A. Akhmatova’s poem “Requiem” is a special work. This is a reminder of all those who have gone through unheard of trials, this is the emotional confession of the tormented human soul. "Requiem" is a chronicle of the 30s of the twentieth century. Akhmatova was asked if she could describe it. The stranger asked, standing in line in the prison corridor. And Akhmatova answered in the affirmative. She had been approaching the topic of perpetuating her terrible time for a long time, ever since her son was first arrested. It was 1935. And then there were more arrests. What came out of her pen during these years was dictated not only by personal maternal grief - it was the grief of millions, which Akhmatova could not pass by indifferently, otherwise she would not have been Akhmatova...
The poetess, standing in a prison line, writes not only about herself, but about all women and mothers, and speaks of “the numbness inherent in all of us.” The preface to the poem, like the epigraph, is the key that helps to understand that this poem was written, like Mozart’s “Requiem” once upon a time, “to order.” A woman with blue lips asks her for this as a last hope for some triumph of justice and truth. And Akhmatova takes upon herself this “order”, this so difficult duty, without hesitation at all - after all, she will write about everyone, including herself.
Akhmatova's son was taken away from her, but she rose above her own maternal suffering and created a poem about the suffering of the Mother in general: Mary - according to Jesus, Russia - according to the millions of her children who died. The poem shows the unity of all women - all suffering mothers, from the Mother of God, the “streltsy wives,” the wives of the Decembrists to the “cheerful sinners of Tsarskoe Selo.” And feeling in her suffering a participation in the suffering of many, the poetess looks at it as if from the side, from somewhere above, perhaps from the sky:
The quiet Don flows quietly,
The yellow moon enters the house.
He walks in with his hat tilted.
Sees the yellow moon shadow.
This woman is sick
This woman is alone.
Husband in the grave, son in prison,
Pray for me.
Only at the limit, the highest point of suffering, does this cold detachment arise, when one speaks about oneself and one’s grief impartially, calmly, as if in the third person... The motive of a semi-delusional 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.
And I realized that he
I must concede victory
Listening to your
Already like someone else's delirium.
And won't allow anything
I should take it with me
(No matter how you beg him
And no matter how you bother me with prayer)…
At some point of the highest tension of suffering, one can see not only those who are nearby in time, but also all the women-mothers who have ever suffered at the same time. Uniting in suffering different times looking at each other through the eyes of their suffering women. This is demonstrated, for example, by the fourth part of the poem. In it, the “cheerful sinner from Tsarskoye Selo” looks into the eyes of the “three hundredth, with the transmission” - this is already a collision different women. And overcoming a temporary rift occurs through the feeling of it in oneself, when there really is a “heart in half” and two halves are at the same time one and the same, and two different women's lives. So she goes this way - through the circles of hell, lower and lower,
And female figures on a way -
I should bow with Morozova,
To dance with Herod's stepdaughter,
Fly away from Dido's fire with smoke,
To go to the fire with Zhanna again -
as monuments to suffering. And then - a sharp jerk back to the present, to the prison lines of Leningrad. And everyone finds themselves united in the face of the torture of time. No words can express what happens to a mother whose son is being tortured:
And where Mother stood silently,
So no one dared to look.
It is as taboo as for Lot’s wife to look back. But the poetess looks around, looks, and just as Lot’s wife froze as a pillar of salt, so she also freezes as this monument - a monument to the living, mourning all suffering people... Such is the torment of a mother because of her crucified son - torment equivalent to the torment of dying, but death does not come, a person lives and understands that he must live on... The “stone word” falls on the “living chest”, the soul must petrify, and when “the memory must be completely killed,” then life begins again. And Akhmatova agrees: all this is “necessary.” And how calmly and businesslike it sounds: “I’ll deal with this somehow...” and “I have a lot to do today!” This indicates a kind of transformation into a shadow, transformation into a monument (“the soul has petrified”), and “learning to live again” means learning to live with this... Akhmatova’s “Requiem” is truly folk piece, not only in the sense that it reflected a great national tragedy. Folk, first of all, because it is “woven” from simple, “overheard” words. "Requiem", filled with great poetic expression and civil sound, expressed its time, the suffering soul of the mother, the suffering soul of the people...
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1937 A terrible page in our history. I remember the names: O. Mandelstam, V. Shalamov, A. Solzhenitsyn... Dozens, thousands of names. And behind them are crippled destinies, hopeless grief, fear, despair, oblivion. But human memory is strange. She keeps the most intimate, dear things. And terrible... "White Clothes" by V. Dudintsev, "Children of Arbat" by A. Rybakov, "By Right of Memory" by A. Tvardovsky, "The Problem of Bread" by V. Podmogilny, "The Gulag Archipelago" by A. Solzhenitsyn - these and other works about tragic 30-40s The 20th century became the property of our generation; quite recently it turned our consciousness, our understanding of history and modernity upside down. A. Akhmatova's poem "Requiem" is a special work in this series. The poetess was able to use it with talent, dazzling reflect the tragedy of the individual, family, people. She herself went through the horrors of Stalin’s repressions: her son Lev was arrested and spent seventeen months in Stalin’s dungeons, where he was under arrest stayed and husband N. Punin; those close and dear to her, O. Mandelstam and B. Pilnyak, died; Since 1925, not a single line from Akhmatova has been published; it was as if the poet had been erased from life. These events formed the basis of the poem "Requiem".
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...
I've been screaming for seventeen months,
I'm calling you home...
You are my son and my horror.
I learned how faces fall,
How fear peeks out from under your eyelids,
Like cuneiform hard pages
Suffering appears on the cheeks...
I am amazed by the depth and brightness of the author’s experiences. I forget what's in front of me piece of art. I see a woman, a mother, a wife, broken by grief, who herself does not believe in the possibility of experiencing this: No, it’s not me, it’s someone else who is suffering. I couldn’t do that... But once I was “a mocker and the favorite of all my friends, a cheerful sinner from Tsarskoye Selo...” There was a beloved husband, a son, the joy of creativity. It was ordinary human life with moments of happiness and sorrow. And now? Can those griefs compare with what is happening now?! Pictures, one more terrible than the other, appear when reading the poem. Here “they took you away at dawn, behind you, as if on a takeaway ...” But “the three hundredth, with a transmission, under the Crosses” stood, burning through the New Year's ice with a hot tear. So she “threw herself at the feet of the executioner” and awaited execution. And when the “stone word fell,” I learned to kill my memory, my soul, and learned to live again. The motif of death and petrified suffering is heard in the poetess’s poems. But, despite her personal grief, the lyrical heroine managed to rise above the personal and absorb the grief of other mothers, wives, the tragedy of an entire generation, before which “mountains bend.” And again scary pictures. Leningrad, dangling with an “unnecessary appendage”, “convict regiments”, “song of separation”. A " high stars with the souls of the dear ones" have now become death stars, looking with a "hot hawk's eye." The poetess reflects on her beloved homeland, about Russian Federation , who innocently writhed in suffering, about her friends in misfortune, who turned gray and grew old in endless queues. She would like to remember everyone, call them by name. Even in new grief and on the eve of death, she will not forget about them. And she would like to have a monument to herself not by the sea, where she was born, not in the Tsarskoye Selo garden, where she became friends with the muse, but by that terrible wall where she stood for three hundred hours. Through the lips of the lyrical heroine, the poetess appeals to our memory, the memory of her contemporaries and future generations. Anna Akhmatova's poem "Requiem" is a condemnation of violence against the individual, a verdict on any totalitarian regime that is based on blood, suffering, and humiliation of both an individual and an entire people. Having become a victim of such a regime, the poetess took upon herself the right and responsibility to speak on behalf of the affected multi-million people. Akhmatova’s multifaceted talent as an artist of words, her ability to conduct a dialogue with the reader, to convey to him the most intimate things, helped Akhmatova to convey her pain and thoughts suffered in misfortune. Therefore, the poem "Requiem" excites readers and makes them think about what is happening around them. This is not only a funeral lament, but also a stern warning to humanity.
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A. Akhmatova’s poem “Requiem” is a special work. This is a reminder of all those who have gone through unheard of trials, this is an excited confession of the tormented human soul. "Requiem" is a chronicle of the 30s of the twentieth century. Akhmatova was asked if she could describe it.
The stranger asked, standing in line in the prison corridor. And Akhmatova answered in the affirmative. She had been approaching the topic of perpetuating her terrible time for a long time, ever since her son was first arrested. It was 1935. And then there were more arrests. What came out of her pen during these years was dictated not only by personal maternal grief - it was the grief of millions, which Akhmatova could not pass by indifferently, otherwise she would not have been Akhmatova...
The poetess, standing in a prison line, writes not only about herself, but about all women and mothers, and speaks of “the numbness inherent in all of us.” The preface to the poem, like the epigraph, is the key that helps to understand that this poem was written, like Mozart’s “Requiem” once upon a time, “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 so difficult duty, without hesitation at all - after all, she will write about everyone, including herself.
Akhmatova's son was taken away from her, but she rose above her own maternal suffering and created a poem about the suffering of the Mother in general: Mary - according to Jesus, Russia - according to the millions of her children who died. The poem shows the unity of all women - all suffering mothers, from the Mother of God, the “streltsy wives,” the wives of the Decembrists to the “cheerful sinners of Tsarskoe Selo.” And feeling in her suffering a participation in the suffering of many, the poetess looks at it as if from the side, from somewhere above, perhaps from the sky: The quiet Don flows quietly, The yellow moon enters the house. He walks in with his hat tilted. Sees the yellow moon shadow. This woman is sick, This woman is alone.
Husband in the grave, son in prison, Pray for me. Only at the limit, the highest point of suffering, does this cold detachment arise, when one speaks about oneself and one’s grief impartially, calmly, as if in the third person... The motive of the semi-delirious image of the quiet Don prepares another motive, even more terrible - the motive of madness, delirium and complete readiness for death or suicide: Madness has already covered half of the Soul with its wing, And feeds with fiery wine, And beckons into the black valley. And I realized that I must give up victory to him, Listening to my own, as if someone else’s, delirium. And It won’t allow me to take anything with me (No matter how much you beg it and no matter how much you pester it with prayer)…
At some point of the highest tension of suffering, one can see not only those who are nearby in time, but also all women-mothers who have ever suffered at the same time. Uniting in suffering, different times look at each other through the eyes of their suffering women. This is demonstrated, for example, by the fourth part of the poem. In it, the “cheerful sinner from Tsarskoye Selo” looks into the eyes of the “three hundredth, with the transmission” - this is already a clash of different women. And overcoming a temporary rift occurs through the feeling of it in oneself, when indeed a “heart in half” and two halves are at the same time one and the same, and two different women’s lives.
So she goes along this path - through the circles of hell lower and lower, And female figures on the way - To bow to me with Morozova, To dance with Herod's stepdaughter, To fly away with smoke from Dido's fire, To return to the fire with Jeanne - Like monuments to suffering. And then - a sharp jerk back to the present, to the prison lines of Leningrad. And everyone finds themselves united in the face of the torture of time.
No words can convey what is happening to a mother whose son is being tortured: And where the Mother stood silently, no one dared to look. It is as taboo as for Lot’s wife to look back. But the poetess looks around, looks, and just as Lot’s wife froze as a pillar of salt, so she freezes as this monument - a monument to the living, mourning all suffering people...
Such is the torment of a mother because of her crucified son - torment equivalent to the torment of dying, but death does not come, a person lives and understands that he must live on... The “stone word” falls on the “living breast”, the soul must petrify, and when “memory is needed” kill to the end,” then life begins all over again. And Akhmatova agrees: all this is “necessary.” And how calmly and businesslike it sounds: “I’ll deal with this somehow...
” and “I have a lot to do today!” This indicates a kind of transformation into a shadow, transformation into a monument (“the soul has petrified”), and “learning to live again” means learning to live with this... Akhmatova’s “Requiem” is a truly folk work, not only in the sense that it reflected great national tragedy. Folk, first of all, because it is “woven” from simple, “overheard” words.
"Requiem", filled with great poetic expression and civil sound, expressed its time, the suffering soul of the mother, the suffering soul of the people...
The years of Stalin's repressions were a terrible period in life Soviet people: millions of the best people were declared “enemies of the people”, disappeared without a trace, and ended up in prison. It was possible to talk about them only in a whisper; they turned away from their relatives “enemies of the people”. This bitter cup did not escape the family of Anna Akhmatova. Back in 1920, her first husband G. Gumilyov, a famous Russian poet and former officer in the tsarist army, was shot by the Bolsheviks. 1935 Her son Lev Rumilev and a second person were arrested for “anti-Soviet” activities; M. Punin. After Akhmatova’s letter to Stalin, they were released. However, in 1939, Lev Gulmilyov was arrested a second time. Sentence: ten years in forced labor camps. Akhmatova endured many years of despair and fear. And there were millions of such people. Therefore, the poem about the suffering experienced, which Akhmatova promised to write to one of these tired women “with blue lips,” is the voice of an entire people.
Depicting a national tragedy, Akhmatova personifies the image of the people in the images of a mother and son. A violent break between them leads to a violation of harmony - the basis of the foundations. The pain of the wounded mother cannot be compared with anything, and only through her grief can one imagine the great tragedy of that era.
The verdict... And immediately the 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.
The mother's grief is so boundless that she looks at him as if distantly, she cannot believe that she can withstand everything. And the cry of the mother’s soul rushes over the country shrouded in fear and grief:
I've been screaming for seventeen months,
I'm calling you home
She threw herself at the feet of the executioner,
You are my son and my horror.
Life without a son’s mother loses its meaning; perhaps it would be easier to die, she would have to endure such grief. And she finds the courage to walk this way of the cross, as when the Mother of God accompanied her son in his suffering. Through this, the section of the story of Jesus Christ is organically woven into the poem:
Magdalene fought and cried,
The beloved student turned to stone,
And where Mother stood silently,
So no one dared to look.
When Jesus was crucified, even those who shouted: “Crucify him, crucify him,” did not dare to look at the Mother, because her suffering was a great disaster on earth.
The fear of losing a son makes happy, warm mother's faces frozen, sorrowful. The heroine of the poem saw with her own eyes,
As the glitz falls,
How fear peeks out from under your eyelids,
Hack cuneiform hard pages
Suffering is brought out on the necks,
Like curls of ashen and black
They are made silver...
Remembering all the dead in the epilogue of the poem, the author focuses on the image of the mother as a generalized image of all women. They are different in appearance, in character, in willpower, but they were all united by one grief, suffered the same fate. In each of them, Akhmatova finds something of her own, and for everyone - each of them:
For them I wove a wide cover
From the poor, they have overheard words,
I will remember them always and everywhere,
I won’t forget about them even in a new trouble...
A true work by Anna Akhmatova about the life of the Soviet people in the 30s of the 20th century. could be published in her homeland only in 1988, when many years had passed after the death of the author of the poem.
"Requiem", written in 1935-1940s, lived unusual life- only in the hearts and memories of people to whom the poet secretly, in a whisper, entrusted the “word” of truth about the mortal era and about the living human soul that cannot be killed .choose what you need
The 20th century was marked by the era of totalitarianism. During this period, tragic stories were mainly written. The poem "Requiem" can also be attributed to them. It is dedicated primarily to the suffering of all mothers. This poem can be called autobiographical. At the same time, she does not try to describe the drama of one person and becomes a monument for all mothers who experienced the same tragedy.
There is an opinion that mother's love is the strongest and selfless love. The poem “Requiem” perfectly describes how strong a mother’s love is considered, how difficult and unbearable grief and pain can be. Grief constantly brings people together, and the fact that they experience it together can be considered the height of the spirit.
Anna Akhmatova was best able to convey to the new generation the true sorrow that all the mothers who stood “under the Cross” contained within themselves. It was this famous poetess who was among them in those terrible times. The writing of this difficult poem can be called a purely heroic decision, which in fact is worthy of erecting a memorial. The poetess was able to convey all the feelings, even though this text became a death sentence for herself.
Consequently, “Requiem” is not only the poetess’s experiences of her own tragedy, it is a story about the dramatic events of all mothers of past years, about the tragedy of an entire state. Anna Akhmatova’s personal maternal drama in the poem grew into the general grief of Russian wives and mothers, who managed to experience the misfortune of separation, the pain of suffering and loss, and long months of waiting. From the poem one can understand that maternal pain is tantamount to the pain of death and execution. The brightness and depth of all the poetess’s experiences cannot but excite. This poem, like nothing better, conveys women's suffering during the period of totalitarianism.
