong-willed poetess withstood all the blows of fate.

The poem "Requiem" expresses the immeasurable grief of the people, the defenselessness of people, the loss of moral guidelines:

Everything is messed up,

And I can't make out

Now who is the beast, who is the man,

And how long to wait for the execution.

Akhmatova, like no one else, was able to express the extreme state of mind of a person in capacious, short lines of her poems. The situation of hopelessness, doom and absurdity of what is happening makes the author doubt his own mental health:

Already madness wing

Soul covered half

And drink fiery wine

And beckons to the black valley.

And I realized that he

I must give up the victory

Listening to your

Already as if someone else's delirium.

There is no hyperbole in Akhmatova's poem. The grief experienced by the "hundred-million people" can no longer be exaggerated. Fearing to go crazy, the heroine inwardly withdraws from the events, looks at herself from the side:

No, it's not me, it's someone else suffering.

I couldn't do that, but what happened

Let the black cloths cover

And let them carry the lanterns ...

The epithets in the poem increase the aversion to terror against their own people, evoke a feeling of horror, describe desolation in the country: “mortal anguish”, “innocent” Russia, “heavy” footsteps of soldiers, “petrified” suffering. The author creates an image of a “red blind” wall of power, against which the people are beating in the hope of justice:

And I'm not praying for myself alone

And about everyone who stood there with me

And in severe hunger, and in the July heat

Under the blinding red wall.

In the poem, Akhmatova uses religious symbols, for example, the image of the mother of Christ, the Mother of God, who also suffered for her son.

Having survived such grief, Akhmatova cannot be silent, she testifies. The poem creates the effect of polyphony, as if different people are speaking, and the replicas are hanging in the air:

This woman is sick

This woman is alone

Husband in the grave, son in prison,

Pray for me.

There are many metaphors in the poem that amaze with skill and strength of feelings and will never be forgotten: “mountains bend before this grief”, “death stars stood above us”, “... and burn New Year’s ice with their hot tear”. The poem also contains such artistic means as allegories, symbols, personifications. All of them create a tragic requiem for all the innocently killed, slandered, lost forever in the "black convict holes".

The poem "Requiem" ends with a solemn poem in which one feels the joy of victory over the horror and stupor of many years, the preservation of memory and common sense. The creation of such a poem is a real civic feat by Akhmatova.

The theme of man and nature in the lyrics of B. L. Pasternak

The remarkable Russian poet Boris Pasternak had a chance to live in a difficult time for the country, in the era of three revolutions. He was familiar with Mayakovsky, began his creative activity when the symbolists and futurists were actively working, at one time he himself belonged to the futuristic circle "Mezzanine of Poetry".

Born in the family of an artist and a pianist, he was filled with wonderful art since childhood. In 1914, his first collection of poems "Twin in the Clouds" was published, in 1917 - the book "Over the Barriers", and in 1922 - "My Sister - Life". So poetry forever became the work of his life.

The poet was sure that art is reality, and poetry is "a height that rolls in the grass underfoot." Truth and goodness are the essence of the work of a true artist, and the philosophical theme of man and nature becomes one of the main ones in Pasternak's work.

In the early lyrics, one can feel the fragility of the young poet's view of the world, of the events taking place in the country. It was difficult not only for the young poet, but also for sophisticated people to understand the whirlwind of political upheavals of that time. The poet caught the main thing: the world was changing rapidly, but where is the place for a person in it? His own poetic world was for him a refuge, a source from which he drew strength. In the cycle of poems "Tempo and Variations" he speaks of the need to resist the destructive forces of history. In the poem "The Nine Hundred and Fifth Year", the lyrical hero goes through a period of formation precisely during the years of revolutions. The grandiosity of the events delights him, but at the same time, the thought of the “accusatory extremes” of the imposition of a new government slips through. The poet cannot fit into the cruel prose of the revolution.

Sharing the thesis that "the revolution devours its children", Pasternak in the poem "Lieutenant Schmidt" argues that the heroes of the revolution are at the same time its victims. The poet, more and more delving into the surrounding life, is convinced that poetry is higher than human fuss, that only in it is the highest meaning:

Poetry, do not give up breadth,

Keep Live Accuracy:

secret accuracy.

Don't bother with dots

dotted

And do not count grains in the world of bread.

Art for Pasternak does not depend on the cataclysms of the era. In his statements, the poet always retained the wise restraint of a cultured person. He was not going to conflict or insist, unlike contemporary poets, with their slogans, aggression, protests. Pasternak has quiet lyrics, but this does not decrease its significance, but increases it. In the well-known poem Stanzas, the poet speaks about the spiritual freedom of the artist, about many things that he could not accept in Soviet reality, with its decrees and regulations:

We are in the future, I tell them, like everyone who

Lived these days. And if from cripples,

That's all the same: a cart of the project

We have moved into the new century.

The wisdom and peace of nature returned the poet's faith in life. The lyrical hero of Pasternak's poetry is always inscribed in the surrounding landscape. The feelings of a person, the movements of his soul echo the changes in nature. In the poem "Stuffy Night" the poet paints a picture that is instantly reproduced in the soul of the reader:

... At the wattle fence

Between wet branches with a pale wind

There was a dispute. I froze. About me!

Pasternak's perception of nature is also special. It swaps subject and object. It turns out that the lyrical hero is not the main one in the poem. The main character is nature, the whole vast world. Trees see a person next to them, and not vice versa.

... the clouds noticed: they lost weight from the water

Fences - noticeably, crosses - slightly ...

The poet has everything animated: trees, wind, river, seasons. You can talk to them, they are always around. For example, winter: “She whispered to me: “Hurry!” lips, white from the cold ... ". The world and nature live and think according to the laws of poetry. Only in Pasternak "the sky descends to the ground in a patched coat" or "the pre-storm plays with the eyebrows of a bush." A great poetic gift and the scale of his personality allowed the poet to perceive time in a different way: “What, dear, do we have a millennium in the yard?” He understood that life is infinite, nature is eternal, and man is its thinking grain.

And cross the road for tyn

It is impossible without trampling the universe ...

This moment lasts

But he would have eclipsed eternity ...

With such a global mindset, the poet boldly combined everyday, everyday trifles and “eternal” philosophical questions in his works. His poems are not about the world, they are the world itself, living, breathing, preserving a person.

The cycle "Poems of Yuri Zhivago" and its connection with the general problems of B. L. Pasternak's novel "Doctor Zhivago"

The remarkable Russian poet Boris Leonidovich Pasternak had been nurturing the idea of ​​writing a novel for many years. He happened to live in a difficult time for the country, in the era of three revolutions. He was familiar with Mayakovsky, began his creative activity when the symbolists and futurists were actively working, at one time he himself belonged to the futuristic circle "Mezzanine of Poetry". Pasternak intended "to give a historical image of Russia over the past forty-five years ...".

The first drafts of the novel date back to 1918. The author gave them the working title "Three Names". It wasn't until 1955 that the novel titled "Doctor Zhivago" was completed. This work can be called the book of life. Indeed, the content of the novel is implicated in the life of the author. On the first page of the book we have a ten-year-old boy who grows up, matures, experiences two revolutions, two wars, two loves. Just like it was with Pasternak himself. In the epilogue of the novel, the author confirms the autobiographical nature of the story: “Moscow below and in the distance, the hometown of the author and half of what happened to him, Moscow now seemed to them not the place of these incidents, but the main character of a long story, to which they approached with a notebook in their hands. this evening".

Prose written by a talented poet is always a bewitching miracle. The prose of Bunin, Pushkin, Lermontov are masterpieces.

A poet writes a novel like a poem. Pasternak achieved the same effect, especially since the long period of writing the work allowed him to bring the text to perfection.

The hero of the novel is a doctor, artist, thinker, poet around whom the dramatic events of Russian history unfold. The author included a cycle of poems by Yuri Zhivago into the novel in one chapter, organically merging into the text, becoming part of it. It is the soul of the hero that speaks to us in the language of poetry.

In the 1930s and 1940s, Pasternak was engaged in translations of foreign classics by Shakespeare and Goethe. Apparently, this was reflected in the fact that the cycle of poems by Yuri Zhivago opens with the brilliant poem "Hamlet". His lyrical hero conducts a monologue in the first person. Hamlet is perceived here both as the Prince of Denmark, who continues to live in Pasternak's poem, and as an actor playing the role of Hamlet. The theater is supposed, the stage on which the lyrical hero stands, the noise of the audience before the start of the performance. The poem speaks of the drama of the life of every thinking person. The hero turns to God - "Abba Father" with a request for deliverance from suffering, but, like Christ, he must go through the martyr's path to the end. There is no hope, around the "twilight of the night":

I am alone, everything is drowning in hypocrisy.

To live life is not a field to cross.

The poem can also be perceived as a monologue of the author himself. Pasternak was in his native country, but he was in isolation, awaiting arrest. He could not accept the party nature of literature, he could not create in conditions of lack of freedom. The poet, starting from the mid-1930s, decided for himself the question “to be or not to be?”.

A different tone in the poem "Winter Night". The poet, with the help of repetitions and hyperbole, creates the image of a strong snowstorm, a blizzard:

Melo, melo all over the earth

To all limits.

The candle burned on the table

The candle was burning.

By constant repetitions, the poet achieves the feeling of a stopped time, when the world is drowning in snow, nothing can be done or changed, and only the human heart is still alive, its light is burning. Man, his love resists the evil of the world, which is embodied in a blizzard. The window frame is seen as a cross that saves people in their homes. The flickering light of a candle is like a signal addressed to other souls with the intention to unite. This poem sounds amazingly musical.

In the cycle of poems by Yuri Zhivago, the poet appears as an established author of philosophical poetry. He sings of the harmony of the whole world, tries to connect the disparate in it. The poet knows how to grab a moment and show its eternal and deep meaning for every person. He is concerned about the mystery of time in the philosophical sense of this concept:

The snow is falling, thick, thick.

In step with him, those feet,

At the same pace, with that laziness

Or with the same speed

Maybe time passes?

For Pasternak, the only correct path for a person is merging with nature, with the world, understanding the finiteness of people's lives. The poet tries to see his future:

Around the bend, in the depths

forest log,

The future is ready for me

Return the deposit.

The poet was fascinated by the ever-changing life, in which an innumerable number of different options for the development of events are provided for a person. The poet's problem of immortality, eternity is unexpectedly expressed by the image of a New Year tree:

The future is not enough.

Little old, little new.

It is necessary that the Christmas tree

Eternity in the middle of the room has become.

In the spiritual life of a person, Pasternak recognized only an active position. He is sure that a person will only succeed if he “rushes up and away all the time.” His hero Yuri Zhivago says: “How sweet it is to live in the world and love life! As always, it is tempting to say thank you to life itself, to existence itself ... ”This thought belongs to the great Russian poet Boris Pasternak.

Yeshua and Pontius Pilate. Synthesis of biblical, concrete-historical and grotesque-fantastic imagery in the novel by M. A. Bulgakov "The Master and Margarita"

The ancient Yershalaim is described by Bulgakov with such skill that it is remembered forever. Psychologically deep, realistic images of diverse characters, each of which is a vivid portrait. The historical part of the novel makes an indelible impression. Individual characters and mass scenes, city architecture and landscapes are equally talented by the author. Bulgakov makes readers participants in the tragic events in the ancient city.

The theme of power and violence is universal in the novel. The words of Yeshua Ha-Nozri about universal justice have their origins in Christian beliefs: “... every power is violence against people and ... the time will come when there will be no power of either Caesars or any other power. A person will pass into the realm of truth and justice, where no power will be needed at all.

In the dispute between Yeshua and Pontius Pilate, two ideologies clash. Yeshua claims that people are kind from birth, that the time will come when relations between them will be based on the principles of justice and humanism. In Pilate's answers one can feel the bitterness of a wise man. He has long had no illusions about the laws of social order and is sure that the reign of justice will never come.

The Procurator of Judea holds a high office. He serves Caesar, but in his heart he understands all the injustice of power. As a result of the inner split, there is a terrible headache that does not let Pilate go. He has already been punished for the fact that for the sake of the position he is forced to commit injustice. He looks with alarm at the vagabond Yeshua brought to him for interrogation, who, according to the denunciation, “in the marketplace incited the people to destroy the Yershalaim temple.” Pilate is shocked by the sincere kindness of this man, his calmness, the absence of humiliating fear, and especially the words of Yeshua: “It is easy and pleasant to speak the truth.” He, the great procurator, does not dare to do so. The procurator connects the sudden cessation of a debilitating headache with Yeshua's ability to heal illnesses. But most importantly, Pilate is sure that Yeshua is not a criminal, so he wants to save him. He is not a robber or a murderer who, no doubt, should be executed. But for Jewish priests, Yeshua's convictions are more terrible than crimes against people. This is an attempt to discredit the government. Pilate knows that the world is driven by lies, malice and aggression, which means that Yeshua must be executed. To save Yeshua from execution for Pilate is tantamount to losing his position and power.

In the history of mankind, people have repeatedly appeared calling for living according to the laws of goodness and justice, but not one of them has yet managed to reach out to people, to change the existing order. Bulgakov was a realist in matters of religion. But in the image of Yeshua there is a direct analogy with Christ, the savior of mankind, crucified by people.

The author creates his character. He is 27 years old, not 33, like Christ, his beliefs differ from those recognized by the church as canonical. The writer shows another righteous man who independently came to the ideas of good, and his sad end. Such people, seeking justice, suffering, high in spirit, honest and incorruptible, fortunately, are not translated on Earth. When will society be ready to hear them? Tragically portraying the terrible death of Yeshua, Bulgakov glorifies the human feat of such martyrs, who give their lives for the triumph of good.

Higher powers grant immortality to Yeshua and Pilate. The Procurator of Judea will be remembered for giving the order to execute Yeshua, and Yeshua's name will forever be associated with goodness and humanity. The writer affirms the idea of ​​the eternal balance of good and evil, light and shadow. This is the key to the harmony of life.

Images of Yeshua and the Master in the novel by M. A. Bulgakov "The Master and Margarita"

There is a clear parallel between the fate of Yeshua and the suffering life of the Master. The connection between the historical chapters and the contemporary chapters reinforces the philosophical and moral ideas of the novel.

In the real plan of the narrative, Bulgakov depicted the life of Soviet people in the 20-30s of the twentieth century, showed Moscow, the literary environment, representatives of different classes. The central characters here are the Master and Margarita, as well as Moscow writers in the service of the state. The main problem that worries the author is the relationship between the artist and the authorities, the individual and society.

The image of the Master has many autobiographical features, but an equal sign cannot be put between him and Bulgakov. In the life of the Master, the tragic moments of the fate of the writer himself are reflected in artistic form. The master is a former unknown historian who renounced his own surname, "as well as everything in life in general", "had no relatives anywhere and had almost no acquaintances in Moscow." He lives, immersed in creativity, in understanding the ideas of his novel. He, as a writer, is concerned with eternal, universal problems, questions of the meaning of life, the role of an artist in society.

The very word "master" takes on a symbolic meaning. His fate is tragic. He is a serious, deep, talented person, existing in a totalitarian regime. The master, like Faust I. Goethe, is obsessed with a thirst for knowledge and the search for truth. Freely navigating the ancient layers of history, he searches for eternal laws in them, according to which the society of people is built. For the sake of knowing the truth, Faust sells his soul to the devil, and Bulgakov's Master meets Woland and leaves this imperfect world with him.

The Master and Yeshua have similar traits and beliefs. The writer gave these characters little space in the overall structure of the novel, but in terms of their meaning, these images are the most important. Both thinkers have no roof over their heads, rejected by society, both betrayed, arrested and, innocent, destroyed. Their fault is incorruptibility, self-esteem, devotion to ideals, deep sympathy for people. These images complement each other and feed each other. At the same time, there are differences between them. The master was tired of fighting the system for his novel, voluntarily retired, while Yeshua goes to execution for his beliefs. Yeshua is full of love for people, forgives everyone, the Master, on the contrary, hates and does not forgive his persecutors.

The Master professes not religious truth, but the truth of fact. Yeshua is a tragic hero created by the Master, whose death he thinks is inevitable. With bitter irony, the author introduces the Master, who appears in a hospital gown and tells Ivan himself that he is crazy. For a writer to live and not create is tantamount to death. Desperate, the Master burned his novel, which is why "he did not deserve the light, he deserved peace." The heroes have one more thing in common: they do not feel who will betray them. Yeshua does not realize that Judas has betrayed him, but he anticipates that misfortune will happen to this man.

It is strange that the closed, distrustful by nature Master converges with Aloisy Mogarych. Moreover, already being in a lunatic asylum, the Master “still” “misses” Aloysius. Aloysius "conquered" him "with his passion for literature." “He did not calm down until he begged” the Master to read to him “the whole novel from cover to cover, and he spoke very flatteringly about the novel ...”. Later, Aloysius, "having read Latunsky's article about the novel," "wrote a complaint against the Master with the message that he kept illegal literature." The purpose of the betrayal for Judas was money, for Aloysius - the apartment of the Master. It is no coincidence that Woland argues that the passion for profit determines people's behavior.

Yeshua and the Master each have one disciple. Yeshua Ga-Notsri - Levi Matthew, Master - Ivan Nikolaevich Ponyrev. The students were at first very far from the position of their teachers, Levy was a tax collector, Ponyrev was a poorly gifted poet. Levi believed that Yeshua is the embodiment of Truth. Ponyrev tried to forget everything and became an ordinary employee.

AND poetry ... freedom-loving motives, political and philosophical reflection poet themes... to the reader landscape sketches, ... Tyutchev topic love, why...

In 1987, Soviet readers first got acquainted with A. Akhmatova's poem "Requiem".

For many lovers of the poetess's lyrical poems, this work has become a real discovery. In it, a "fragile ... and thin woman" - as B. Zaitsev called her in the 60s - issued a "cry - female, maternal", which became a verdict on the terrible Stalinist regime. And decades after writing, one cannot read a poem without a shudder in the soul.

What was the strength of the work, which for more than twenty-five years was kept exclusively in the memory of the author and 11 close people whom she trusted? This will help to understand the analysis of the poem "Requiem" by Akhmatova.

History of creation

The basis of the work was the personal tragedy of Anna Andreevna. Her son, Lev Gumilev, was arrested three times: in 1935, 1938 (given 10 years, then reduced to 5 corrective labor) and in 1949 (sentenced to death, then replaced with exile and later rehabilitated).

It was during the period from 1935 to 1940 that the main parts of the future poem were written. Akhmatova first intended to create a lyrical cycle of poems, but later, already in the early 60s, when the first manuscript of the works appeared, the decision came to combine them into one work. And indeed, throughout the entire text, one can trace the immeasurable depth of grief of all Russian mothers, wives, brides who experienced terrible mental anguish not only during the years of Yezhovism, but throughout all times of the existence of mankind. This is shown by the analysis of Akhmatova's "Requiem" chapter by chapter.

In a prose preface to the poem, A. Akhmatova spoke about how she was “identified” (a sign of the times) in the prison queue in front of the Crosses. Then one of the women, who woke up from her stupor, asked in her ear - then everyone said so -: “Can you describe this?” The affirmative answer and the created work became the fulfillment of the great mission of a real poet - always and in everything to tell people the truth.

Composition of the poem "Requiem" by Anna Akhmatova

The analysis of a work should begin with an understanding of its construction. The epigraph, dated 1961, and "Instead of a Preface" (1957) indicate that the thoughts about the experience did not leave the poetess until the end of her life. The suffering of her son became her pain, which did not let go for a moment.

This is followed by "Initiation" (1940), "Introduction" and ten chapters of the main part (1935-40), three of which have the title: "Sentence", "To Death", "Crucifixion". The poem ends with a two-part epilogue, which is more epic in nature. The realities of the 30s, the massacre of the Decembrists, the executions of archers that went down in history, finally, the appeal to the Bible (the chapter "Crucifixion") and at all times the incomparable suffering of a woman - this is what Anna Akhmatova writes about

"Requiem" - title analysis

A funeral mass, an appeal to higher powers with a request for grace for the deceased ... The great work of W. Mozart is one of the poetess's favorite musical works ... Such associations are evoked in the mind of a person by the name of the poem "Requiem" by Anna Akhmatova. An analysis of the text leads to the conclusion that this is sorrow, commemoration, sadness for all those “crucified” during the years of repression: the thousands of dead, as well as those whose souls “died” from suffering and painful experiences for their relatives.

"Initiation" and "Introduction"

The beginning of the poem introduces the reader into the atmosphere of "mad years", when a great grief, before which "mountains bend, a great river does not flow" (hyperbolas emphasize its scale) entered almost every house. Emphasizing the general pain of the pronoun "we" - "involuntary girlfriends" who stood at the "Crosses" in anticipation of the verdict.

An analysis of the poem "Requiem" by Akhmatova draws attention to an unusual approach in depicting the beloved city. In the "Introduction", bloody and black Petersburg appears to the exhausted woman as only an "unnecessary appendage" to prisons scattered throughout the country. Scary as it may seem, “death stars” and “black marousi” harbingers of trouble, driving around the streets, have become commonplace.

Development of the main theme in the main part

The poem continues with a description of the scene of the son's arrest. It is no coincidence that the roll call here is with the folk lament, the form of which Akhmatova uses. "Requiem" - the analysis of the poem confirms this - develops the image of a suffering mother. A dark chamber, a swollen candle, “mortal sweat on the brow” and a terrible phrase: “I followed you, as if on a takeaway.” Left alone, the lyrical heroine is fully aware of the horror of what happened. Outward calmness is replaced by delirium (part 2), manifested in inconsistent, unsaid words, a memory of the former happy life of a cheerful “mockery”. And then - an endless queue under the Crosses and 17 months of painful waiting for the verdict. For all the relatives of the repressed, it became a special facet: before - there is still hope, after - the end of all life ...

An analysis of the poem "Requiem" by Anna Akhmatova shows how the personal experiences of the heroine are increasingly acquiring the universal scale of human grief and incredible resilience.

The climax of the work

In the chapters "Sentence", "To Death", "Crucifixion", the emotional state of the mother reaches its climax.

What awaits her? Death, when neither the projectile, nor the typhoid fumes, nor even the “top of the blue hat” are any longer afraid? For the heroine, who has lost the meaning of life, she will become salvation. Or madness and a petrified soul, allowing you to forget about everything? It is impossible to convey in words what a person feels at such a moment: “... this is someone else suffering. I wouldn't be able to…”

The central place in the poem is occupied by the chapter "Crucifixion". This is the biblical story of the crucifixion of Christ, which Akhmatova rethought. "Requiem" - an analysis of the condition of a woman who has lost her child forever. This is the moment when "the heavens melted into fire" - a sign of a catastrophe on a universal scale. The phrase is filled with deep meaning: “And where Mother silently stood, So no one dared to look.” And the words of Christ, trying to console the closest person: “Do not cry for me, Mati…”. As a sentence to any inhuman regime that dooms a mother to unbearable suffering, the “Crucifixion” sounds.

"Epilogue"

The analysis of Akhmatova's work "Requiem" completes the definition of the ideological content of its final part.

The author raises the problem of human memory in the "Epilogue" - this is the only way to avoid the mistakes of the past. And this is also an appeal to God, but the heroine asks not for herself, but for everyone who was next to her at the red wall for 17 long months.

The second part of the "Epilogue" echoes the well-known poem by A. Pushkin "I erected a monument to myself ...". The theme in Russian poetry is not new - it is the definition by the poet of his purpose on Earth and a certain summing up of creative results. The desire of Anna Andreevna is that the monument erected in her honor should not stand on the seashore, where she was born, and not in the garden of Tsarskoye Selo, but near the walls of the Crosses. It was here that she spent the worst days of her life. Just like thousands of other people of an entire generation.

The meaning of the poem "Requiem"

“These are 14 prayers,” said A. Akhmatova about her work in 1962. Requiem - the analysis confirms this idea - not only for the son, but for all the innocently destroyed, physically or spiritually, citizens of a large country - this is how the reader perceives the poem. This is a monument to the suffering of a mother's heart. And a terrible accusation thrown at the address of the totalitarian system created by "Mustache" (the definition of the poetess). It is the duty of future generations to never forget this.