Biography of Fazil Abdulovich. Fazil Iskander: glorifying Abkhazia

Artistic means in the poem "Requiem" by A.A. Akhmatova.

The fate of Anna Andreevna Akhmatova in the post-revolutionary years was tragic. In 1921, her husband, poet Nikolai Gumilev, was shot. In the thirties, his son was arrested on false charges, a death sentence was sounded with a terrible blow, a “stone word”, which was later replaced by camps, then the son waited for almost twenty years. Osip Mandelstam's closest friend died in the camp. In 1946, Zhdanov issued a decree, which slandered Akhmatova and Zoshchenko, closed the doors of magazines in front of them, and only in 1965 did they begin to publish her poems.

In the preface to “Requiem,” which Anna Andreevna composed from 1935 to 1040, and which was published in the 80s, she recalls: “During the terrible years of the Yezhovshchina, I spent seventeen months in prison lines in Leningrad.” The poems included in "Requiem" are autobiographical. "Requiem" mourns the mourners: a mother who lost her son, a wife who lost her husband. Akhmatova survived both dramas, however, behind her personal fate is the tragedy of the entire people.

No, and not under someone else’s firmament, And not under the protection of someone else’s wings, - I was then with my people, Where my people, unfortunately, were.

The reader's empathy, anger and melancholy, which cover when reading the poem, are achieved by the effect of a combination of many artistic means. "We hear all the time different voices, - Brodsky says about the “Requiem,” then it’s just a woman’s voice, then suddenly a poetess, then Maria is in front of us.” Here is a “woman’s” voice that came from sorrowful Russian songs: This woman is sick, This woman alone, Husband in the grave, son in prison, Pray for me.

Here is the “poetess”: I wish I could show you, the mocker And the favorite of all friends, the cheerful sinner of Tsarskoye Selo, What will happen to your life... Here is the Virgin Mary, because sacrificial prison lines equate every martyr-mother with Mary: Magdalene fought and sobbed, The beloved disciple turned to stone , And where the Mother stood silently, No one dared to look.

In the poem, Akhmatova practically does not use hyperbole, apparently this is because grief and suffering are so great that there is neither need nor opportunity to exaggerate them. All epithets are chosen in such a way as to evoke horror and disgust at violence, to show the desolation of the city and country, and to emphasize the torment. The melancholy is “deadly”, the steps of the soldiers are “heavy”, Rus' is “innocent”, “black marusi” (prisoner cars). The epithet “stone” is often used: “stone word”, “petrified suffering”. Many epithets are close to folk ones: “hot tear”, “ great river". Folk motifs are very strong in the poem, where the connection between the lyrical heroine and the people is special: And I pray not for myself alone, but for everyone who stood there with me And in the fierce hunger, and in the July heat Under the red, blinding wall.

Reading the last line, you see a wall in front of you, red with blood and blinded by the tears shed by the victims and their loved ones.

There are many metaphors in Akhmatova’s poem that make it possible to convey thoughts and feelings to us in a surprisingly brief and expressive way: “And the locomotive whistles sang a short song of separation,” “The death stars stood above us / And innocent Rus' writhed,” “And burn through the New Year’s ice with your hot tears.” .

The poem also contains many other artistic devices: allegories, symbols, personifications. Together they create deep feelings and experiences.

Anna Andreevna Akhmatova withstood all the blows of fate with dignity, lived a long life and gave people wonderful works.

Bibliography

To prepare this work, materials were used from the site http://www.coolsoch.ru/

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Artistic means in the poem "Requiem" by A.A. Akhmatova.

In the preface to “Requiem,” which Anna Andreevna composed from 1935 to 1040, and which was published in the 80s, she recalls: “In terrible years I spent seventeen months in prison lines in Leningrad after the Yezhovshchina." The poems included in "Requiem" are autobiographical. "Requiem" mourns the mourners: a mother who lost her son, a wife who lost her husband. Akhmatova survived both dramas, however, behind her personal fate is a tragedy all the people.

No, and not under someone else’s firmament, And not under the protection of someone else’s wings, - I was then with my people, Where my people, unfortunately, were.

The reader's empathy, anger and melancholy, which are felt when reading the poem, are achieved through the effect of a combination of many artistic means. “We hear different voices all the time,” Brodsky says about “Requiem,” “then just a woman’s, then suddenly a poetess, then Mary is in front of us.” Here is a "woman's" voice that came from sorrowful Russian songs: This woman is sick, This woman is alone, Her husband is in the grave, her son is in prison, Pray for me.

In the poem, Akhmatova practically does not use hyperbole, apparently this is because grief and suffering are so great that there is neither need nor opportunity to exaggerate them. All epithets are chosen in such a way as to evoke horror and disgust at violence, to show the desolation of the city and country, and to emphasize the torment. The melancholy is “deadly”, the steps of the soldiers are “heavy”, Rus' is “innocent”, “black marusi” (prisoner cars). The epithet “stone” is often used: “stone word”, “petrified suffering”. Many epithets are close to folk ones: “hot tear”, “great river”. Folk motifs are very strong in the poem, where the connection between the lyrical heroine and the people is special: And I pray not for myself alone, but for everyone who stood there with me And in the fierce hunger, and in the July heat Under the red, blinding wall.

Reading the last line, you see a wall in front of you, red with blood and blinded by the tears shed by the victims and their loved ones.

The poem also contains many other artistic devices: allegories, symbols, personifications. Together they create deep feelings and experiences.

Anna Andreevna Akhmatova withstood all the blows of fate with dignity, lived a long life and gave people wonderful works.

Introduction

2.1 Short review creativity of A.A. Akhmatova

Conclusion

Introduction

Anna Akhmatova lived a long life by human and poetic standards. “And who would have believed that I had been conceived for so long, and why I did not know this,” she wrote at the age of seventy. In her later poems and prose notes of recent years, Akhmatova more than once said that she outlived not only her relatives, friends, contemporary poets, but also many readers of her first books (“...Already beyond Acheron/ three quarters of my readers...”; “The first readers of the Rosary are less common than bison outside Belovezhskaya Pushcha…»).

But Akhmatova’s life was not just long, she suffered so many tragic things that would be enough for several human lives. The time during which Akhmatova “stayed on earth” turned out to be full of events of truly global significance. In one of her “official” biographies, she wrote: “I am happy, I lived in these years and saw events that had no equal.”

For literary critics of the 70s and 80s, who joyfully picked up and quoted this phrase, there was an excellent reason to include the dissident Akhmatova in the ranks of Soviet poets who realized the greatness October revolution, “which turned the fate of humanity upside down.” She really turned over many destinies, including Anna Akhmatova’s, and this revolution was tragic and merciless.

Based on the above facts, we formulated the topic of our research: “The idea and artistic means of its embodiment in the poem by A.A. Akhmatova "Requiem"

The object of our research is the poem by A.A. Akhmatova "Requiem".

The subject of the study is the idea and artistic means of its embodiment in the poem by A.A. Akhmatova "Requiem".

The purpose of the work is to characterize the idea and the artistic means of its embodiment in the poem by A.A. Akhmatova "Requiem"

Research methods: analysis theoretical literature, generalization, contextual analysis.

Research objectives:

1.Analyze literary criticism on the research topic.

2.Describe the basic concepts of work.

.Characterize the idea and the artistic means of its embodiment in the poem by A.A. Akhmatova "Requiem".

Chapter I. Theoretical foundations for studying the poetry of A.A. Akhmatova

1 Idea work of art

The author makes himself known primarily as the bearer of one or another idea of being and its phenomena. And this determines the fundamental importance in the composition of art of its ideological and semantic side, something that throughout the 19th-20th centuries. often called “idea” (from the ancient Greek idea - concept, representation).

This word has been rooted in philosophy for a long time, since antiquity. It has two meanings. Firstly, an idea is the intelligible essence of objects, which is beyond reality, the prototype of a thing (Plato and his successor medieval thought), the synthesis of concept and object (Hegel). Secondly, over the past three centuries, thinkers have begun to associate ideas with the sphere of subjective experience, with the knowledge of being. Thus, the English philosopher of the turn of the XVII-XVIII centuries. J. Locke in “An Essay on Human Reason” distinguished between clear and vague ideas, real and fantastic, adequate and inadequate to their prototypes, consistent and inconsistent with reality. Here the idea is of course the property of the subject.

When applied to art and literature, the word "idea" is used in both meanings. In Hegelian aesthetics and the theories that follow it, the artistic idea coincides with what is traditionally called the theme. This is the existential essence comprehended and captured by the creator of the work. But more often and more persistently the idea in art was spoken of (both in the 19th and 20th centuries) as the sphere of the author’s subjectivity, as a complex of thoughts and feelings expressed in a work that belong to its creator.

The subjective orientation of works of art attracted attention in the 18th century: “The thesis about the primacy of ideas, thoughts in works of art<...>characterizes the aesthetics of the rationalistic Enlightenment." The creator of works of art at this time, and even more so at the turn of the 18th-19th centuries, was perceived not simply as a master (“imitator” of nature or previous examples of art) and not as a passive contemplator of certain intelligible entities, but as an exponent of a certain range of feelings and thoughts. According to F. Schiller, in art “emptiness or content depends more on the subject than on the object”; The power of poetry lies in the fact that “the subject is put in connection with the idea”2. The author (artist) appeared in the theories of the turn of the 18th-19th centuries as an exponent of a certain position, point of view. Following Kant, who introduced the term " aesthetic idea", the sphere of artistic subjectivity began to be designated by the term idea. The expressions “poetic spirit” and “conception” were used in the same sense. According to Goethe, “in every work of art<...>it all comes down to a concept.”3

The artistic idea (author’s concept) present in the works includes both the author’s directed interpretation and assessment of certain life phenomena (which was emphasized by educators from Diderot and Lessing to Belinsky and Chernyshevsky), and the embodiment of a philosophical view of the world in its integrity, which is associated with the spiritual self-disclosure of the author (theorists of romanticism persistently spoke about this).

The thought expressed in a work is always emotionally charged. An artistic idea is a kind of fusion of generalization and feeling, which, following Hegel, V. G. Belinsky in the fifth article about Pushkin called pathos (“pathos is always a passion kindled in a person’s soul by an idea”1). This is what distinguishes art from impartial science and brings it closer to journalism, essays, memoirs, as well as to everyday comprehension of life, which is also thoroughly evaluative. The specificity of artistic ideas proper lies not in their emotionality in themselves, but in their focus on the world in its aesthetic appearance, on sensory forms of life.

Artistic ideas (concepts) differ from scientific, philosophical, journalistic generalizations by their place and role in the spiritual life of mankind. They often precede a later understanding of the world, as Schelling and Ap wrote about. Grigoriev. This idea, going back to romantic aesthetics, was substantiated by M. M. Bakhtin. "Literature<...>often anticipated philosophical and ethical ideologies.<...>The artist has a sensitive ear for those who are born and become<...>problems." At the moment of birth, “he sometimes hears them better than the more cautious “man of science,” philosopher or practitioner. The formation of thought, ethical will and feeling, their wanderings, their not yet formalized groping for reality, their dull fermentation in the depths of the so-called “social psychology” - all this not yet dissected stream of emerging ideology is reflected and refracted in the content of literary works.” A similar role of the artist - as a harbinger and prophet - is realized, in particular, in the socio-historical concepts of “Boris Godunov” by A. S. Pushkin and “War and Peace” by L. N. Tolstoy, in the stories and stories of F. Kafka, who spoke about the horrors of totalitarianism even before it took hold, and in many other works.

At the same time, in art (primarily verbal) ideas, concepts, truths that have already (and sometimes for a very long time) been established in social experience are widely imprinted. At the same time, the artist acts as a mouthpiece of tradition; his art additionally confirms the well-known, reviving it, giving it poignancy, immediacy and new persuasiveness. A work of such meaningful content soulfully and excitingly reminds people of what, being familiar and taken for granted, turned out to be half-forgotten, erased from consciousness. Art in this side of it resurrects old truths, gives them new life. Here is the image of the folk theater in A. Blok’s poem “Balagan” (1906): “Drag along, mourning nags, / Actors, master the craft, / So that the walking truth / Makes everyone feel pain and light.”

As you can see, art (let’s use the judgment of V. M. Zhirmunsky) shows a keen interest in what “brought with it” new era”, and to everything that has long been rooted, to “established” mentalities.

2 Artistic means of expression let's go works

Stylistics is a developed area of the science of literature, which has a rich and fairly strict terminology. The palm in constructing the theory of artistic speech belongs to the formal school (V. B. Shklovsky, R. O. Yakobson, B. M. Eikhenbaum, G. O. Vinokur, V. M. Zhirmunsky), whose discoveries had a serious impact on subsequent literary criticism . Particularly important in this area are the works of V.V. Vinogradov, who studied artistic speech in its correlation not only with the language that meets the literary norm, but also with the common language.

The concept and terms of stylistics have become the subject of a number of textbooks, in the first place among which it is natural to put the books of B.V. Tomashevsky, which retain their relevance to this day. Therefore, in our work, this section of theoretical poetics is given concisely and summarily, without characterizing the corresponding terms, which are very numerous (comparison, metaphor, metonymy, epithet, ellipsis, assonance, etc.).

The speech of literary works, like a sponge, intensively absorbs a variety of forms of speech activity, both oral and written. For many centuries, writers and poets have been actively influenced by oratory and the principles of rhetoric. Aristotle defined rhetoric as the ability to “find possible means of persuasion regarding each of this subject»

Initially (in Ancient Greece) rhetoric is the theory of eloquence, a set of rules addressed to speakers. Later (in the Middle Ages), the rules of rhetoric were extended to the writing of sermons and letters, as well as to literary prose. The task of this field of knowledge, as it is understood today, is to “teach the art of creating texts of certain genres” - to encourage speakers to speak in an impressive and persuasive manner; The subject of this science is “the conditions and forms of effective communication.”

Rhetoric has provided rich food for literature. Over the course of a number of centuries, artistic speech education (especially in the field of high genres, such as epic, tragedy, ode) was guided by the experience of oratorical speech, subject to the recommendations and rules of rhetoric. And it is no coincidence that the “pre-romantic” eras (from antiquity to classicism inclusive) are characterized as a stage of rhetorical culture, the features of which are “the cognitive primacy of the general over the particular” and “the rational reduction of a specific fact to universals.”

During the time of romanticism (and later), rhetoric in its significance for literature began to cause doubt and distrust. Thus, V. G. Belinsky, in articles of the second half of the 1840s, persistently contrasted the rhetorical principle in the work of writers (as outdated) with naturalness, which is good for modern times. By rhetoric he meant “a voluntary or involuntary distortion of reality, a false idealization of life.” Literature by that time had noticeably weakened (although not completely eliminated) its long-standing connections with oratorical floridity.

European culture, noted Yu. M. Lotman, during the 17th-19th centuries. evolved from an attitude of observing rules and from rhetorical complexity (classicism) to stylistic simplicity. And casually conversational speech, not observing rhetoric, more and more insistently moved to the forefront of verbal art. The work of A. S. Pushkin in this regard is located, as it were, at the “junction” of two traditions of speech culture: rhetorical and colloquial. Also significant is the barely noticeable parody of the oratorical introduction to the story “The Station Agent,” the tonality of which is sharply different from the subsequent ingenuous narrative; and stylistic heterogeneity " Bronze Horseman"(odic introduction and sad, unadorned story about the fate of Eugene); and the difference in the speech manner of the heroes of “Mozart and Salieri”, conversationally easy in the first and rhetorically elevated, solemn in the second.

Colloquial speech (linguists call it “uncodified”) is associated with communication (conversations) of people, primarily in their privacy. It is free from regulation and tends to change its forms depending on the situation. Conversation (conversation) as the most important form of human culture strengthened and declared itself already in antiquity. Socrates in Plato's dialogues "Protagoras" and "Phaedo" says: "Mutual communication in conversation is one thing, but public speaking is quite another." And he notes that he himself is “not at all involved in the art of speech,” for the speaker is often forced to say goodbye to the truth in order to achieve his goal. In his treatise “On Duties” (Book 1. § 37), Cicero characterized conversation as a very important “link” of human life: “oratory speech is of great importance in gaining fame,” but “affectionateness attracts the hearts of people.” and accessibility of conversation.” Conversation skills have formed a powerful, centuries-old cultural tradition that is now in crisis.

Conversation as the most important type of communication between people and the colloquial speech that carries it out are widely reflected in Russian classical literature. Let us remember “Woe from Wit”, “Eugene Onegin”, poems by N. A. Nekrasov, novels and short stories by N. S. Leskov, plays by A. N. Ostrovsky and A. P. Chekhov. Writers of the 19th century, one might say, reoriented themselves from declamatory-oratorical, rhetorical-poetic formulas to everyday, relaxed, “conversational” speech. Thus, in Pushkin’s poems, according to L. Ya. Ginzburg, a kind of “miracle of transforming an ordinary word into a poetic word” took place.

It is significant that in the XIX-XX centuries. verbal art in general, it is recognized by writers and scientists as a unique form of interview (conversation) between the author and the reader. According to the English novelist R. Stevenson, “literature in all its forms is nothing more than a shadow good conversation" A. A. Ukhtomsky is the fundamental principle of everything literary creativity considered an unquenchable and insatiable thirst to find an interlocutor after his heart. Writing, according to the scientist, arises “out of grief” - “out of an unsatisfied need to have an interlocutor and a friend.”

The verbal fabric of literary works, as can be seen, is deeply connected with orally and is actively stimulated by it.

Literary speech often also takes the form of written forms of non-fiction speech (numerous novels and stories of an epistolary nature, prose in the form of diaries and memoirs). The orientation of literature - if we bear in mind its centuries-old experience - towards written forms of speech is secondary in relation to its connections with oral speaking.

“Absorbing” various forms of non-fictional speech, literature easily and willingly allows deviations from the linguistic norm and carries out innovations in the sphere of speech activity. Writers are capable of acting as language creators, a clear example of this is the poetry of V. Khlebnikov. Artistic speech not only concentrates the riches of national languages, but also strengthens and further creates them. And it is in the sphere of verbal art that the literary language is formed. An indisputable confirmation of this is the work of A. S. Pushkin.

Artistic speech means are heterogeneous and multifaceted. They constitute a system, which was emphasized in the works written with the participation of R.O. Yakobson and N.S. Trubetskoy “Theses of the Prague Linguistic Circle” (1929), which summarizes what the formal school has done in the field of study poetic language. The main layers of artistic speech are indicated here.

These are, firstly, lexical and phraseological means, i.e. the selection of words and phrases that have different origins and emotional “sounding”: both commonly used and non-commonly used, including new formations; both native and foreign languages; as meeting the norm literary language, and deviating from it, sometimes quite radically, such as vulgarisms and “obscene” language. Adjacent to lexico-phraseological units are morphological (actually grammatical) phenomena of language. These are, for example, diminutive suffixes, rooted in Russian folklore. One of the works of R. O. Yakobson is devoted to the grammatical side of artistic speech, where he attempted to analyze the system of pronouns (first and third person) in Pushkin’s poems “I loved you...” and “What’s in my name for you.” “Contrasts, similarities and contiguities of different times and numbers,” says the scientist, “ verb forms and pledges actually acquire a leading role in the composition of individual poems.” And he notes that in this kind of poetry “grammatical figures” seem to suppress allegorical images.

This, secondly, is speech semantics in the narrow sense of the word: figurative meanings of words, allegories, tropes, above all, metaphors and metonymies, in which A. A. Potebnya saw the main, even the only source of poetry and imagery. On this side of you artistic literature implements and further creates those verbal associations with which the speech activity of the people and society is rich.

In many cases (especially characteristic of poetry of the 20th century), the border between straight lines and figurative meanings is erased, and words, one might say, begin to wander freely around objects without directly denoting them. In the poems of St. Mallarmé, A. A. Blok, M. I. Tsvetaeva, O. E. Mandelstam, B.L. Pasternak is dominated not by ordered reflections or descriptions, but by outwardly confused self-expression - speech “excitedly”, extremely saturated with unexpected associations. These poets liberated verbal art from the norms of logically organized speech. The experience began to be embodied in words more freely and uninhibitedly.

Next (thirdly, fourthly, fifthly...) artistic speech includes layers that appeal to the reader’s inner ear. These are phonetic, intonation-syntactic, and rhythmic principles, to which we will turn.

Chapter II. Theoretical foundations for studying the idea and artistic means of its embodiment in the poem by A.A. Akhmatova "Requiem"

1 Brief overview of the work of A.A. Akhmatova

The first book of poems by A. A. Akhmatova, “Evening,” was published in March 1912 with a circulation of 300 copies and contained 46 poems. The debut of the young author was met with sympathy by critics. Reviewers noted that “Akhmatova is already an established artist, a poet who combines two positive qualities: perfection of femininity with touching and refined intimacy”; “...the young poet was influenced, firstly, by Kuzmin and then, strangely enough at first glance, by I. F. Annensky.” And one more thing: “It is not difficult to find Akhmatova’s literary genealogy. Of course, we should remember (among Russian poets) I. Annensky and Kuzmin, Sologub and Blok.”

Akhmatova continued to work on “Evening” until the end of her life, including his poems in various publications. In the collection “Poems” (Library of Soviet Poetry. M., 1961), Akhmatova for the first time included in “Evening” 5 poems from the so-called “Kiev Notebook” (another name is “Pre-Evening”), written mainly in 1909, but subsequently significantly revised. These poems open “Evening” in his last lifetime collection, “The Running of Time” (1965). In general, the composition of “Evening” in this book is reduced (probably for censorship reasons) compared to the 1940 collection “From Six Books.”

In the last years of her life, Akhmatova’s attitude towards her first poems was rather cool. In one of her autobiographical notes, she wrote: “The poet has a secret relationship with everything that he once composed, and they often contradict what the reader thinks about a particular poem. For example, from my first book “Evening” (1912) I now really only like the lines:

Similar to yours.

It even seems to me that a lot of my poems grew from these lines... The same thing that critics still so often mention leaves me completely indifferent.”

But Akhmatova was never indifferent to the fate of her first book. After the publication of the collection “The Running of Time” (1965), while planning a new edition of her works, she came up with a poetic epigraph for “Evening”, written as if on behalf of Gumilyov.

TO THE EVENING (1910)

Are you a lily, a swan or a maiden?

I believed in your beauty, -

Profile of your Lord in a moment of anger

Inscribed on an angel's shield.

Of all Akhmatova’s books, “The Rosary” had the most big success and at the same time the most controversial criticism. The poet's second collection was supposed to put into practice the principles of a new literary movement - Acmeism as opposed to symbolism. But not all reviewers agreed to see in the success of “The Rosary” only the creative victory of one of the representatives of the new direction. Thus, the poet Boris Sadovskoy, who was fundamentally outside the trends, in a review with the characteristic title “The End of Acmeism” contrasts A. Akhmatova with “The Guild of Poets”, rightly finding in this book motives that make it similar to the tragic lyrics of Alexander Blok: “Mrs. Akhmatova, undoubtedly, a talented poet, just a poet, not a poetess. In Akhmatova’s poetry one feels something akin to Blok, his tender joy and acute melancholy; we can say that in Akhmatova’s poetry, the sharp tower of Blok’s heights pierces a lonely, tender heart like a needle.” And further, separating Akhmatova from Acmeism, B. Sadovskoy wrote: “Akhmatova’s lyrics are sheer grief, repentance and torment, but a true Acmeist must be self-satisfied, like Adam before the Fall. In the very task of Acmeism there is no tragedy, there is no experience of the beyond, in other words, there are no elements of genuine lyricism in it.”

In 1964, speaking in Moscow at an evening dedicated to the fiftieth anniversary of the release of “The Rosary,” the poet Arseny Tarkovsky said: “With “The Rosary,” the time of popular recognition has come for Akhmatova. Before the revolution, not a single book by a new Russian poet was republished as many times as “The Rosary.” Glory opened the gates for her immediately, in one day, in one hour. The holy place has been empty since Sappho ceased to exist. Akhmatova’s poetry spread not only into the future, but, as it were, into the past, and the gap between the last poem of the Greek poetess and the first Russian ceased to seem so large.” Such praises of early poetry somewhat irritated Akhmatova; in them she saw an underestimation of her later work. “These praises are not in my rank, and Sappho has nothing to do with it...” - these poems of hers seem to be a direct response to Tarkovsky’s laudatory words. And yet, “The Rosary,” as it was, remains, if not the most perfect, but certainly the most famous book of the poet Anna Akhmatova.

In 1916, on the eve of the publication of the book “The White Flock,” Osip Mandelstam wrote in a review of the collection of poems “Almanac of the Muses”: “In Akhmatova’s last poems there was a turning point towards ... religious simplicity and solemnity: I would say, after the woman, it was the turn wives. Remember: “...a humble, shabbyly dressed, but majestic-looking wife.” The voice of renunciation is growing stronger and stronger in Akhmatova’s poems, and at present her poetry is close to becoming one of the symbols of the greatness of Russia.” “The White Flock” was published in September 1917 by the Hyperborey publishing house with a circulation of 2000 copies. It includes 83 poems and the poem “By the Sea.”

All the reviews of the poet’s third book, which were few in number under the conditions of that time, noted its stylistic difference from the first two. A. A. Slonimsky saw in the poems that made up “The White Flock” a “new in-depth perception of the world,” which, in his opinion, was associated with the predominance of the spiritual principle in the third book over the “sensual”, “very feminine”, and the spiritual principle is affirmed, according to the critic, in “some kind of Pushkin’s view from the outside.” Another prominent critic of the time, K.V. Mochulsky, associated the “sharp change in Akhmatov’s creativity” with the poet’s close attention to the phenomena of Russian reality of 1914-1917: “The poet leaves far behind him the circle of intimate experiences, the comfort of the “dark blue room” , a ball of multi-colored silk of changeable moods, exquisite emotions and whimsical melodies. He becomes stricter, harsher and stronger. He goes under open sky- and from the salty wind and steppe air his voice grows and strengthens. In his poetic repertoire, images of the Motherland appear, the dull rumble of war echoes, and the quiet whisper of prayer is heard.” The loneliness of the lyrical heroines of “Evenings” and “The Rosary” in Akhmatova’s third book is replaced by choral polyphony. Thus, the poet, as it were, connects to the popular consciousness.

The choral principle, polyphony, now becomes the main element artistic system Akhmatova.

In 1919 and 1920 Anna Akhmatova almost never wrote poetry. The collection "Plantain", published in April 1921, contained only 36 poems, mostly written in 1917-1918. or even dating back to an earlier period. In “The Plantain” Akhmatova seemed to complete the individual lyrical plots of “The White Flock”. Regarding topics related to public life (revolution, Civil War), then they are identified in “Plantain” as separate significant poems, but most of poems of this type, written in 1921, a fruitful year for Akhmatova, were included in next book poet.

Akhmatova twice included “Plantain” as a separate section in the book “Anno Domini”. However, in the main publications of the last years of his life (“From six books” and “The Running of Time”), “The Plantain” was published as an independent book, in a somewhat abbreviated form compared to the first edition.

The collection “Anno Domini” was published in two editions, which differed significantly from each other. The first was published in 1922 with the title “Anno Domini MCMXXI” - which translated from Latin means “In the Year of the Lord 1921”. Almost all the poems included in this publication were written in 1921, one of the most fruitful years in Akhmatova’s work. The second edition was printed in Berlin in 1923 by the publishing houses “Petropolis” and “Alkonost” under the title: “Anno Domini” (2nd edition, supplemented). This edition includes new poems, written mainly in 1922, and also, in the form last section, previously an independent "Plantain". In an abbreviated form, the collection “Anno Domini” was included in Akhmatova’s later collections. "Anno Domini" is Akhmatova's fifth book. It was met with mixed reviews by critics. The slander of critics like G. Lelevich, who accused the “pious maiden Anna” of “mystical nationalism,” hurt Akhmatova hardly more than the condescending indifference of M. Kuzmin, Yu. Tynyanov, M. Shaginyan, who saw elements of the old Akhmatovian manner in “Anno Domini” . More precisely than others, the crisis of the situation, which was really present in the book, was realized by K. Mochulsky, who noted “the hopelessness of melancholy, the horror of loneliness, eternal separation and vain expectation” as state of mind lyrical heroine. However, K. Mochulsky correctly noted that “superpersonal feelings take the poet out of the second damned circle of love and hatred - love for his homeland and faith in his calling.” N. Osinsky, in the article “Shoots of Grass” (Pravda, 1922), wrote that “After the death of A. Blok, Akhmatova undoubtedly holds first place among Russian poets... The revolution burned out everything symbolic and mannered from her poems. Enormous personal experiences gave these poems a bitter color and taste.” Bolshevik N. Osinsky called Akhmatova’s new poems “a document of the era,” and Akhmatova herself “the best Russian poet of our time.”

In the period from 1924 to 1940, Anna Andreevna Akhmatova’s poems did not appear in the Soviet press. Only in 1940 the collection “From Six Books” was published. Y. Tynyanov and M. Lozinsky took an active part in the preparation of the collection. The “Reed” cycle, forced to be called “Willow,” differs from all previous books by A. Akhmatova in that it does not have an internal plot. From these poems - with a deliberately mixed chronology - it is difficult to imagine how the development of Akhmatova's work proceeded. And although the collection “From Six Books” was greeted with enthusiasm by both readers and a few critics, its life turned out to be short. In a note on this matter, Akhmatova writes: “The fate of this book was influenced by the following circumstance: Sholokhov nominated it for the Stalin Prize (1940). He was supported by A.N. Tolstoy and Nemirovich-Danchenko. The prize was to be received by N. Aseev for the poem “Mayakovsky Begins.” Denunciations and everything that is required in these cases began; "Of Six Books" was banned and thrown out of bookstores and libraries."

In November 1945, in the Literaturnaya Gazeta, in the section “Future Books,” Anna Akhmatova wrote: “A large collection of my lyric poems (1909-1945), about four thousand lines, should be published at the beginning of 1946 in Goslitizdat. The former books will be sections of the collection. The last section is called "Odd". “Odd” includes poems from the war years, mainly poems dedicated to Leningrad, and a small cycle “Moon at the Zenith,” which I consider a series of sketches for a poem about Central Asia, where I spent two and a half years and with which I have not yet creatively broke up." This collection was typed, and the entire circulation (10,000 copies) was destroyed in connection with the decree on the magazines “Zvezda” and “Leningrad”. At the same time, in 1946, Akhmatova submitted the manuscript of the book “Odd” to the publishing house “Soviet Writer”. The manuscript was returned to her in 1952 “due to the expiration of the archival storage period.” If this version of “Odd” contained poems from 1936-1946, located in chronological order, then over time Akhmatova began to write down poems created in subsequent years on the blank pages of the manuscript returned to her, thereby violating the chronology. The final plan for Odd includes poems from 1940-1962. It has the subtitle: “The Seventh Book of Poems” and its content has many similarities with the cycle “The Seventh Book,” included in the collection “The Running of Time” (1965). This cycle has a section “Odd”, containing poems from recent years.

When in 1952 the publishing house returned to Akhmatova the manuscript of her poems “Odd,” which had been submitted there back in 1946, she began work on a new, “seventh book,” giving it the title “The Running of Time.” But the point was not only the change of title: the nature of the poems included in “The Running of Time” changed significantly. In the 60s in Akhmatova’s work, along with the objective-historical, the social-philosophical principle is strengthened, finding expression in the very structure of the verse. If poems with an acute social sound (written, as a rule, in earlier years) are not limited by any strictly defined number of lines, then the poetic philosophemes of recent years, as a rule, gravitate towards Akhmatova’s favorite poetic form - the quatrain. Often two principles - social and philosophical - are organically combined, as, for example, in the quatrain “The Running of Time,” which was supposed to open the book. The chronological principle, already poorly observed by Akhmatova in previous books, is fundamentally violated in The Running of Time. This was due to the fact that in the 60s. Akhmatova for the first time decided to write down some poems of the 30s, which until then had lived only in her memory or in the memory of her close friends. After the XXII Congress of the CPSU, Akhmatova believed so much in the weakening of the role of censorship that she included poems from the “Treasured Notebook” in “The Run of Time.” “The Treasured Notebook,” or “Wild Meat,” as she jokingly called this cycle, contained Akhmatova’s innermost thoughts about the personal responsibility of the Poet for the historical Time allotted to him. The cycle “From Poems of the 30s”, as well as the cycle “Wreath for the Dead”, decided the fate of “The Run of Time”. The literary critic E.F. Knipovich, influential in the highest bureaucratic and literary circles, to whom the manuscript of Akhmatova’s book was sent for review, did not let it pass. As a result, the name “The Running of Time” was not given to the seventh book, but to a collection consisting of all of Akhmatova’s previously published books, but significantly cleaned up by censorship

artistic idea poetry Akhmatova

2.2 The idea and artistic means of its embodiment in the poem by A.A. Akhmatova "Requiem"

Between 1935 and 1940, “Requiem” was created, published only half a century later - in 1987 and reflecting the personal tragedy of Anna Akhmatova - the fate of her and her son Lev Nikolaevich Gumilyov, illegally repressed and sentenced to death.

"Requiem" became a memorial to all victims of Stalin's tyranny. “In the terrible years of the Yezhovshchina, I spent seventeen months in prison queues” - “I’ve been screaming for seventeen months, calling you home...”

And the stone word fell

On my still living chest.

It's okay, because I was ready

I'll deal with this somehow.

I have a lot to do today:

We must completely kill our memory,

It is necessary for the soul to turn to stone,

We must learn to live again.

Lines of such tragic intensity, exposing and denouncing the despotism of Stalinism, were dangerous and simply impossible to write down at the time when they were written. Both the author himself and several close friends memorized the text by heart, testing the strength of their memory from time to time. Thus, human memory for a long time turned into “paper” on which “Requiem” was imprinted.

Without Requiem it is impossible to understand either the life, work, or personality of Anna Andreevna Akhmatova. Moreover, without Requiem it is impossible to comprehend literature modern world and those processes that have occurred and are occurring in society. Speaking about Akhmatova’s “Requiem”, A. Urban expresses the opinion that “he lived before” - in those fragments that were published as separate poems in the 30s. He lived in pieces of paper copied by hand or typed on a typewriter! The critic believes that “the publication of “Requiem” forever put an end to the legend of Akhmatova “as an exclusively chamber poet.”

"Representative" silver age” of Russian culture, she bravely made her way through the twentieth century to us, witnesses of its last decades. The path is difficult, tragic, on the verge of despair.” But the author of the article draws attention to the fact that even in “her bitterest work, Requiem, Anna Akhmatova (this is also a property of great Russian literature) retains faith in historical justice.”

“In essence, no one knows what era he lives in. Our people did not know at the beginning of the 1990s that they were living on the eve of the first European war and the October Revolution,” Akhmatova wrote.

This profound remark revealed the author as an artist and a historian at the same time. In her life and work we feel the indomitable “running of time”, we find not external historical processes of the era being lived through, but the living feelings and foresight of a discerning artist.

Nowadays, the literary and artistic magazine “October” published “Requiem” in its entirety on its pages in 1987. Thus, Akhmatova’s outstanding work became “public knowledge”. This is awesome, factual. own biography a document of the era, evidence of the trials our compatriots went through.

Once again the funeral hour approached.

I see, I hear, I feel you...

..................

I would like to call everyone by name,

Yes, the list was taken away, and there is no place to find out...

.................

I remember them always and everywhere,

I won’t forget about them even in a new trouble...

Anna Andreevna deservedly enjoys the grateful recognition of readers, and the high importance of her poetry is well known. In strict proportion to the depth and breadth of her ideas, her “voice” never drops to a whisper and does not rise to a scream - not even during the hours people's grief, not during public celebrations.

With restraint, without shouting or strain, in an epically dispassionate manner, it is said about the grief experienced: “Before this grief, mountains bend.”

Anna Akhmatova defines the biographical meaning of this grief as follows:

"Husband in the grave, son in prison, pray for me." This is expressed with directness and simplicity, found only in high folklore. But it’s not just about personal suffering, although that alone is enough for tragedy. It, suffering, is expanded within the framework: “No, it’s not me, it’s someone else who is suffering,” “And I pray not for myself alone, but for everyone who stood there with me. » With the publication of “Requiem” and the poems adjacent to it, Anna Akhmatova’s work takes on a new historical, literary and social meaning.

It is in “Requiem” that the poet’s laconicism is especially noticeable. Apart from the prosaic "Instead of a Preface", there are only about two hundred lines. And Requiem sounds like an epic.

E years became for Akhmatova sometimes the most difficult trials in her life. She witnessed not only the Second World War unleashed by fascism, which soon spread to the soil of her Motherland, but also another, no less terrible war, which was led by Stalin and his henchmen, with own people.

The monstrous repressions of the 30s, which fell on her friends and like-minded people, also destroyed her family home: first, her son, a university student, and then her husband, N.N. Punin, was arrested and exiled. Akhmatova herself lived all these years in constant anticipation of arrest. She spent many months in long and sad prison queues to hand over the package to her son and learn about his fate. In the eyes of the authorities, she was an extremely unreliable person: her first husband, N. Gumilev, was shot in 1921 for “counter-revolutionary” activities. She was well aware that her life was in the balance and listened with alarm to any knock on the door. It would seem that in such conditions it was unthinkable to write, and she really did not write, that is, she did not write down her poems, abandoning pen and paper. L.K. Chukovskaya writes in her memoirs about how carefully the poetess read her poems in a whisper, since the dungeon was very close. However, deprived of the opportunity to write, Anna Akhmatova at the same time experienced her greatest creative rise during these years. Great sorrow, but at the same time great courage and pride for one’s people form the basis of Akhmatova’s poems of this period.

Akhmatova’s main creative and civic achievement in the 30s was the “Requiem” she created, dedicated to the years of the “Great Terror” - the suffering of the repressed people.

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.

"Requiem" consists of ten poems. A prose preface, called by Akhmatova “Instead of a Preface”, “Dedication”, “Introduction” and a two-part “Epilogue”. The Crucifixion included in Requiem also consists of two parts. The poem “It was not in vain that we suffered together...”, written later, is also related to “Requiem”. From it Anna Andreevna took the words: “No, and not under an alien firmament...” as an epigraph to “Requiem,” since, according to the poetess, they set the tone for the entire poem, being its musical and semantic key. “Well-wishers” advised to abandon these words, intending in this way to pass the work through censorship.

“Requiem” has a vital basis, which is very clearly stated in a small prose part - “Instead of a Preface”.

Already here the internal goal of the entire work is clearly felt - to show the terrible years of the Yezhovshchina. And this is the story.

Together with other sufferers, Akhmatova stood in the prison line. “One day someone “identified” me. Then a woman standing behind me with blue lips, who, of course, had never heard my name in her life, woke up from the stupor that is characteristic of all of us and asked me in my ear (everyone there spoke in a whisper):

Can you describe this?

And I said:

Then something like a smile slid across what had once been her face."

In this small passage, an era visibly emerges - terrible, hopeless. The idea of the work corresponds to the vocabulary:

Akhmatova was not recognized, but, as they often said then, she was “identified”; the woman’s lips were “blue” from hunger and nervous exhaustion; everyone speaks only in a whisper and only “in the ear.”

This is necessary - otherwise they will find out, “identify”, “consider him unreliable” - an enemy. Akhmatova, choosing the appropriate vocabulary, writes not only about herself, but about everyone at once, speaks of the “numbness” “characteristic” of everyone. The preface to the poem is the second key of the work. He helps us understand that the poem was written “to order.” The woman “with blue lips” asks her for this, as the last hope for some kind of triumph of justice and truth. And Akhmatova takes upon herself this order, this heavy duty, without hesitation at all. And this is understandable: after all, she will write about everyone and about herself, hoping for a time when the Russian people will “endure everything.” And wide, clear...

"Requiem" was created over different years. For example, "Dedication" is marked March 1940. It reveals specific "addresses".

We are talking about women separated from those arrested. It speaks directly to those they mourn. These are their loved ones who are going to hard labor or execution. This is how Akhmatova describes the depth of this grief: “Before this grief, mountains bend, the great river does not flow. “The loved ones feel everything: “strong prison gates”, “convict holes” and the mortal melancholy of the convicts.

We only hear the hateful grinding of keys...

Yes, the soldiers' steps are heavy...

And again the common misfortune, common grief is emphasized:

They walked through the wild capital...

And innocent Rus' writhed

The words “Rus was writhing” and “wild capital” convey with utmost accuracy the suffering of the people and carry a great ideological load. The introduction also contains specific images. Here is one of the doomed, whom the “black marusi” take away at night. She also means her son.

There are cold icons on your lips

Death sweat on the brow.

He was taken away at dawn, but dawn is the beginning of the Day, and here dawn is the beginning of uncertainty and deep suffering. The suffering not only of the person leaving, but also of those who followed him “like a takeaway.” And even the folkloric beginning does not smooth out, but emphasizes the acuteness of the experiences of the innocently doomed:

The Quiet Don flows quietly

The yellow moon enters the house.

The month is not clear, as is customary to talk and write about it, but yellow, “the yellow month sees its shadow!” This scene is a cry for a son, but it gives this scene a broader meaning.

There is another specific image. Image of the city. And even a specific place: “He will stand under the Crosses” (the name of the prison). But in the image of the city on the Neva there is not only “Pushkin’s splendor” and beauty with its beautiful architecture, it is even darker than St. Petersburg, known to everyone from the works of N.A. Nekrasov and F.M. Dostoevsky. This is a city - an appendage to a gigantic prison, spreading its ferocious buildings over the dead and motionless Neva.

And dangled like an unnecessary pendant

Near their prisons Leningrad

Both sympathy and pity are felt in these words, where the city appears as a living face.

The reader is shocked by the individual scenes described by the author in the poem. The author gives them a broad general meaning in order to emphasize the main idea of the work - to show not an isolated case, but a nationwide grief. Here is the arrest scene, where we are talking about many sons, fathers and brothers. Akhmatova also writes about children in a dark room, although her son had no children. Consequently, when saying goodbye to her son, she simultaneously means not only herself, but also those with whom her prison line will soon bring her together.

In “Requiem,” speaking of the “streltsy’s wives” howling under the Kremlin towers, she shows a bloody road stretching from the darkness of times to modernity. Unfortunately, this bloody road was never interrupted, and during the years of repression under Stalin, who trampled on “People's Rights,” it became even wider, forming entire seas of innocent blood. According to Akhmatova, no goals ever justify blood, including during 1937. Her conviction rests on the Christian commandment “thou shalt not kill.”

In “Requiem,” a melody appears unexpectedly and sadly, vaguely reminiscent of a lullaby:

The Quiet Don flows quietly,

The yellow moon enters the house,

He walks in with his hat on one side,

Sees the yellow moon shadow.

This woman is sick.

This woman is alone.

Husband in the grave, son in prison,

Pray for me.

Lullaby motif with an unexpected and semi-delirious image quiet Don prepares another motive, even more terrible, the motive of madness, delirium and complete readiness for death or suicide:

Madness is already on the wing

Half of my soul was covered,

And he drinks fiery wine,

And beckons to the black valley.

The antithesis that arises gigantically and tragically in the “Requiem” (Mother and executed son) inevitably correlated in Akhmatova’s mind with the gospel plot, and since this antithesis was not just a sign of her personal life and concerned millions of mothers and sons, Akhmatova considered herself to have the right to artistically to rely on it, which expanded the scope of “Requiem” to a huge, all-human scale. From this point of view, these lines can be considered the poetic and philosophical center of the entire work, although they are placed immediately before the “Epilogue”.

The “Epilogue”, consisting of 2 parts, first returns the reader to the melody and general meaning of the “Preface” and “Dedication”; here we again see the image of a prison queue, but this time it’s kind of generalized, symbolic, not as specific as at the beginning poems.

I learned how faces fall,

How fear peeks out from under your eyelids.

Suffering appears on the cheeks...

I would like to call everyone by name,

Yes, the list was taken away, and there is no place to find out,

For them I wove a wide cover

From the poor, they have overheard words

Such lofty, such bitter and solemnly proud words - they stand dense and heavy, as if cast from metal in reproach to violence and in memory of future people.

The second part of the epilogue develops the theme of the Monument, well known in Russian literature according to Derzhavin and Pushkin, but under Akhmatova’s pen it acquires a completely unusual - deeply tragic appearance and meaning. We can say that never, neither in Russian nor in world literature, has such unusual Monument To the poet, standing, according to his will and testament, at the Prison Wall. This is truly a monument to all victims of repression, tortured in the 30s and other terrible years.

At first glance, the strange desire of the poetess sounds sublime and tragic:

And if ever in this country

They are planning to erect a monument to me,

I give my consent to this triumph,

But only with a condition - do not put it

Not near the sea, where I was born...

Not in the royal garden near the treasured stump.

And here, where I stood for three hundred hours

And where they didn’t open the bolt for me.

And then the typical A.A. Akhmatova's sensitivity and vitality.

And let the prison dove drone in the distance,

And the ships sail quietly along the Neva.

"Requiem" by Akhmatova - authentic folk piece, not only in the sense that it reflected and expressed a great folk tragedy, but also in its poetic form, close to a folk parable. “Woven from simple, “overheard” words, as Akhmatova writes,” he expressed his time and the suffering soul of the people with great poetic and civic power. “Requiem” was not known either in the 30s or in subsequent years, but it forever captured its time and showed that poetry continued to exist even when, according to Akhmatova, “the poet lived with his mouth clenched.”

The strangled cry of a hundred million people was heard - in this great merit Akhmatova.

One of the features of Akhmatova’s work is that she wrote as if without any concern for the outside reader - either for herself, or for a close person who knew her well. And this kind of reticence expands the address. Her “Requiem” is completely torn apart. It is written as if on different pieces of paper, and all the poems of this mournful memorial poem are fragments. But they give the impression of large and heavy blocks that move and form a huge stone sculpture of grief. "Requiem" is a petrified grief, ingeniously created from the most simple words.

The deep idea of "Requiem" is revealed thanks to the peculiarity of the author's talent with the help sounding voices specific time: intonation, gestures, syntax, vocabulary. Everything tells us about certain people of a certain day. This artistic precision in conveying the very air of time amazes everyone who reads the work.

There were changes in the work of the poet A. Akhmatova in the 30s. There was a kind of take-off, the scope of the verse expanded immeasurably, incorporating both great tragedies - the impending Second World War and the war that began and was waged by the criminal authorities against their own people. And the mother’s grief (“her son’s terrible eyes are a petrified creature”), and the tragedy of the Motherland, and the inexorably approaching war suffering - everything entered her verse, charred and hardened it. She did not keep a diary at this time. Instead of a diary, which was impossible to keep, she wrote down her poems on separate pieces of paper. But taken together they created a picture of a torn up and ruined home, of the broken destinies of people.

This is how the image of the doomed man is created from individual parts of the Requiem:

Sentence. And immediately the tears will flow.

Already separated from everyone.

("Dedication")

And a summary:

And when, maddened by torment,

The already condemned regiments were coming.

("Introduction")

Like cuneiform hard pages

Suffering appears on the cheeks,

Like curls of ashen and black

They suddenly become silver.

("Epilogue")

Here are the words chosen with extraordinary precision: “mad with torment,” “suffering appears on the cheeks,” “already separated from everyone.”

The personal and personal is intensified. The scope of the image expands:

Where are the involuntary friends now?

My two crazy years?

What do they see in the Siberian blizzard?

What do they see in the lunar circle?

To them I send my farewell greetings.

In the flow of today memoir literature"Requiem" occupies a special place. It is also difficult to write about him because, according to A. Akhmatova’s young friend, poet L. Brodsky, life in those years “crowned her muse with a wreath of sorrow.”

V. Vilenkin writes in his publications: “Her “Requiem” least of all needs scientific commentary. Its folk origins and folk poetic scale are clear in themselves. Personally experienced, autobiographical things drown in them, preserving only the immensity of suffering.” Already in the first poem of the poem, called “Dedication,” the great river of human grief, overflowing with its pain, destroys the boundaries between “I” and “we.” This is our grief, this is “we are the same everywhere,” it is we who hear the “heavy steps of soldiers,” this is us walking through the “wild capital.” “The hero of this poetry is the people... Every single one of them participates on one side or the other in what is happening. This poem speaks on behalf of the people."

"Requiem" (Latin Requiem) - funeral mass. Many composers V.A. wrote music to the traditional Latin text of the Requiem. Mozart, T. Berlioz, G. Verdi. Akhmatova’s “Requiem” preserves the Latin spelling, nodding to the basis, the original source, and tradition. It is not for nothing that the finale of the work, its “Epilogue,” takes the tragic melody of eternal memory for the deceased beyond the boundaries of earthly reality:

And let from the motionless and Bronze Ages,

Melted snow flows like tears,

"Requiem" demanded from her musical thinking, musical arrangement of individual disparate parts - lyric poems- into one single whole. It is noteworthy that both the epigraph and “Instead of a Preface,” written much later than the main text of the poetic cycle, are attached to it organically—namely through the means of music. In the form of an “overture” - an orchestral introduction in which two main themes of the composition are played: the inseparability of the fate of the lyrical heroine from the fate of her people, the personal from the general, “I” from “we”.

In its structure, Akhmatova’s work resembles a sonata. It begins after short musical bars with the powerful sound of a choir:

Mountains bend before this grief,

The great river does not flow

But the prison gates are strong.

And behind them are “convict bunks”

And mortal melancholy...

The presence here of Pushkin’s line from the poem “In the depths of the Siberian ores” expands the space and gives access to history. Nameless victims cease to be nameless. They are protected by the great traditions of freedom-loving Russian literature. “And hope still sings in the distance.” The voice of hope does not leave the author. The poetess created not a chronicle of her life, but a work of art that contains generalization, symbolism, and music.

And when, maddened by torment,

The already condemned regiments were marching,

And a short song of parting

The locomotive whistles sang.

Death stars stood above us...

Individual words in such contexts acquire a terrifying value. For example, the stars sung in fiction How magical, captivating, mysterious in their beauty, here are the death stars. “Yellow Moon,” although it does not carry such a negative assessment, is a witness to someone else’s grief.

Many literary scholars have wondered: “Requiem” - what is it: a poetic cycle or a poem. It is written in the 1st person, on behalf of “I” - the poet and the lyrical hero at the same time. And also the complex interweaving of autobiographical and documentary allows us to answer this question in the affirmative and classify this work as a “small poem” among the poems of the 20th century, although from the point of view of genres, “Requiem” is not a simple “nut to crack”.

Akhmatova had the high gift of a lyric poet; the basis of her work, consisting of individual poems, is also lyrical. This gave the strength to the lyrical fragments created in 1935 - 40 and not published in these years, to withstand, not to crumble from the hardest blows of time and to return to us, half a century later, as an integral work of art. At first glance, there is a simple answer. In 1987, the theme of the personality cult of Stalin and its tragic consequences For the people, from “closed” topics it became open. And Akhmatova’s “Requiem,” which tells about the tragedy personally experienced by the poet in those years, received the status of the most topical document, standing on a par with such modern works, like Tvardovsky’s poem “By the right of memory”, the novels by V. Dudintsev “White Clothes”, V. Grossman’s “Life and Fate”, poetry and prose by V. Shalamov. But this explanation lies on the surface and cannot fully satisfy the reader. After all, in order for a work to coincide with modern times, to return half a century later to new generations of readers, preserving its artistic value, it means it needs to have this artistic value. It is conveyed in the poem by the finest capillaries of verse: its rhythms, meters, artistic means of language. And even her “Instead of a Preface” is not entirely pure prose. This is a prose poem.

The dissolution of the heroine in a common tragedy, where everyone has the same role, gave the right to the poem:

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

I couldn't do that.

Everything in “Requiem” is enlarged, expanded within boundaries (Neva, Don, Yenisei) and comes down to a general presentation - everywhere. So, in response to the events of the 30s, A.A. Akhmatova responded with the tragedy "Requiem".

Russian poetry knew many examples when this genre of musical work became a form of poetic thought. For Akhmatova, it was an ideal form of mastering the tragic plot of Russian history, in which author's fate has risen to universal generalizations: the poetic “I” often speaks on behalf of “we.” The author’s lens breaks in everywhere: where grief and death have settled, noticing “the one that was barely brought to the window,” “and the one that does not trample on the native land.” “And the one who, shaking her beautiful head, said: “I come here like coming home.” The author does not lose sight of the one who is “already separated from everyone,” and the “unwitting friends” walking through the maddened city, and the “crowd of the condemned.”

With the help of artistic visual and expressive means A.A. Akhmatova reveals the main idea of her work - to show the breadth and depth of people's grief, the tragedy of life in the 30s.

Thus, creative success poetesses in the 30s are huge. In addition to poems, she created two significant poems - “Requiem” and “Poem without a Hero.” The fact that neither “Requiem” nor other works of Akhmatova of the 30s were known to the reader does not in the least diminish their significance in the history of Russian poetry, since they indicate that in these difficult years literature, crushed by misfortune and doomed in silence, continued to exist - in defiance of terror and death.

Conclusion

Historical events eras echoed in Akhmatova’s personal and creative fate: the execution of her husband, the arrests and exile of her son, hunger and a miserable existence, the decree banning the publication of poetry and the hostility of her activities to the Soviet system, literary isolation, long periods of poetic silence, strict censorship, etc.

Akhmatova's poetry is an integral part of modern Russian and world culture.

Poetry is the poet himself and his time, his spirit and struggle with injustice for the sake of nobility and beauty.

A. Akhmatova’s poems capture the features of time with all its monstrous cruelty. No one has ever told the truth about him with such bitter mercilessness:

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's messed up forever

And I can't make it out

Now, who is the beast, who is the man,

And how long will it be to wait for execution?

Defenseless and direct, in inhumane conditions before legalized crimes, she not only mourned these dark days, but also took precedence over them: “Do not forget” (“Requiem”)

Akhmatova's time passed through sharp changes, and it was a path of great loss and loss. Only a poet great power, deep essence and will could withstand this and resist everything with the power of his truthful art.

A. Akhmatova, still in early years delighting the world with lines of genuine, tender and subtle lyrics, was both firm and unyielding, direct and majestic in this formidable turning point.

List of used literature

1.Averintsev S.S. Ancient Greek poetics and world literature // Poetics of ancient Greek literature. M., 1981. S. 8, 6.

2.Ancient rhetoric. M., 1978. P. 19.

.Asmus V.F. German aesthetics of the 18th century. M., 1962. P. 70. On the theoretical understanding of artistic subjectivity in the 18th-19th centuries. (from Lessing to Hegel and Belinsky)

4.Akhmatova A.A. Favorites: Poems. Poems. - M.: AST, 2002. - 640 p.

5.Akhmatova A.A. Lyrics. - M.: EKSMO, 2003. - 383 p.

.Akhmatova A.A. Works: In 2 volumes - M.: Pravda, 1990. - T. 1. - 448 p.

.Akhmatova A.A. Poems. - M.: “ Soviet Russia", 1977. - 527 p.

8.Belinsky V. G. Poli. collection cit.: In 13 volumes. M., 1956. T. 10. P. 15.

9.Belinsky V. G. Poli. collection cit.: In 13 volumes. M., 1956. T. 7. P. 312.

10.Introduction to Literary Studies: Tutorial for philological specialties of the University / ed. Pospelov G.N. - M.: graduate School, 1976. - S. - 37.

11.Vilenkin V. In the hundred and first mirror. - M. 1987.

12.Gindin S.I. Rhetoric and the problem of text structure//Dubois J. et al. General Rhetoric/Translated from French, M., 1986. P. 364.

.Ginzburg L. Ya. About lyrics. P. 211. p. 224-225.

14.Durishin D. Theory of comparative study of literature. - M.: Progress, 1979. - S. - 29, 42

15.Zhimursky V. The work of Anna Akhmatova. - L. 1973.

16.Ilyin I. A. Talent and creative contemplation // Ilyin I. A. Lonely artist. M., 1993. S. 262-272.

17.Kvyatkovsky A.P. Poetic dictionary. - M.: “Soviet Encyclopedia”, 1966. - S. - 17, 28.

18.Brief Literary Encyclopedia / Ch. ed. A.A. Surkov. - M.: “Soviet Encyclopedia”, 1962. - S. - 23, 92.

.Brief dictionary literary terms / Compiled by L.I. Timofeev. - M.: Education, 1985. - S. - 58, 77.

20.Croce B. Aesthetics as a science of expression and as general linguistics. M., 2000. - P. 111-117.

21.Literature and art / Compiled by A.A. Vorotnikov. - Minsk: Harvest, 1996. - S. - 35, 62.

22.Literary encyclopedic Dictionary/ Under general ed. V.M. Kozhevnikova. - M.: “ Soviet encyclopedia", 1987. - S. - 76, 99

23.Malyukova L.N. A. Akhmatova: Epoch, Personality, Creativity. - Taganrog, 1996.

24.Medvedev P. N. Formal method in literary criticism (Bakhtin under the mask. The second mask). M., 1993. pp. 22-23.

.Mikhailova N.I. “Vityism is a formidable gift”: A.S. Pushkin and the Russian oratorical culture of his time. M., 1999.

.Pavlovsky A.I. Anna Akhmatova, life and work. - M.: "Enlightenment" 1991.

.Plato. Selected dialogues. pp. 83, 231, 246.

.Rudneva E. G. Pathos of a work of art. M., 1977.

.Tomashevsky B.V. Theory of Literature. Poetics; It's him. Stylistics. 2nd ed. corr. and additional L., 1983.

.Ukhtomsky A. A. Intuition of conscience. P. 287.

31.Khrapchenko M.B. The creative individuality of the writer and the development of literature. - M.: “Soviet Writer”, 1975. - S. - 63, 74.

32.Cicero. About old age. About friendship. About responsibilities. M., 1974. P. 112. See also P. 92-93.

33.A person reading. M., 1983. P. 240.

34.Chernets L.V. On the theory of poetic tropes//Bulletin of Moscow State University. Philology. 2001. No. 2.

35.Ekhenbaum B. Anna Akhmatova. Analysis experience. - L. 1960.

36.Yakobson R. O. Poetry of grammar and grammar of poetry // Semiotics. M., 1983. S. 462, 469.

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The fate of Anna Andreevna Akhmatova in the post-revolutionary years was tragic. In 1921, her husband, poet Nikolai Gumilev, was shot. In the 1930s, his son was arrested on false charges; with a terrible blow, a “stone word,” the death sentence was sounded, which was later replaced by camps; then almost 20 years of waiting for my son. Osip Mandelstam's closest friend died in the camp. In 1946, Zhdanov’s decree was issued, which slandered Akhmatova and Zoshchenko and closed the doors of magazines in front of them; It was only in 1965 that her poems began to be published.
In the preface to “Requiem,” which Anna Andreevna composed from 1935 to 1940 and which was published in the 80s, she recalls: “During the terrible years of the Yezhovshchina, I spent 17 months in prison lines in Leningrad.” The poems included in “Requiem” are autobiographical. “Requiem” mourns the mourners: a mother who lost her son; a wife who has lost her husband. Akhmatova survived both dramas, but behind her personal fate lies the tragedy of the entire people.
No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
The commotion where my people, unfortunately, were.
The reader's empathy, anger and melancholy, which are felt when reading the poem, are achieved through the effect of a combination of many artistic means. “We hear different voices all the time,” Brodsky says about “Requiem.” - then just a woman, then suddenly a poetess, then Maria is in front of us.” Here is a “woman’s” voice that comes from sorrowful Russian songs:
This woman is sick
This woman is alone
Husband in the grave, son in prison,
Pray for me. Here is the “poetess”:
I should show you, mocker
And the favorite of all friends,
To the cheerful sinner of Tsarskoye Selo,
What will happen to your life.
Here is the Virgin Mary, because the sacrificial prison lines equate every martyr-mother with Mary:
Magdalene fought and cried,
The beloved student turned to stone,
And where Mother stood silently,
So no one dared to look.
In the poem, Akhmatova practically does not use hyperbole, apparently this is because grief and suffering are so great that there is neither need nor opportunity to exaggerate them. All epithets are chosen in such a way as to evoke horror and disgust at violence, to show the desolation of the city and country, and to emphasize the torment. The melancholy is “deadly”, the steps of the soldiers are “heavy”, Rus' is “innocent”, “black marusi” (prisoner cars). The epithet “stone” is often used: “stone word”, “petrified suffering”. Many epithets are close to folk ones: “hot tear”, “great river”. Folk motifs are very strong in the poem, where the connection between the lyrical heroine and the people is special:
And I’m not praying for myself alone,
And about everyone who stood there with me
And in bitter cold, and in the July heat
Under the blinding red wall.
Reading the last line, you see a wall in front of you, red with blood and blinded by the tears shed by the victims and their loved ones.
There are many metaphors in Akhmatova’s poem that allow us to convey thoughts and feelings to us in a surprisingly brief and expressive way: “And the locomotive whistles sang a short song of separation,” “And burn through the New Year’s ice with your hot tears.”
The poem also contains many other artistic devices: allegories, symbols, personifications. Together they reflect deep feelings and experiences.
Anna Andreevna Akhmatova withstood all the blows of fate with dignity, lived a long life and gave people wonderful works.

A. A. Akhmatova began writing her poem “Requiem” in 1935, when her only son Lev Gumilyov was arrested. He was soon released, but was arrested, imprisoned and exiled twice more. It's been years Stalin's repressions. How...

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