The work of Anna Akhmatova - briefly. The main periods of Anna Akhmatova's creativity

Bestaeva Elmira Valikoevna
Job title: teacher of Russian language and literature
Educational institution: Vladikavkaz branch of the Financial University under the Government of the Russian Federation
Locality: city of Vladikavkaz
Name of material: Public lesson based on the works of A. A. Akhmatova.
Subject:"The life and creative path of A. A. Akhmatova. The poem "Requiem".
Publication date: 05.05.2017
Chapter: secondary vocational

1 course. Russian language and literature, specialty – 02/38/06, Finance.

Section 7. Literature of the first half of the 20th century.

Topic 10. Anna Andreevna

Akhmatova. Life and creative path. Poem "Requiem".

DURING THE CLASSES:

LESSON TOPIC: Anna Andreevna Akhmatova.

Life and creative path.

Poem "Requiem".

LESSON PLAN:

1) The main milestones in the life and creative path of A. A. Akhmatova.

2) Poem “Requiem”. History of creation, topics.

3) A. A. Akhmatova. Translations from Ossetian poetry.

Lesson objectives:

educational:

life

creative

biography

Akhmatova;

introduce

features

creativity

biographical

2) developing:

develop

skills

expressive

read

literary analysis when studying the topic “A. A. Akhmatova. Vital and

creative path. Poem "Requiem";

3) educational:

cultivate love for the Motherland, for the history of your country, for

personal freedom, independence; intolerance to any violence against a person.

Lesson type: combined.

Lesson type: mixed.

Teaching method: verbal-visual.

Logistics

security

lesson:

multimedia

projector,

audio recordings, viewing video clips; collection of poems, presentation.

Interdisciplinary connections: history, philosophy.

ORGANIZATIONAL

MOMENT

minutes):

welcomes

students,

notes

absent,

goes over

preparation

students for the lesson (the availability of educational supplies is checked); teacher

communicates the topic of the lesson and its goals.

EXAMINATION

HOME

TASKS

minutes): grade

students

frontal

reveals

development

previous students educational material: “Biography of M. A. Bulgakov”).

So, guys, in the last lesson we talked about complexity and tragedy

life path of M. A. Bulgakov; We also got acquainted with the main stages of its

creative development and discussed the place of M. A. Bulgakov in the world of modern

literature.

First, we’ll conduct a biography survey, and then listen to creative tasks.

two students:

a) frontal survey: 1) where and when was M. A. Bulgakov born?

2) who were his parents by occupation?

3) what prompted Bulgakov to choose a profession

4) what work is Bulgakov’s debut associated with?

5) which of Bulgakov’s plays did Stalin watch 14 times?

6) from what hereditary disease did Bulgakov die?

7) why did his wife think there was something in his death?

mysterious?

8) in what city is the writer buried?

9) why M. Bulgakov was against children, although he was in

married three times?

individual survey: message from two students on the topics: “M. A. Bulgakov and

questions of faith", "M. A. Bulgakov and Vladikavkaz.”

3. SUMMARY OF ANSWERS (2 minutes): the teacher notes how

students,

verbally

encourages

working

students; those who did not prepare enough for the pair receive comments from the teacher and

are invited to consultations.

Grading, commenting (Guys, with homework, on my

look, you did it, you covered the questions proposed at the last lecture in that

the extent to which they were provided to you).

EXECUTIVE SUMMARY

NEW

MATERIAL

minutes):

is highlighted on interactive whiteboard, under the topic name is the structure of the lesson.

Preparing students to learn new material. Motivation for their learning

activities.

Afanasyevich Bulgakov - an outstanding Russian writer, playwright, author of novels,

novellas, short stories, feuilletons and more than two dozen plays.

He remained in memory

contemporaries as a person whose main personality traits were independence

hardness

judgments

vitality

tests,

highly developed

self-esteem, subtle humor, the art of being in all cases

yourself.

Strict censorship with which

collided

Bulgakov,

violent

plantings

ideology

Stalinism

are the leitmotif for Russian literature of the 20th century. Repression or harassment for

freedom of opinion will be subject to M. Zoshchenko, B. Pasternak, B.

Pilnyak, A. Solzhenitsyn, and finally A. Akhmatova, so guys don't throw it away

their

knowledge

creativity

Bulgakov.

further

studying

Russian

literature,

especially

studying

creativity

Akhmatova,

Pasternak,

Brodsky,

Solzhenitsyn

waves

third

emigration,

we will

often

recall.

Bulgakov

Akhmatova

historical era and became unwitting witnesses to the bloody events of October,

Stalinist repressions, great trials that befell common people, I

I mean the collectivization of agriculture, from which, first of all,

suffered

workers

masses.

noted

Bulgakov

politics,

carried out Soviet power. In the 1930s, perhaps the main thing in creativity

writer becomes the theme of the relationship between the artist and the authorities, realized by him in

material

historical

"Moliere"

biographical

“The Life of Monsieur de Moliere”, novel “The Master and Margarita”.

intersect

thematic

interests

Bulgakov

Akhmatova?

freedom, show hard life Russian people).

As you already understand, guys, today we will talk about the work of A.A.

Akhmatova and about the difficult trials that befell her.

Target

today's lesson: study

life and creative biography

A. A. Akhmatova; get acquainted with the history of the creation of the poem “Requiem”; and also with

features of the poetess's translation work.

Three issues are being brought up for consideration today (show on screen).

1 question. The main milestones in the life and creative path of A. A. Akhmatova.

Russian culture does not know a more dramatic fate of the poet, whose share

there were so many trials and so many tragic moments in history that it seemed

one person, one person would not be able to accommodate this, but Anna Andreevna

was able to survive all this, summarize her dramatic, difficult experience and

stay

working,

valid,

talented

lyric poet.

Anna Gorenko was born in the Odessa region with beautiful name Big

Fountain in the family of retired naval mechanical engineer Andrei Gorenko. Mother - Inna

Erasmovna Stogova - was educated and very modern woman, which

was a welcome guest in the homes of the Odessa creative elite.

Andreevna

was the third of six children. Akhmatova recalled that she learned to read the alphabet

Lev Tolstoy. At the age of five, listening to the teacher teaching the older children,

she learned to speak French.

From themselves early years showed character, was an obstinate child, bad

studied, was restless, but from the age of 10 she wrote non-childish and very

talented poems.

The family called her Akuma, which is translated from Japanese

means "evil spirit". Parents were horrified by the abilities

they wanted the girl to “go out into the world”, but for a girl at that time

career

the poetess was no good. The mother gasped: “I see that my daughter is feeling bad, but I can’t

help her." The father reacted much more strictly: “Don’t disgrace my name.” When Anya was 16

years old, she exclaimed: “And I don’t need your name.”

this is where the story begins famous pseudonym. She, it must be said, had

rather caustic, unfeminine humor. And she spoke with great irony about the pseudonym, oh

that situation, already in adulthood. She said: "Only a 17-year-old crazy girl

could choose Tatar surname for the Russian poetess".

Behind this nickname

there is a family legend. Allegedly, on the maternal side, the ancestor of the Gorenko family was

Tatar Khan Akhmat. In any case, this oriental surname fits amazingly

to this face with a broken line, to this talent.

moved first to Pavlovsk (a city in St. Petersburg), and then to Tsarskoe Selo, where

in 1899, that is, at the age of 10, Anna Gorenko became a student of the Mariinsky

women's gymnasium, the director of which was Innokenty Annensky. Anna studied at

The Tsarskoye Selo Women's Gymnasium is always reluctant. Summer

p r o v o d i l a

Sevastopol, where the mother went after her divorce from her husband for treatment of her two daughters,

tuberculosis.

Akhmatova

amazes

deep

individualism: "I

received

nickname

girl",

barefoot, wandered around without a hat, threw herself from a boat into the open sea, swam while

sunbathed

shocked

provincial Sevastopol young ladies."

In Tsarskoe Selo in 1903 she met N.S. Gumilyov and became a permanent

the addressee of his poems. And in the spring of 1910, after several refusals by Akhmatov

agreed to become the wife of N.S. Gumilyov. From her marriage with Gumilyov to Anna Akhmatova in

In 1912, his son Lev, a future scientist-historian, was born.

Both got hit

the influence of the remarkable Russian poet Innokenty Annensky. Both started early

write poetry, it was no coincidence that they fell in love with each other. And in the same year that the collection was published

"Evening", they got married.

It was a very rare case when both husband and wife -

wonderful great poets. And in Gumilyov’s poetry there is the image of Akhmatova, and

in Akhmatova’s poetry there is an image of Gumilyov. It is obvious that marriage between two

like this talented individuals, and even competing in the craft, could not be

successful, because Gumilev was completely unbearable to feel that he was

simultaneously

competitor

beats him.

When the marriage ended, the relationship between the two great poets

were not interrupted. And this is how wonderfully Akhmatova reacted to Gumilyov’s departure

volunteered for the front, then the First began World War:

"Comfort".

There is Michael the Archangel

He enrolled him in his army.

N. Gumilev.

You won't hear from him anymore.

You won't hear about him.

In fire-ridden, mournful Poland

You will not find his grave.

Let your spirit become quiet and calm,

There will be no more losses:

He is a new warrior of God's army....

Surprisingly, these are poems to her ex-husband, the man with whom she broke up,

she already had her own personal life with the poet Boris Anrep. And he too. However

less, the spiritual union is indestructible.

In 1914, the second collection “Rosary Beads” was published, which brought her all-Russian fame. WITH

For 14 years, the citizenship of Akhmatova’s lyrics has already been formalized. She is very loyal

her land, she loves her homeland very much, she sympathizes with all those events

that happen to her home country. Let's not forget that at this time she is 24 years old.

Nevertheless, such an amazing, pure, unfeminine feeling of patriotism, love for

To the homeland and, most importantly, to my duty to it. Akhmatova's patriotism is already heard in her early

collection of poems "White Flock".

IN next year Anna Akhmatova and Nikolai Gumilyov separated; after divorce

Akhmatova

secondary

Assyrian scientist

(Assyriology

discipline,

studying

writing,

culture

Mesopotamia) Vladimir Kazimirovich Shileiko.

time

is approaching

October

revolution,

Andreevna did not leave the country, as many representatives of the creative arts did.

intelligentsia

environment.

worked

library

Agronomic

Institute in St. Petersburg. In 1921, a collection of her poems, “Plantain”, was published.

a year later - the book “Anno Domini”.

The wonderful collection of poems “Anna” deserves special attention

Domini" (Summer of the Lord). The collection was published in 1922.

1921 becomes the year for

Akhmatova

shocks

shot

Gumileva,

simultaneously with this event, A. Blok, whom Akhmatova considered great, dies

a poet, a model whose loss she felt tragically.

Marvelous,

this moment her talent is enriched, her gift becomes stronger,

she doesn't dive into

depressive, lonely state, and this collection seems to be a response

about what happened to her in 1921.

designated

fully

civil

Akhmatova's poetry. It was unbearable for her to even imagine that she would live

and work in exile.

Beginning in 1922, Anna Akhmatova's books were subject to censorship. WITH

From 1925 to 1939 she was banned: her work did not meet the criteria

"proletarian culture" of the Soviet state.

Since 1924, Akhmatova, together with the critic Nikolai Punin, grouped

hostile literary workers around her and arranged in her

apartment

anti-Soviet

Begins

involuntarily

provoked

Chukovsky

Akhmatova

Mayakovsky.

Opposition

guardians

leaving

culture

Akhmatova

right flank

art

Mayakovsky,

was being built

Chukovsky turned out to be fatal for Akhmatova. However, for the authorities the question arose

otherwise: Akhmatova or Mayakovsky.

In 1939, Akhmatova’s name was returned to literature for 7 years. At the reception in

honor of awarding writers Stalin asked about Akhmatova, whose poems she loved

his daughter Svetlana: “Where is Akhmatova? Why doesn’t he write anything?” Akhmatova was

accepted into the Writers' Union, publishing houses became interested in her. In 1940 he came out after 17

summer break, her collection “From Six Books,” which Akhmatova called “a gift

father to daughter." In 1940, Akhmatova’s collection of poems “From Six Books” was published.

And then in the 40th year a small wind of hope appears, the thought of

that maybe everything will return to its previous state, she is allowed to print,

many are released from Stalin's camps. The 40th year is a very strange year, not only

for Akhmatova, but also for many of her contemporaries. Many then said that

felt

begins

Patriotic War. And all these hopes were not destined to come true. And Russian

people, and Akhmatova are facing a new, much heavier blow than

Stalin's repressions.

First, to introduce you to the military context, I want you to

remembered what you know from the stories of your loved ones from the Patriotic War course

stories about what a shock, what a blow

This war was for the whole people.

There is practically no family untouched by this grief. For Akhmatova, the war was

doubly grief, because Akhmatova was a “Leningrader”, and what does war mean and

there is no need to tell you about the blockade for the residents of Leningrad.

Akhmatova had an extraordinary love for St. Petersburg. She wrote about him as if he were alive

loved one. I would like to say how she felt about the city in which

lived almost my entire life.

Here, for example, are lines from early Akhmatova:

How I love, how I loved to look

To the chained shores,

On balconies where centuries

No one set foot.

And truly you are the capital

For the crazy and bright us;

But when over the Neva lasts

That special, pure hour

And the May wind blows

Past all the above-water columns,

You are like a sinner who sees heaven

Before death sweetest dream... (1916).

This is how you can only write to a loved one, and yet the addressee of her poems

becomes her city. The topic of St. Petersburg is the most important

in the works of A. Akhmatova.

"Requiem"

Petersburg

loses

personality

becomes

clot

human

suffering,

space

occupy

Listen

Leningrad,

listen,

Akhmatova's love for the city.

“The birds of death are at their zenith.

Who is coming to rescue Leningrad?

Don't make noise around - he's breathing,

He’s still alive, he hears everything.”

But these are poems almost about a sick, tortured child (he is breathing, don’t make noise,

any careless movement could take his life, but he is still alive). And here she is

forced to leave her beloved city for Tashkent, and Tashkent was a city that

(emphasis

Russian

Soviet

artistic intelligentsia, and there she found herself evacuated alone. And she survived

only thanks, firstly, to one’s own willpower, the will to live and courageous

character, secondly,

because she did not interrupt poetic work, and thirdly,

thanks to the care of loved ones, fans of her talent. At this time the most written

Akhmatova’s powerful civic poem “Courage”:

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our watch,

And courage will not leave us.

It's not scary to lie dead under bullets,

It's not bitter to be left homeless, -

And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean,

We will give it to our grandchildren and save us from captivity

These verses have an almost magical effect, people who heard them

for the first time, later they talked about

these verses infected a person with the will to

life. Akhmatova, with her fate, her trials, paid for the right to talk about

emigration, she wrote the poem “I am not with those who abandoned the earth...”, which

many thought it was unfair.

Akhmatova did not interrupt her poetic work, despite any hardships, outside

depending on whether the poem is published or not.

return

Leningrad,

appear

calm down, on better life. And again, as in 1942, these were false hopes.

graduation

appears

sadly

the famous resolution of the Central Committee of the All-Union Communist Party of Belarus on the magazines “Leningrad” and “Zvezda”.

Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party (Bolsheviks) (Central Committee of the Communist

of the year: “Akhmatova is a typical representative of an alien to our people

empty, idealess poetry. Her poems, imbued with the spirit of pessimism and

decadence,

expressing

salon

frozen

positions of bourgeois-aristocratic aesthetics and decadence, “art

for art”, which does not want to keep pace with its people, harm the cause

education of our youth and cannot be tolerated in Soviet literature.”

reports

(generalized

transcript): “Akhmatov’s poetry is completely far from

people. Her main thing is love motives intertwined with sadness motives,

doom.

doom,

dying

hopelessness

spiritual

Akhmatova.

Akhmatova

a small, narrow personality with insignificant experiences.”

The main victims of the decisions of this magazine were A. Akhmatova and

M. Zoshchenko. The harm of this ruling cannot be overestimated.

It will last for many years

erased Anna Akhmatova from literature.

Resolution

erroneous

There are still people alive who remember this decree and who remember their

reaction to what they read in the newspapers. People who loved Akhmatova bitterly

cried this morning when we opened the Pravda newspaper. This meant that Akhmatova

will not print. And it was also unsafe to communicate with her. But Akhmatova never

condemned people who were afraid to communicate with her during these difficult days. She was already over

50, it would seem that it should break, but it continues to work. "A poem without

hero" Akhmatova wrote for almost 25 years. From 40 to 65 years.

Old age did not dull Akhmatova’s memory; moreover, it did not dull it

the ability to love a person, life itself. She didn't like the chronological principle,

according to which the editors forced her to arrange poems. And she said: “It doesn’t matter,

when the poem was written - in 62 or 13. The main thing is that I wrote this

poems called "Seaside Sonnet".

They are called that because

they were written in Komarovo, which is located on the shores of the Gulf of Finland.

will outlive me

Everything, even dilapidated birdhouses

And this air, spring air,

With an unearthly irresistibility,

And over the cherry blossoms

The radiance of the light month is pouring.

And it seems so easy

Whitening in the emerald thicket,

I won’t tell you where the road is...

There among the trunks it’s even brighter,

And everything looks like an alley

At the Tsarskoye Selo pond.

This is a poem about death, but

readiness,

which

characteristic true Christian. There is no drama, tragedy, complaints about

Akhmatova

person

culture.

internal

culture

was based on three

names: these are Dante, Shakespeare and Pushkin.

characteristic

Ironically, she once said: “It’s stupid to live your life on planet Earth and never

read Shakespeare in the original." She also read Dante in the original. She was

one of the best specialists Leningradsky according to “BK”.

The worldwide fame, which she was worthy of from her early years of creativity, came

it's too late for her. Literally two years before his death. They began to talk about what might

maybe she could become a laureate Nobel Prize. Then they presented the Italian

prize, simply to honor a great poet. And then, shortly before her death

received an honorary doctorate from Oxford University.

She treated all this with irony; she understood that she had very

few. She didn't need fame at all. She went to England already deadly

sick, in order to honor the attention of those people who received her.

person

grateful.

worthy

laconic.

Actually, just as she predicted.

It was obvious that Akhmatova's death could cause new wave support

disgraced literature. The management of the Moscow branch of the Writers' Union, according to

Vladimir Muravyov, “vibrated and shook.” With angry bitterness he recalled:

carried out

great

Russian

naked

Andreevna lay in the basement of the morgue for three days - on the occasion of the Eighth of March holiday.

arranged

Soviet

Worthy

This is exactly what she deserved from them.”

Searches

Brodsky cemetery. The question was very important: Akhmatova’s burial place should

become a sign of her connection with this city, with its shadows, with its history. It was impossible

bury Akhmatova next to Blok and Lozinsky on the Literary Bridge: for

burial in such a prestigious cemetery should have been sanctioned by the authorities. Komarovo,

small,

cemetery

emigrants: “Her

the center of the cemetery. Everyone will strive there. The cemetery will become Akhmatov’s.”

Akhmatova

deliver

dawn

aerodrome,

transportation of goods. And in order for Muscovites to still be able to say goodbye to Akhmatova,

Lev Kopelev decides to commit a forgery: without having any authority to do so, he, on behalf of

"commissions

writers

funeral

Akhmatova"

Sheremetyevo, and he manages to get permission for a delay - to bring the coffin to

a few hours later than stated, straight to the plane.

phone

notified

parting

hospitals

Sklifosovsky

Antonovna

Olshevskaya, Nadezhda Yakovlevna Mandelstam, Anna Kaminskaya, Nika Glen, Yulia

Zhiva, Anatoly Naiman.

airplane

Leningrad.

waiting

potential

speeches

cameraman,

employee

counterintelligence

relief

further

actions

participants

funeral A similar technique was already in the KGB’s arsenal when Joseph’s trial was underway.

Brodsky, - sought to fix the “unreliable”. And even Lev Gumilev,

perceived

blasphemous

forced

come to terms with

happening.

Students copy the periodization of A. Akhmatova’s work from the slide. IN

this time the teacher comments on the thematic preferences of the poetess in each

from these periods, thereby keeping students in constant mental work.

First period: 1912-1917.

Collections “Evening” (1912); "Rosary" (1914);

“White Flock” (1917), “Plantain” (1921), “By the Sea” (1921), “Anna Domini”

(1922). Akhmatova's work of this period is associated with Acmeism. Lyrics of the first

books - lyrics of love.

Joins his circle famous contemporaries- A. Blok,

V. Bryusov, I. Annensky, N. Gumilyov.

Second

period

creativity

Akhmatova

covers

years

20-40s

years.

filling up

universal

hunger, deprivation, Akhmatova does not leave her homeland, does not emigrate. “I had a voice, he

called comfortingly...", "I am not with those who abandoned the earth...". The main result of the 1930s

the poem "Requiem" appeared.

The third period is the Second World War (41-45).

"Oath",

"Courage".

The final ones

created

poems

"Victory".

Fourth period (50-60 years).

Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad”. Exception

from the Writers' Union. Translations appear. The main work is “Poem without a Hero.” Cycle

“The City of Pushkin”, “Secrets of Craft”.

“Poem without a Hero” is the final work of A. Akhmatova. Above her

she worked with the creation from the early 40s to last days own life. If the poem

“Requiem” is dedicated to the memory of those killed during the years of Stalin’s repressions, then “Poem without

hero" about the harsh era, of which the poetess was a contemporary: "I dedicate this poem

in memory of its first listeners - my friends and fellow citizens who died in Leningrad during

Tashkent). Self

Name

expresses

pursuit

epic

a work about time, about events, about people with a complex and tragic fate.

Question 2. The history of the creation of the poem “Requiem”.

Anna Andreevna Akhmatova reports on how the idea for “Requiem” came about

to the reader

name

preface"

(audio recording is played).

As you can see, the poem “Requiem” is a funeral oration dedicated to all those who died in

scary

Stalin's

repression.

Name

rises

word "requiem"

(funeral mass in Catholicism), hence the genre of the work - remembrance of all

innocently imprisoned and killed as a result of Stalin's purges and power struggles.

sketches

"Requiem"

relate

Akhmatova

planned

lyrical

some

renamed to poem. She worked most fruitfully on the poem in 1938-1940

years and returned to it later, in the 1960s. Akhmatova burned the manuscripts of "Requiem"

after I read it to people I trusted, in particular Lydia Chukovskaya.

In 1962, when all the poems were completely compiled and written down on paper,

Akhmatova proudly reported: “Eleven people knew “Requiem” by heart, and no one knew me.

became known to a wide readership in Russia.

Researchers literary heritage Akhmatova's poem is called "Requiem"

a masterpiece of her work. Firstly, the plot of the poem describes the poetess’s personal grief:

arrest and imprisonment of Lev Nikolaevich Gumilyov, her only son:

“They took you away at dawn,

I followed you, as if on a takeaway,

Children were crying in the dark room,

The goddess's candle floated.

There are cold icons on your lips.

Death sweat on the brow... don't forget!

I will be like the Streltsy wives,

Howl under the Kremlin towers.”

"Requiem"

family

tragedy. "Requiem" is the embodiment of people's grief, people's tragedy, it is a cry

“a hundred million people” who happened to live at that time.

The epigraph to the poem was the lines in which Akhmatova says that her whole life

was closely connected with fate home country even in the most terrible years. She

refused to emigrate and remained in Russia:

“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"

several

a certain idea.

"Dedication" is a description of the experiences of people who spend a lot of time standing

in prison queues. Akhmatova speaks of their “deadly melancholy”, of hopelessness

and great grief

the mountains bend with this grief,

The great river does not flow

But the prison gates are strong,

And behind them are “convict holes”

And mortal melancholy.

For someone the wind is blowing fresh,

For someone the sunset is basking -

We don't know, we're the same everywhere

We only hear the hateful grinding of keys

Yes, the soldiers' steps are heavy.

We rose as if for early mass.

They walked through the wild capital,

There we met, more lifeless dead,

The sun is lower and the Neva is foggy,

And hope still sings in the distance.

The verdict... And immediately tears will flow,

Already separated from everyone,

As if with pain the life was taken out of the heart,

As if rudely knocked over,

But she walks... She staggers... Alone...

Where are the involuntary friends now?

My two crazy years?

What do they imagine in the Siberian blizzard?

What do they see in the lunar circle?

To them I send my farewell greetings."

The “Introduction” part conveys the pain and grief of tragic destinies innocent

of people. In the same part, the poetess paints the image of a deeply unhappy, sick, lonely

"This woman is sick,

This woman is alone...”

The seventh part of the poem - “The Verdict” - carries the idea of human perseverance. For

in order to survive, the mother must become stone, learn not to feel pain

(the poem is read by heart by the student):

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.

Otherwise... The hot rustle of summer,

It's like a holiday outside my window.

I've been anticipating this for a long time

Bright day and empty house.

But it’s difficult to bear all this, so the eighth part is called “To Death.” Heroine

awaits his death. She asks her to speed up her arrival, because she has lost her life

for the heroine every meaning (the poem is read by heart by the student):

you'll come anyway. - Why not now?

you - it’s very difficult for me.

turned out the light and opened the door

simple and wonderful.

any kind,

poisoned shell

sneak up with a weight like an experienced bandit,

poison with typhus child,

a fairy tale invented by you

sickeningly familiar to everyone, -

I saw the top of the hat was blue

pale

fear of the house manager.

Now. The Yenisei flows,

The polar star is shining.

beloved eyes

Last

covers."

E p i l o g

consists of two parts. In the first part, Akhmatova again addresses those who stood

along with her in the prison queue. She asks God for help, but not for herself alone, but

for all the heartbroken people.

nationalities

"Requiem"

those few of her contemporaries who were lucky enough to hear told her

Almost everyone has the same reaction. I have never heard such words about my poems.

(“Folk.”) And all kinds of people speak.”

"Recommendation"

expression

boundless national grief.

Thus, the lyrical and epic in the poem

merged together: talking about his grief (arrests of his son - L.N. Gumilyov, husband - N.N.

Punin), Akhmatova speaks on behalf of millions of “nameless”; behind her author's "I"

stands for “we”:

“And I’m not praying for myself alone,

And in the bitter cold and in the July heat

Under the blinding red wall."

stuck eating

vicissitudes of fate, from this power and that is precisely why she became alive during her lifetime

a legend, a living expert on great Russian poetry Silver Age. Akhmatova

feels the right to speak on behalf of all women in Russia, on behalf of all those

years. This means that for five years Akhmatova was in the same state, in the same

the same anxious expectation of a happy or more or less successful resolution

the fate of her son and husband. Akhmatova marched with the people hard way wars and

revolutions, never allowing the thought of life in exile.

It's very hard for me to say which one

"Requiem" plays a role in

formation

further

Soviet

post-Soviet

culture, our consciousness, it seems to me that there is nothing more tragic about

Stalin's terror was not mentioned.

best

monument

human

A. A. Akhmatova. Translations from Ossetian poetry.

Appeal

Andreevna

translations

forced.

the official authorities for her work doomed Akhmatova to an existence of starvation.

Expelled from the Writers' Union, she lost her bread cards. For that

in order to somehow ease her position, the Central Committee of the party and the Union of Soviet Writers

appealed

Parsnip,

result

Moscow

publishing houses

entrusted

Akhmatova

translations.

Translation

Anna Andreevna’s activities turned out to be fruitful. She translated 150 poets from 78

languages, which amounted to 20,000 lines.

culture

replenished

Akhmatovsky

translations

Europe and former Soviet Union, including translations of Ossetian poets,

Akhmatova

Shervinsky,

translators

Soviet

an expert

literature. Shervinsky was one of the editors of her Ossetian translations.

In 1951, a 3-volume collection of Costa’s works was being prepared for publication in Ossetia

Khetagurova. The first volume includes works by Costa, which made up the cycle “Ossetian

lyres" with parallel Russian translations, on which many poets worked -

translators. Among them is Anna Akhmatova.

She translated "Who are you?"

translated S. Gadiev’s poems “Bad weather” and “Chermen”; D. Mamsurova “I remember”; G.

Kaytukova

"To kid

turned

calmed down";

Murtazov “Night”; A. Tsarukaeva “Summer” and “Autumn in Ursdon”.

Akhmatova

Ossetian language and translated using interlinear translations. Their quality left

Akhmatova

poetic

works.

exceptional

used

interlinear, poetic intuition also helped. Anna Andreevna admitted: “I

I don’t understand the words, but I still understand the poetry.” Among her Ossetian translations there are

very successful, for example, the poem by Grisha Pliev “As if he immediately calmed down.”

Note that in

selected

translations

Akhmatova

Ossetian

turns on

translation of Grisha Pliev’s poem “As if he immediately calmed down.” Legendary

folk

abandoned

arbitrariness,

Sek's poem "Chermen" - close in spirit to Akhmatova herself, exhaustively

transmitted in translation national identity Chermen's character, his desire

justice

expression,

capable

national poet like Seka Gadiev:

illustrious?! -

princes

coped

M o l o k o m

poisoned,

went."

Linear

translation

Khetagurova

stored

problem

dedicated

study

attention to the fact that Akhmatova’s translation of the poem “Chi dæ?” (“Who are you?”) did not coincide with

vocabulary and style of Khetagurov, although the plot outline was preserved.

Conclusions: Akhmatova’s path is a path of heavy losses and trials, Yaroslavna’s path

20th century, mourning the death of Russia, its best contemporaries.

Akhmatova's time covers the period from the turn of the 19th-20th centuries to the mid-60s

reliable

witnesses

turned over

events of the 20th century unparalleled in their cruelty: two world wars, revolution,

Stalin's terror, Leningrad blockade.

This woman was so great both as a person and as a poet that I don’t want to

speak loud words about how strong and extraordinary her poetic talent was.

I would like to end the lecture with the words of I. Brodsky: “She leads the first line

Russian poetry".

5. GENERALIZATION

NEW MATERIAL (10 minutes):

k a k o m u

Did A. Akhmatova attribute her early work to the literary movement?

b) what was the name of the 1st

a collection of her poems?

c) who was your favorite

poet A. Akhmatova?

marked

A. Akhmatova's merits abroad?

Akhmatov as an internal emigrant? What arguments for or against can you give?

Akhmatova's purpose as a poet?

corresponds

poet to the five commandments of L. N. Tolstoy?

speak

Aristotle's catharsis, about the ancient Greeks' ideas about literature, what do you think?

What would be the attitude towards Akhmatova?

Akhmatova

perceived the people's grief during political repressions and during the war? Which

Did she realize her own fate?

j) what seemed close to you in

poetry of the great Akhmatova?

6. SUMMARY

RESULTS

LESSON,

GRADE

KNOWLEDGE (2 minutes).

7.HOMEWORK (1 minute):

biography

Akhmatova

textbook

Lebedeva Yu. V. pages 153-160;

b) memorize two poems (optional) from

Anna Akhmatova - literary pseudonym A.A. Gorenko, born June 11 (23), 1889 near Odessa. Soon her family moved to Tsarskoe Selo, where the future poetess lived until she was 16 years old. Akhmatova's early youth included studying at Tsarskoye Selo and Kyiv gymnasiums. She then studied jurisprudence in Kyiv and philology at the Higher Women's Courses in St. Petersburg. The first poems, in which Derzhavin’s influence is noticeable, were written by schoolgirl Gorenko at the age of 11. The first publications of poetry appeared in 1907. From the very beginning of the 1910s. Akhmatova begins to publish regularly in St. Petersburg and Moscow publications. Since the formation of the literary association “The Workshop of Poets” (1911), the poetess served as the secretary of the “Workshop”. From 1910 to 1918 she was married to the poet N.S. Gumilev, whom she met in the Tsarskoye Selo gymnasium. In 1910-1912 took a trip to Paris (where she became friends with Italian artist Amedeo Modigliani, who created her portrait) and to Italy.

In 1912, a significant year for the poetess, two big events occurred: her first collection of poems, “Evening,” was published and her only son, the future historian Lev Nikolaevich Gumilyov, was born. The poems of the first collection, clear in composition and plastic in the images used in them, forced critics to talk about the emergence of a new strong talent in Russian poetry. Although the immediate “teachers” of Akhmatova the poet were the masters of the symbolist generation I.F.Annensky and A.A.Blok, her poetry was perceived from the very beginning as acmeistic. The first collection was followed by a second book of poems, “The Rosary” (1914), and in September 1917, Akhmatova’s third collection, “The White Flock,” was published. The October Revolution did not force the poetess to emigrate, although her life changed dramatically, and creative destiny was particularly dramatic. She now worked in the library of the Agronomic Institute, and managed to do so in the early 1920s. publish two more collections of poems: “The Plantain” (1921) and “Anno Domini” (“In the Year of the Lord”, 1922). After that, for 18 long years, not a single poem of hers appeared in print. The reasons were different: on the one hand, her execution ex-husband, the poet N.S. Gumilyov, accused of participating in a counter-revolutionary conspiracy, on the other hand, the rejection of Akhmatova’s poems by the new Soviet criticism. During these years of forced silence, the poetess worked a lot on Pushkin’s work.

In 1940, a collection of poems “From Six Books” was published, which for a short period of time returned the poetess to contemporary literature. The Great Patriotic War found Akhmatova in Leningrad, from where she was evacuated to Tashkent. In 1944, Akhmatova returned to Leningrad. Subjected to cruel and unfair criticism in 1946 in the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad”, the poetess was expelled from the Writers' Union. For the next decade, she worked primarily as literary translation. Her son, L.N. Gumilyov, at that time was serving his sentence as a political criminal in forced labor camps. Only from the second half of the 1950s. The return of Akhmatova’s poems to Russian literature began; in 1958, collections of her lyrics began to be published again. In 1962, “Poem without a Hero” was completed, which took 22 years to create. Anna Akhmatova died on March 5, 1966, and was buried in Komarov near St. Petersburg.

Collection "Evening"

In 1912, Anna Akhmatova’s first collection “Evening” was published. The name itself is associated with the end of life before eternal “night”. It included several “Tsarskoye Selo” poems. Among them is “Horses are led along the alley...”, included in the cycle “In Tsarskoe Selo” of 1911. In this poem, Akhmatova recalls her childhood, associates what she experienced with her present state - pain, sadness, melancholy... Sunset symbolizes farewell, an associative series is built: sunset - “go away” - the end.

COLLECTION “ROSARY”

A.A. brought all-Russian fame. Akhmatova's second book of poems -

“The Rosary” is a classic collection of love lyrics.

What struck Blok’s contemporaries with the little book of love

readers of the late twentieth century, early twenty-first?

A man of the twentieth century saw himself, his life, in the poems “Evenings” and “Rosary.”

I recognized the sharpness and intensity of my own feelings, heard the familiar,

devoid of any metaphor colloquial, found a friend

intermittency of intonation and fragmentation of thought. No sacrament

nothing mystical, ordinary details of everyday life: “Gasoline

smell and lilac"; “I wear a dark blue silk cord for luck.”

Expressive laconicism, strict selection of details compact

poetic space. A few epithets emphasize

objectivity of concepts. Cityscape, objects and things surrounding

heroes of the lyrical drama, visible and sculpturally tangible.

In the lyrics of early Akhmatova, the manifestation of feelings is always limited, it

fixed in time and space. Hence the plot

the narrative nature of many poems. The feeling is expressed, it is not direct, it

manifests itself through specific objects of the surrounding world, which

become material symbols of lyrical experience:

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Anna Akhmatova lived a bright and tragic life. She witnessed many epochal events in the history of Russia. During the period of her life there were two revolutions, two world wars and a civil war, she experienced a personal tragedy. All these events could not help but be reflected in her work.

Speaking about the periodization of A.A.’s creativity. Akhmatova, it is difficult to come to a single conclusion where one stage ends and the second begins. Creativity A.A. Akhmatova has 4 main stages /51/.

1st period - early. Akhmatova’s first collections were a kind of anthology of love: devoted love, faithful and love betrayals, meetings and separations, joy and feelings of sadness, loneliness, despair - something that is close and understandable to everyone.

Akhmatova’s first collection “Evening” was published in 1912 and immediately attracted attention literary circles, brought her fame. This collection is a kind of lyrical diary of the poet.

Some poems from the first collection were included in the second, “The Rosary,” which was such a widespread success that it was reprinted eight times.

Contemporaries were struck by the exactingness and maturity of A. Akhmatova’s very first poems /49/. She knew how to talk about trembling feelings and relationships simply and easily, but her frankness did not reduce them to the level of commonplace.

Period 2: mid-1910s - early 1920s. At this time, “White Flock”, “Plantain”, “Anno Domini” were published. During this period there is a gradual transition to civil lyrics. A new concept of poetry as sacrificial service is emerging.

3rd period: mid-1920s - 1940s. It was a difficult and difficult period in personal and creative biography Akhmatova: in 1921 N. Gumilyov was shot, after which his son Lev Nikolaevich was repressed several times, whom Akhmatova repeatedly saved from death, having felt all the humiliation and insults that befell the mothers and wives of those repressed during the years of Stalinism /5/.

Akhmatova, being a very subtle and deep nature, could not agree with the new poetry, which glorified the destruction of the old world and overthrew the classics from the ship of modernity.

But a powerful gift helped Akhmatova survive life trials, adversity, illness. Many critics noted Akhmatova’s extraordinary gift for establishing a connection with her creations not only with the time in which she lived, but also with her readers, whom she felt and saw before her.

In the poems of the 30s and 40s they clearly sound philosophical motives. Their topics and problems deepen. Akhmatova creates poems about the beloved poet of the Renaissance (“Dante”), about the willpower and beauty of the ancient queen (“Cleopatra”), poems-memories about the beginning of life (“Youth” cycle, “Memory Cellar”).

She cares about the eternal philosophical problems death, life, love. But it was published little and rarely during these years. Her main work of this period is “Requiem”.

4th period. 1940-60. Final. At this time, the “Seventh Book” was created. "A Poem without a Hero." " Motherland" The theme of patriotism is widely explored, but the main theme of creativity is understatement. Fearing for the life of his son, he writes the series “Glory to the World,” glorifying Stalin. In 1946, her collection of poems “Odd” was banned, but then returned. A.A. Akhmatova forms the seventh book, summing up her work. For her, the number 7 bears the stamp of biblical sacred symbolism. During this period, the book “The Running of Time” was published - a collection of 7 books, two of which were not published separately. The topics are very diverse: themes of war, creativity, philosophical poems, history and time.

Literary critic L.G. Kikhney in his book “The Poetry of Anna Akhmatova. Secrets of the Craft" introduces a different periodization. L.G. Kikhney notes that each poet’s artistic comprehension of reality occurs within the framework of a certain ideological model, which determines his main aesthetic and poetic guidelines: author's position, type lyrical hero, a system of leitmotifs, the status of a word, the specifics of figurative embodiment, genre-compositional and stylistic features, etc. /29/

In the work of Anna Akhmatova, several similar models are identified, going back to the Acmeistic invariant vision of the world. As a result, we can distinguish 3 periods of A.A.’s creativity. Akhmatova, each of which corresponds to a certain angle of the author’s vision, which determines one or another range of ideas and motives, a commonality of poetic means.

1st period - 1909-1914. (collections “Evening”, “Rosary”). During this period, the phenomenological model is realized to the greatest extent;

2nd period - 1914-1920s (collections "White Flock", "Plantain", "Anno Domini"). During these years, the mythopoetic model of worldview was realized in Akhmatova’s work.

3rd period - mid-1930s - 1966 (collections "Reed", "Odd", "The Passage of Time", "Poem without a Hero"). Kikhney defines the worldview model of this period as cultural.

At the same time, the Russian classical philologist and poet M.L. Gasparov identifies 2 main periods - the early one, before the collection “Anno Domini”, which then followed a long pause, and the late one, starting with “Requiem” and “Poem without a Hero”, but then proposes to divide each into 2 more stages, based on the analysis of changes in features verse by Akhmatova /19/. This periodization reveals structural features poems by A.A. Akhmatova, so it should be considered in more detail.

According to M.L. Gasparov, the periods of Anna Akhmatova’s work are divided as follows: early Akhmatova’s poems differ from 1909-1913. - “Evening” and “Rosary” and poems 1914-1922. - “White Flock”, “Plantain” and “Anno Domini”. Late Akhmatova has poems from 1935-1946. and 1956-1965

The biographical boundaries between these four periods are quite obvious: in 1913-1914. Akhmatova breaks up with Gumilyov; 1923-1939 - the first, unofficial expulsion of Akhmatova from the press; 1946-1955 - second, official expulsion of Akhmatova from the press.

Tracing the history of the poem by A.A. Akhmatova, one can discern trends operating throughout her work. For example, this is the rise of iambs and the fall of trochees: 1909-1913. the ratio of iambic and trochaic poems will be 28:27%, almost equally, and in 1947-1965. - 45:14%, more than three times more iambs. Iambic traditionally feels like a more monumental meter than trochee; this corresponds to the intuitive feeling of evolution from the “intimate” Akhmatova to the “high” Akhmatova. Another equally constant tendency is towards a lighter verse rhythm: in the early iambic tetrameter there are 54 stress omissions per 100 lines, in the late one - 102; This is understandable: a novice poet strives to beat out the rhythm with accents as clearly as possible, an experienced poet no longer needs this and willingly skips them /19/.

Further, in Akhmatova’s verse one can discern trends that come into force only in the middle of her creative path, between the early and late eras. The most noticeable thing is the appeal to large poetic forms: in the early Akhmatova it was only outlined in “Epic Motifs” and “Near the Sea”; in the later Akhmatova it was “Requiem”, “The Path of All the Earth”, and “Northern Elegies”, especially "Poem without a Hero", which she worked on for 25 years. By contrast, small ones become shorter lyrical works: in the early Akhmatova their length was 13 lines, in the later - 10 lines. This does not harm the monumentality; the emphasized fragmentation makes them seem like fragments of monuments.

Another feature of the late Akhmatova is a more strict rhyme: the percentage of imprecise rhymes, fashionable at the beginning of the century (“courteous-lazy”, “dove-to you”), drops from 10 to 5-6%; this also contributes to the impression of a more classic style /19/. This feature was not taken into account when translating the poems.

The third feature is that in stanzas the reversal from ordinary quatrains to 5-verses and 6-verses becomes more frequent; this is a clear consequence of the experience of working with the 6-line (and then more voluminous) stanza of “Poem without a Hero.”

Let us consider the periods of Anna Akhmatova’s creativity in more detail.

The first period, 1909-1913, is the statement of A.A. Akhmatova in the advanced poetry of her time - in that which had already grown from the experience of Symbolist verse and is now in a hurry to take the next step.

Among the Symbolists, the proportions of the main meters were almost the same as in the 19th century: half of all poems were iambic, a quarter were trochees, a quarter were trisyllabic meters combined, and only from this quarter little by little, no more than 10%, was devoted to experiments with long lines interspersed with other non-classical sizes.

At A.A. Akhmatova’s proportions are completely different: iambs, trochees and dolniks are represented equally, 27-29% each, and trisyllabic meters lag behind to 16%. At the same time, the dolniks are clearly separated from other, more important non-classical sizes, with which they were sometimes confused by the Symbolists.

Second period, 1914-1922 - this is a departure from the intimate record and experiments with sizes that evoke folklore and pathetic associations. During these years A.A. Akhmatova already appears as a mature and prolific poet: during this time, 28% of all her surviving poems were written (for 1909-1913 - only about 13%), during the “White Flock” she wrote an average of 37 poems per year (in the time of "Evenings" and "Rosary" - only 28 each), only in revolutionary years"Anno Domini" its productivity becomes stingier. If in “Evening” and “Rosary” there was 29% of dolnik, then in the alarming “White Flock” and “Plantain” - 20%, and in the harsh “Anno Domini” - 5%. Due to this, the iambic 5-meter increases (previously it lagged behind the 4-meter, now even in almost the very last years of Akhmatova it is ahead of it) and, even more noticeably, two other meters: the trochee 4-meter (from 10 to 16%) and 3-foot anapest (from 7 to 13%). More often than at any other time, these meters appear with dactylic rhymes - a traditional sign of an attitude “on folklore”.

At the same time, Akhmatova combines folklore and solemn intonations.

And the solemn lyrical iambic easily turns into the solemn epic iambic: during these years “Epic Motifs” appeared in blank verse.

In 1917 - 1922, at the time of the pathetic "Anno Domini", in Akhmatov's 5-foot pattern a tense, ascending rhythm, quite rare for Russian verse, was established, in which the second foot is stronger than the first. In the next quatrain, lines 1 and 3 are constructed in this way, and lines 2 and 4 of the previous, secondary rhythm alternate with them in contrast:

Like the first spring thunderstorm:

They'll look over your bride's shoulder

My half closed eyes...

As for inaccurate rhyming, in women's rhymes Akhmatova finally switches to the dominant truncated-amplified type (from “morning-wise” to “flame-memory”).

The third period, 1935-1946, after a long break, was marked primarily by a turn to large forms: “Requiem”, “The Path of All the Earth”, “Poem without a Hero”; the large unpreserved work “Enuma Elish” also dates back to this time.

The use of 5-verses and 6-verses in lyrics is also becoming more frequent; Until now, no more than 1-3% of all poems were written by them, and in 1940-1946. - eleven%.

At the same time, “Northern Elegies” are written in white iambic pentameter, and its contrasting alternating rhythm again subordinates the rhythm of the rhymed pentameter: the ascending rhythm of “Anno Domini” becomes a thing of the past.

Over Asia - spring fogs,

And Horribly Bright Tulips

The carpet has been woven for many hundreds of miles...

Imprecise rhymes become one third less than before (instead of 10 - 6.5%): Akhmatova turns to classical rigor. The proliferation of iambic 5-meter in lyric poetry and 3-ictic dolnik in epic decisively pushes aside the 4-meter trochee and 3-meter anapest, and at the same time the iambic 4-meter. The sound of the verse becomes easier due to the increasing omission of stress.

From mother of pearl and agate,

From smoky glass,

So unexpectedly sloping

And it flowed so solemnly...

That hundred-year-old enchantress

Suddenly woke up and was having fun

I wanted it. I have nothing to do with it...

In total, about 22% of all Akhmatova’s poems were written during this third period.

After the 1946 decree, Akhmatova’s work again experienced a ten-year pause, interrupted only by the official cycle “On the Left of the World” in 1950. Then, in 1956-1965, her poetry came to life again: her late period began - about 16% of everything she wrote . Average length The poem remains, as in the previous period, about 10 lines, the longest of the others are the poems written in 3-foot amphibrachium and which set the tone for the cycle “Secrets of the Craft” -

Just think, it’s also work -

This is a carefree life:

Listen to something from the music

And pass it off jokingly as your own... -

Iambic 5-meter finally begins to decline, and its rhythm returns to the smoothness that it had at the beginning of its evolution. Suddenly, iambic tetrameter comes to life, as at the very beginning of the journey.

The tetrameter trochee almost completely disappears: apparently, it is too small for the majesty that Akhmatova demands for herself. Conversely, the 3-foot anapest in last time intensifies to the maximum (12.5-13%), as it once did during the “Anno Domini” years, but loses its previous folk intonations and acquires purely lyrical ones.

Along with it, the previously inconspicuous 5-foot trochee rises to a maximum (10-11%); he even writes two sonnets, for which this size is not traditional

The number of imprecise rhymes is reduced even more (from 6.5 to 4.5%) - this completes the appearance of the verse according to the classicizing Akhmatova.

Thus, from the above analysis we can conclude that in the early stages of creativity there was a mastery of poetry and the development of one’s own style of versification. The later stages largely pick up and continue each other. Early periods correspond to the “simple”, “material” style of the acmeistic Akhmatova, the later ones correspond to the “dark”, “bookish” style of the old Akhmatova, who feels like the heiress of a bygone era in an alien literary environment.

Anna Akhmatova is the literary pseudonym of A.A. Gorenko, who was born on June 11 (23), 1889 near Odessa. Soon her family moved to Tsarskoe Selo, where the future poetess lived until she was 16 years old. Akhmatova's early youth included studying at Tsarskoye Selo and Kyiv gymnasiums. She then studied jurisprudence in Kyiv and philology at the Higher Women's Courses in St. Petersburg. The first poems, in which Derzhavin’s influence is noticeable, were written by schoolgirl Gorenko at the age of 11. The first publications of poems appeared in 1907.

From the very beginning of the 1910s. Akhmatova begins to publish regularly in St. Petersburg and Moscow publications. Since the formation of the literary association “The Workshop of Poets” (1911), the poetess served as the secretary of the “Workshop”. From 1910 to 1918 she was married to the poet N.S. Gumilev, whom she met in the Tsarskoye Selo gymnasium. In 1910-1912 took a trip to Paris (where she became friends with an Italian by the artist Amedeo Modigliani, who created her portrait) and to Italy.

The first collection was followed by a second book of poems, “The Rosary” (1914), and in September 1917, Akhmatova’s third collection, “The White Flock,” was published. The October Revolution did not force the poetess to emigrate, although her life changed dramatically and her creative destiny took a particularly dramatic turn. She now worked in the library of the Agronomic Institute, and managed to do so in the early 1920s. publish two more collections of poems: “The Plantain” (1921) and “Anno Domini” (“In the Year of the Lord”, 1922). After that, for 18 long years, not a single poem of hers appeared in print. The reasons were different: on the one hand, the execution of her ex-husband, the poet N.S. Gumilyov, accused of participating in a counter-revolutionary conspiracy, on the other, the rejection of Akhmatova’s poems by the new Soviet criticism. During these years of forced silence, the poetess worked a lot on Pushkin’s work.

Born near Odessa (Bolshoi Fontan). Daughter of mechanical engineer Andrei Antonovich Gorenko and Inna Erasmovna, née Stogova. As a poetic pseudonym, Anna Andreevna took the surname of her great-grandmother Tatar Akhmatova.

In 1890, the Gorenko family moved to Tsarskoye Selo near St. Petersburg, where Anna lived until she was 16 years old. She studied at the Tsarskoye Selo gymnasium, in one of the classes of which she studied future husband Nikolay Gumilyov. In 1905, the family moved to Evpatoria, and then to Kyiv, where Anna graduated from the gymnasium course at the Fundukleevskaya gymnasium.

Akhmatova's first poem was published in Paris in 1907 in the magazine Sirius, published in Russian. In 1912, her first book of poems, “Evening,” was published. By this time she was already signing with the pseudonym Akhmatova.

In the 1910s Akhmatova’s work was closely connected with the poetic group of Acmeists, which took shape in the fall of 1912. The founders of Acmeism were Sergei Gorodetsky and Nikolai Gumilyov, who in 1910 became Akhmatova’s husband.

Thanks to her bright appearance, talent, and sharp mind, Anna Andreevna attracted the attention of poets who dedicated poems to her, artists who painted her portraits (N. Altman, K. Petrov-Vodkin, Yu. Annenkov, M. Saryan, etc.) . Composers created music based on her works (S. Prokofiev, A. Lurie, A. Vertinsky, etc.).

In 1910 she visited Paris, where she met the artist A. Modigliani, who painted several of her portraits.

Along with great fame, she had to experience many personal tragedies: in 1921, her husband Gumilyov was shot, in the spring of 1924, a decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued, which actually prohibited Akhmatova from publishing. In the 1930s repression fell on almost all of her friends and like-minded people. They also affected the people closest to her: first, her son Lev Gumilev was arrested and exiled, then her second husband, art critic Nikolai Nikolaevich Punin.

IN last years During her life, living in Leningrad, Akhmatova worked a lot and intensively: in addition to poetic works, she was engaged in translations, wrote memoirs, essays, and prepared a book about A.S. Pushkin. Recognition of the poet’s great merits to world culture was the awarding of the international poetry prize “Etna Taormina” to her in 1964, and her scientific works were awarded an honorary Doctor of Letters degree by Oxford University.

Akhmatova died in a sanatorium in the Moscow region. She was buried in the village of Komarovo near Leningrad.