The theme of love in the early lyrics of Akhmatova. The theme of love in poetry a. A. Akhmatova

What is the originality and psychological depth of the embodiment of love feelings in Akhmatova's lyrics?

In the first books, the poetesses drew general attention to themselves poems on the traditional theme of love. The young poetess managed to find completely original colors, images, tonality for the embodiment of eternal collisions, experiences of a loving soul.

In a few lines of the poem "He loved" she managed to create the character of a person far from everyday problems, a dreamer who is carried away to exotic lands, a sublime and foggy world of dreams. The last line - "... And I was his wife" - turns the portrait poem into a kind of scene, even a play. A conflict between two souls emerges. A hint, trust in the intuition of the reader, who is able to understand and feel the complexity of the characters and their proximity, closeness and hidden opposition, allow the poetess to be so brief. Unexpectedly, individual words and combinations are filled with artistically expressive meaning. The definition of "erased maps of America" ​​does not simply fix the state of the geographical map of one of the parts of the world. It is prepared by an indication of the sublimely exotic phenomena that the hero loved (“for the evening singing of white peacocks”), and becomes an epithet that artistically generalizes his characterization. He is all striving for the unusual, at least with a finger on the map and in dreams he travels through countries that promise riddles and discoveries. The metaphorical meaning of the hero's dislike for "tea with raspberries" is also clear. The image generalizes ideas about a boring, ordinary life with children's crying and female tantrums, which is so unpleasant for him.

Although in the character of the hero "He loved" you can feel some aspects of N. Gumilyov's nature, but here Akhmatova has in mind wide circle collisions of human life, relationships between lovers. She translates the personal plan of experiences into the universal one, never forgetting about the reader, trying to give him a word, an image, an emotion to express the state of the soul.

The use of the psychological detail of the portrait, the behavior of the hero, makes Akhmatova's artistic principles related to the achievements of Russian psychological prose of the 19th century. Suffice it to say:

So helplessly my chest went cold,

But my steps were light.

I put on the Glove from my left hand on my right hand.

("Song of the Last Meeting")

And it becomes obvious how painfully the heroine tries to hide a storm of feelings behind external calmness: despair, hope, love, readiness to die with her beloved.

The last lines of the poem “I clenched my hands under a dark veil ...” - “smiled calmly and terribly / And said to me: “Do not stand in the wind”” - again briefly, but extremely expressively embody the outcome of the love drama that was playing out. The advice to preserve health for a person who is ready for anything for the return of a loved one is better than lengthy explanations, indicating a final break, alienation, a catastrophe of love.

The scenario of the literary living room.

"The theme of love in the work of A. Akhmatova, M. Tsvetaeva, V. Tushnova"

Target : To expand knowledge about the work of poetesses of Soviet literature; to continue the education of love for Russian poetry, love for the beauty of the word, the beauty of the verse.

Equipment:

Teaching aids: computer, projector, screen.

During the classes

Let great earth,

But even she

Has its limit

But there is one thing in this world

What will never end

And this is endless love.

Teacher

Love ... so much secret, mysterious is hidden in itself by this ordinary and, it would seem, ordinary word. Love …. It is she who has a huge, almost magical power over people, makes them experience a whole storm of emotions: suffering, joy, doubts, hope, and jealousy. And to whom, no matter how woman, is assigned the leading role in this storm.The theme of love in the work of many poets occupied and occupies a central place, because love exalts, awakens the highest feelings in a person. At the turn of the last century, on the eve of the revolution, in an era shaken by two world wars, “female poetry” arose and took shape in Russia.Therefore, today we dedicate our lesson to the theme of love in the works of famous poetesses of the early 20th century A. Akhmatova and M. Tsvetaeva, and for someone little known, V. Tushnova.

The work of groups on the presentation of prepared projects.

Group. Lyrics by A. Akhmatova.

Presentation.

Leading

“Sprinkle my soul with news, -

For great earthly love.

Wrote A. Akhmatova - a famous Russian poetess of the Silver Age.This theme is very important at the beginning of the twentieth century because, at this time of great upheavals, man continued to love, to be high, noble, passionate.
Leading

The world of deep and dramatic experiences, the charm, richness and originality of the personality are imprinted in the love lyrics of Anna Akhmatova. The theme of love, of course, occupies a central place in her poetry. Genuine sincerity, combined with strict harmony, laconic capacity of the poetic language of Akhmatova's love poems, allowed her contemporaries to call her Russian Sappho immediately after the release of the first poetry collections.
Leading

The early love lyrics of the poet are perceived as a kind of lyrical diary. She talks about simple human happiness and earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone is able to experience and understand. (poem "Song of the last meeting").

Reader

So helplessly my chest went cold,
But my steps were light.
I put on my right hand
Left hand glove.
It seemed that many steps
And I knew there were only three of them!
Autumn whisper between the maples
He asked: “Die with me!
I'm deceived by my despondent,
Changeable, evil fate.
I said, "Darling, dear!
And I'll die with you too..."
This is the song of the last meeting.
I looked at the dark house.
Candles burned in the bedroom
Indifferent yellow fire.
September 29, 1911
Royal Village.

Leading

Love in the lyrics of A. Akhmatova appears as a "fatal duel". One of the secrets of her poetic gift lies in the ability to fully express the most intimate and wonderfully simple in herself and the world around her.

Reader

Christmas time was warmed by bonfires,
And carriages fell from the bridges,
And the whole mourning city floated
For an unknown destination
Along the Neva or against the current, -
Just away from your graves.
On the galley arch blackened,
In Summer, the weather vane sang subtly,
And the silver moon is bright
Frozen over the Silver Age.
Because on all roads,
Because to all thresholds
A shadow slowly approached
The wind tore posters from the wall,
Smoke danced squatting on the roof
And the cemetery smelled of lilacs.

Leading

The very first foreshadowing of such an unsettling sensation was the poem "The First Return" with its images of death sleep, shroud and death knell and with a general feeling of abrupt and irrevocable change.
Akhmatova's love story included an era - she voiced and altered the poems in her own way, introduced into them a note of anxiety and sadness, which had a wider meaning than her own fate.
Leading

There is a center that, as it were, brings the rest of the world of her poetry to itself, turns out to be its main nerve, its idea and principle. This is Love. The element of the female soul inevitably had to begin with such a declaration of itself in love. Keeping the high value of the idea of ​​love, associated with symbolism, Akhmatova returns it to a living and real character. The soul is alive.

Leading

"Great earthly love" - ​​this is the driving principle of all Akhmatova's lyrics. It was she who made me see the world in a different realistic way:

That fifth season
Just praise him.
Breathe the last freedom
Because it is love.
The sky flew high
Light outlines of things
And no longer celebrates the body
Anniversary of your sadness.

Leading

In this poem, Akhmatova called love "the fifth season." From this unusual, fifth, time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All the senses are sharpened and tense. The world opens in an additional reality:

Reader

Love conquers deceitfully
The motive is simple, unskillful
Just so recently - strange
You were not gray and sad.
And when she smiled
In your gardens, in your house, in the field,
Everywhere you seemed
That you are free and at will.
You were bright, taken by her
And drinking her poison.
Because the stars were bigger
After all, the herbs smelled differently,
Leading

If you arrange Akhmatova's love poems in a certain order, you can build a whole story with many mise-en-scenes, ups and downs, characters, random and non-random incidents. Meetings and partings, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, selflessness, pride, sadness - in what facets and kinks we do not see love on the pages of Akhmatov's books.
Reading excerpts from poems that touch on the theme of love, the passages are arranged in such a way that it gives the impression of a single poem.

Like a straw you drink my soul.

Reader

I know its taste is bitter and hoppy.

But I will not break the torture of prayer.

Oh, my rest is many weeks.

No one was more intimate to me

So no one tormented me,

Even the one who betrayed the flour,

Even the one who caressed and forgot.

You are heavy, love memory!

I sing and burn in your smoke,

And to others it's just a flame,

To warm the cold soul.

Don't look, don't frown angrily,

I am loved, I am yours.

Not a shepherdess, not a princess

And I'm no longer a nun...

Reader

Thrown! Invented word-

Am I a flower or a letter?

And the eyes are already looking sternly

In darkened dressing tables.

Reader

And you thought I was the same

that you can forget me

And that I will throw myself, praying and sobbing,

Under the hooves of a bay horse.

Reader

I burn a candle on the window until dawn

I don't mourn for anyone

But I don't want, I don't want, I don't want

Know how to kiss another.

Reader

You, dew-sprinkling grass,

Revive my soul with news,

Not for passion, not for fun

For great earthly love.

Leading

In the lyrical heroine of Akhmatova's poems, in the soul of the poet himself, a burning, demanding dream of a truly lofty love, not distorted by anything, constantly lived. Akhmatova's love is a formidable, imperious, morally pure, all-consuming feeling, which makes one recall the biblical line: "Love is strong as death - and its arrows are arrows of fire."

Group. Lyrics by M. Tsvetaeva .

Teacher: - Recall that at the same time as Anna Akhmatova, Marina Tsvetaeva entered the literature. Even their first books were called similarly: “Evening Album” by Tsvetaeva, “Evening” by Anna Akhmatova.

Leading

The talent of Marina Ivanovna Tsvetaeva manifested itself very early. From childhood, her soul was tormented by contradictions: she wanted to understand and feel a lot, to learn and appreciate. Of course, such an ardent and impulsive nature could not ignore this great feeling in her work.
Love in the lyrics of Marina Ivanovna is a boundless sea, an uncontrollable element that completely captures and absorbs. The lyrical heroine of Tsvetaeva dissolves in this magical world, suffering and tormented, grieving and sad.

Reader

Yesterday I looked into your eyes
And now - everything is squinting to the side!
Yesterday, before the birds sat, -
All larks today are crows!
They take away cute ships,
The white road leads them away ...
“My dear, what have I done to you?!

Leading

To fully express the feelings that overwhelmed her, Tsvetaeva lacked even her loud, choking speech, and she said: “The immensity of my words is only a faint shadow of the immensity of my feelings.” She was a woman from head to toe desperate for love.

The song “I will win you back from all lands, from all heavens ...” sounds on the verses of M. Tsvetaeva performed by I. Allegrova and slides of the presentation.

Leading

"I like that you are not sick of me" - it seems that Tsvetaeva was cunning. With her lust for life, with her greed for a flood of feelings, she would never allow her neighbor to love someone else. Living in lies and self-deception, Tsvetaeva is extremely frank in her poems, in them she splashed out everything that she felt, about which she grieved: "" I owe all my poems to people whom I loved, who loved me or did not love me.
Leading

Another secret of unfading popularity: Tsvetaeva's love lyrics speak in an understandable language. This monologue could belong to any offended abandoned woman:

Reader

"I'm stupid, and you're smart,
Alive and I'm dumbfounded.
O cry of women of all times:

"My dear, what have I done to you?!"

And her tears are water, and blood -
Water, - in blood, in tears washed!
Not a mother, but a stepmother - Love:
Don't expect judgment or mercy.
They take away cute ships,
The white road leads them away ...
And a groan stands along the whole earth:
"My dear, what have I done to you?"
Yesterday I was still at my feet!
Equated with the Chinese power!
Immediately opened both hands, -
Life fell out - a rusty penny!
I'll ask for a chair, I'll ask for a bed:
"For what, for what do I endure and suffer?"
"Kissed - to wheel:
Kiss the other," they answer."
"Itself - what a tree to shake! -
In time, the ripe apple falls ...
- For everything, for everything, forgive me,
My dear, what have I done to you!
Reader

Rigidity and tenderness that corrodes to the bone, thoughtless impulsiveness and inhuman wisdom - all this merges in Tsvetaeva's love lyrics, making you cry with her and about your own, forgive her everything and forgive with her. And admire
Tsvetaeva's love lyrics are so multifaceted ("a thousand times differently" that any reader can find something of their own, consonant with their feelings and situations. The names themselves speak for themselves: "The Poem of the End", "Nights with the unloved", "Attempt of Jealousy" ... And the remaining open question:

"And yet, what was it?
What do you want and regret?
I don't know if she won?
Are you defeated?"

Leading

Marina Ivanovna was given to experience the divine feeling of love, loss and suffering. She came out of these trials with dignity, turning them into beautiful poems that became a model of love lyrics. Tsvetaeva is uncompromising in love, she is not satisfied with pity, but only with a sincere and great feeling in which you can drown, merge with your loved one and forget about the surrounding cruel and unfair world. The author’s soul is open to great joys and suffering. Unfortunately, there were few joys, and grief would be enough for a dozen destinies. But Marina Ivanovna proudly walked through life, not bowing under her blows. And only verses open the abyss of her heart, which contained the seemingly unbearable.

Reader

There are lucky ones and lucky ones
Can't sing. Them -

Tears to pour! How sweet to spill
I burn - a torrential downpour!
So that something trembles under the stone.

To me - calling is like a whip -
Between the groaning of the tomb
Duty commands - to sing.

There is a romance to the verses by M. Tsvetaeva performed by A. Pugacheva “I like that you are not sick of me” and slides of the presentation.

Group. Lyrics by V. Tushnova. Romeo and Juliet love.

Leading

There is love in the world!

The only one - in happiness and in sadness,

In sickness and health - one,

Same at the end as at the beginning

Which even old age is not terrible.

Presentation.

Leading

These heartfelt lines about love belong to the Russian poetess Veronika Mikhailovna Tushnova. She was born in 1915 in the family of a microbiologist. From 1931 to 1935 she studied at the Leningrad Medical Institute. During the Great Patriotic War she worked as a doctor in a hospital. The first poems by V. Tushnova were published in 1944, when she was 29 years old. And in 1945, her poetry collection was published, which was simply called: “The First Book.” The next book of poems was published only ten years later.

Leading

However, in the next, third book, published in 1958 under the title "Memory of the Heart", the main theme of the poetess came to the fore, decisively pushing everything else. This topic islove.

The feeling that prompted her poetry recent years life, was difficult and dramatic."I bless the storm I can't handle" , - said in one of the poems of the poetess. The love of Veronika Tushnova for the poet and writer Alexander Yashin struck a spark from which a fire flared up lyric poetry. She appreciated every moment warmed by love, a hundred hours of happiness were dearer to her than a long dull life without love:

One hundred hours of happiness... Isn't that enough?

Leading

All the poetry of Veronika Tushnova is her personal diary. Here she is struggling with the riddle: what is love?

Why without millions - is it possible?

Why is it impossible without one? For Tushnova, love is the greatest stimulus to will and life, love gives strength to fight:

Leading

Every person

There is a war

With sickness, with heartache,

With a beating fate

With love that betrayed him

He enters into mortal combat.

Leading

She herself gives herself to this feeling all, without a trace, the meaning of her life is love for a single person, all her thoughts, all her actions are only for his sake:

Reader

I sit alone on a hillock in the middle of spring bogs. ...

I love your bitter eyes.

Like the bark of young aspens.

Your own smile.

Lips dried in the wind...

Because wherever I go

And I take you with me.

I tell you everything.

I talk to you about everything

I show you the first lily of the valley.

I give a pink flower.

Leading

But sad notes are already slipping in her poems. It can be seen that not every couple is destined for eternal love. She is still trying to prolong the wonderful moments, turning to her beloved with a prayer:

Reader
Make me happy one day.

Call me to paradise,

Heal me from thirst

Let me breathe a little!

He's not behind the clouds

Not far away, -

There is snow hanging in tufts.

The April blizzard is sleeping.

There is a small spruce forest.

Moss rusts on trunks

Flies a squirrel

Like pink smoke.

Shedding with a mercurial brilliance,

Melt water is freezing...

you once

Early morning

Call me there!

Leading

A loving woman deceives herself, but poems cannot lie, they reflect all the heartache, all her longing for past love:

Reader

Without promises

Life is sadder

Rainy night without fire.

So do not regret the promises

Don't be afraid to deceive me.

So many different sorrows

And everyday hustle and bustle...

Don't be afraid of words

beautiful, idle,

Short-lived, like flowers.

Human hearts are so happy for them

The world is so deserted without them...

And don't they have

higher truth

On the short term their blooms?

Leading

She does not stop waiting for her beloved, when, it would seem, there is no hope anymore:

Reader

How many times can you lose

Your lips, blond strand,

Your caress, your soul,

How tired I am of separation!

I'm cold without your hand.

I live without sun and without fire,

The waters of the forest river roll

Pass me... pass me...

Old firs in the forest groan,

By autumn, the bird fuss is quieter ...

Your days are slowly flying

Pass me, pass me...

Leaves fly from yellow birches,

And the birds fly over the seas

And sparks fly from the fire

Pass me... pass me...

Will it end soon - past me?

Is the evening of the long day coming soon?

Cloak and purse - and to the station,

As you ordered, as you punished ...

There will be, oh there will be a forest river,

The quacking of a duck, the crackling of dry wood,

The walls are boarded, the moon is in the windows,

And silence, silence, silence...

I will stroke the blond strand,

Kiss your heart, open

All sorrows will fly

Pass me... pass me...

The song "Do not renounce, loving" sounds and presentation slides.

Leading

She beats like a bird in a cage, blaming either herself or her beloved for the inevitable break:

Reader

I don't like myself like this, I don't like myself

don't like it!

I lost my peace

I can't deal with resentment

I do not swim - I go to the bottom.

I can't see three steps ahead

I blame myself, I swear to you.

I rebel, I cry, I hate...

Be aware, brighten up

Soul! Come back, old sight!

Earth, send me healing

Pour into my dark confusion

The tranquility of your fields!

Leading

And again Yashin answers her:

Reader

There is no jealousy in her love

No goodness, no light.

Made me jealous,

Maybe it's hate?

insulting vigil,

daily inquiry,

deliberate humility,

Ecstatic silence...

Exhausted, exhausted, everything is not enough for her.

And the samadho of insomnia,

Tired as hell.

And now offended -

I rarely go to the house

And now he's surprised.

That I get out of hand.

Leading

A woman is desperately trying to keep her loved one, childishly scares him with the upcoming separation:

I'm leaving, I'm disappearing

For years, forever.

Kanu into the snowy abyss,

I'll disappear without a trace.

I draw the hour of farewell

Smooth trail from the sled...

I don't risk anything.

Except your life.

Leading

Increasingly, Veronika Tushnova tries on death. She sees no meaning in life without a loved one. She is still trying to get through to him, to shout.

I must say that Alexander Yashin had a family, and from his first marriage there were four children whom he did not forget, did not lose touch with them. Perhaps this is the reason for the disagreements and resentments of a woman who had no other life and a person closer than he is. She tried to somehow live without him. But she couldn't.

To be good friend promised

The stars gave me cities.

And he left without saying goodbye.

And will never return.

I yearned for him in moderation,

To the best of tears combustible shed

Resentment took root, reconciled

People surrounded and things ...

I rise again at dawn

I drink with friends, for the occasion, wine

And no one knows what's in the world

I haven't been for a long time.

Leading

July 7, 1965 Veronika Tushnova passed away. She died of cancer. Here is how the poet Mark Sobol recalls it:

Leading

“Veronica was dying - and almost knew about it. The professor treating her said: "I'll scratch you!" I don't know if she fully believed, but a drop of hope remained. I came to her room and tried to cheer her up.

She begged, "Don't!" They gave her evil antibiotics that tightened her lips, it hurt her to smile. She looked extremely bad. Unrecognizable. And then HE came!

Veronica ordered us to turn to the wall while she got dressed. Soon she called quietly: "Boys" ...

I turned around and freaked out. Before us stood - a beauty! I will not be afraid of this word, for it is said precisely. Smiling, with glowing cheeks, a young beauty who has never known any ailments. How she laughed, how animated she was, how suddenly everything returned twenty years ago!

And then I felt with particular force that everything she wrote about love was true. Absolute and irrefutable truth.

This is not an invention of the poet, but something that is provided with a golden - and bitter - supply of life.

Perhaps this is called poetry.

Reader

I say goodbye to you

At the last line.

With true love

Maybe you will meet.

Let it be different, dear.

The one with which - paradise.

I still swear:

Remember! Remember!

remember me if

Morning ice crunches

If suddenly in the sky

The plane crashes.

If the whirlwind curls

A veil of stuffy clouds.

If the dog gets bored

Whine at the moon

If red flocks

Leaf fall will swirl,

If the shutters are after midnight

They knock out of place.

If the morning is whitish

Roosters will crow

Remember my tears

Lips, hands, poetry...

Don't try to forget.

Drive away from the heart

Don't try, don't try

Too much of me!

Leading

Alexander Yashin responded to the death of Veronika Tushnova with verses:

Reader

You're nowhere from me now

And no one has power over the soul.

Until then, happiness is stable,

That any trouble is not a problem.

I don't expect any changes.

What would continue with me

neither happened:

Everything will be like in the first year,

As in the last year, -

Our time has stopped.

And there will be no more quarrels:

Today our meetings are calm.

Only lindens rustle and maples ...

Now that's what I love!

You and I are now out of touch.

Our case is closed

Crossed, forgiven.

It's not hard for anyone because of us.

Yes, and we don't care.

Late evening, early morning

I don't bother to confuse the trail.

I don't hold my breath

I'm coming to meet you

In the dusk of the leaves, when I want.

Leading

Alexander Yashin died three years later, in 1968, from stomach cancer. He underwent several operations, had children at his bedside, his first wife looked after him for many months, and writer friends visited him. But many believe that tragic love hastened the end of Yashin. This story resonated with many poets. Eduard Asadov dedicated a poem to two loving people, which is called “Veronika Tushnova and Alexander Yashin”. He compares Veronika Tushnova and Alexander Yashin with Romeo and Juliet and love calls them a nugget.

Final word from the teacher.

A lot has been written about love: thousands of pages. Little has been written about love: this feeling is inexhaustible, like life itself. As long as a person is alive on earth, as long as his heart beats, as long as the voices of those who left us their feelings resound in beautiful verses, the drama and novelty of Love cannot be exhausted.

These three poets, by the power of their creativity, showed that a woman's loving soul is not only a fragile candle, not only a transparent stream, but also a fire of the soul, similar to a monstrous fire.

Be forever with him: let them teach loyalty
You his sadness and gentle look.
But if dreams get bored with sinlessness,
Manage to light a monstrous fire

-I would like to end today's lesson with the words of the great Goethe:

My friend, for happiness,
Loving, live -
You will find happiness
In your love!

Sounds like a song from the movie "Juno and Avos" and presentation slides.

Ministry of Education of the Russian Federation

Municipal educational institution -

"Secondary school No. 24"

Research abstract

On literature

The theme of love in the lyrics of Anna Akhmatova

Pupils of 11 "A" class

Dolgovoi K.A.

Lecturer: Oksen N.P.

Petropavlovsk-Kamchatsky - 2008

1. Introduction

Biography of Anna Andreevna Akhmatova (Gorenko)

The mystery of the popularity of Akhmatova's love lyrics

early lyrics

1Traditions of contemporaries in the work of A. Akhmatova

2 Pushkin and Akhmatova

3 "Great earthly love" in Akhmatova's lyrics

4 Akhmatov's "I" in poetry

5 Analysis of the poem "And when they cursed each other" (1909, collection "Evening")

6 Analysis of the poem "The Song of the Last Meeting" (1911, collection "Evening")

7 Analysis of the poem “She squeezed her hands” (1911, collection “Evening”)

8 Analysis of the poem “Today they didn’t bring me a letter ...” (1911, collection “Evening”)

9 Analysis of the poem “Twenty-first. Night. Monday" (1917, collection "White Pack")

Late lyrics

1 Analysis of the cycle "Cinque" (1945-1946, collection "The Seventh Book")

2 Prototypes of lyrical heroes

Conclusion

Bibliography

1. Introduction

A. A. Akhmatova lived and worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom is, often had to choose between free creativity and life. Despite all the circumstances, the poets still continued to work miracles: wonderful lines and stanzas were created.

The periods of Akhmatov's work are delimited: the initial (early) period covers a little more than ten years (1912 - 1922), the next (late) period lasts from 1923 to 1966. There are important differences between the two main periods mentioned above. They are both in their internal connections and in the organization of a separate poem. And if you single out poems about love, about the intimate and personal, if you go, moreover, from early works to the later ones, then the conjugation of the constant and the variable will make itself felt with particular distinctness.

One of the main themes in the lyrics of the poetess was the theme of love. She spoke of love as a higher, almost religious concept. Love is a bright and high feeling, which was sung in their poems by the most famous poets of the 19th-20th centuries: A.S. Pushkin, M.Yu. Lermontov, A.A. Blok, M.I. Tsvetaeva and others. Days of love are like a well from which we draw vitality.

The lyrical heroine of Akhmatova is a reflection of the female share, female experiences, female fate. Her poems are saturated with psychologism, and everyday details become a sign of a deep aggravation of feelings. It was Anna Akhmatova who managed to reveal the depth of the female inner world. Through the love of her heroines, she conveys the full versatility of this divine gift. Akhmatova's lyrics over time win more and more reader circles and generations.

The purpose of our work is to study the creativity of A.A. Akhmatova from the point of view of the image of a love feeling in it.

In the course of the study, the following tasks are to be solved:

§ Highlight the reasons for the popularity of A. Akhmatova's love lyrics;

§ To trace the traditions of contemporaries in the work of the poetess and the influence of A.S. Pushkin's work on A. Akhmatova;

§ Compare how Akhmatov's "I" and poetry touch;

§ Analyze five poems from early collections;

Ÿ “And when they cursed each other” (1909, collection “Evening”)

Ÿ “Song of the last meeting” (1911, collection “Evening”)

Ÿ “She squeezed her hands” (1911, collection “Evening”)

Ÿ “Today no letters were brought to me” (1911, collection “Evening”)

Ÿ "Twenty first. Night. Monday" (1917, collection "The White Pack")

§ Analyze the cycle "Cinque" related to late period, (collection "The Seventh Book" 1945-1946);

§ Compare two periods of A. Akhmatova's love lyrics: early (1912 - 1922) and late (1923-1966);

In our work, we will pay special attention to the study of monographs on the work of Akhmatova V. Gippius, I. Gurvich, L. Chukovskaya, B. Eichenbaum.

2. Biography of Anna Andreevna Akhmatova (Gorenko)

A poetess was born June 23, 1889in the suburbs of Odessa Bolshoi Fountain in the family of a retired engineer-captain of the 2nd rank Andrey Antonovich Gorenko and Inna Erazmovna Stogova.

In 1891, Anna's family moved to Tsarskoye Selo, they spent the summer near Sevastopol. And in 1900, Anna Gorenko entered the Tsarskoye Selo Mariinsky Gymnasium. 1903 was marked by an acquaintance with Nikolai Gumilyov. In 1906-1907, Anna lived with relatives in Kyiv, entered the last class of the Fundukleevskaya gymnasium. Upon graduation, she signed up for the law department of the Higher Kyiv Women's Courses, corresponded with Gumilyov, who had left for Paris. At this time, her poem was published for the first time: "There are many brilliant rings on his hand" in the Parisian Russian weekly "Sirius". After 3 years, on April 25, Anna Gorenko and Nikolai Gumilyov got married in the Nicholas Church in the village of Nikolskaya Slobidka near Kyiv. They spent their honeymoon in Paris.

In 1911, A. Akhmatova entered the St. Petersburg Women's Courses, her first publication under the pseudonym ANNA AKHMATOVA (the poem "Old Portrait"), which she took on behalf of her ancestor, Khan Akhmat of the Horde.

the year was marked by the release of the first collection "Evening" and the birth of Leo's son (September 18), 1914 - by the release of the second collection "Rosary", and 1917 (September) by the release of the third collection "White Flock".

In 1918, Akhmatova divorced N. Gumilyov and married V. K. Shileiko.

In 1921, an evening in memory of Pushkin took place, A. Blok delivered his famous speech "on the appointment of the poet." In the same year, Gumilyov was arrested on August 3, and Blok died on August 7, N. Gumilyov was shot two weeks after the death of A. Blok on charges of involvement in a counter-revolutionary conspiracy. For Akhmatova, these events were a real tragedy. In April 1921, "Plantain", the fourth collection of the poetess, was released, and in October - the fifth collection "Anno Domini".

In January 1922, A. Akhmatova met L. Pasternak, M. Bulgakov, after a while she broke up with V. Shileiko and married N. Punin.

In 1926, she helped Luknitsky write the work "Works and Days" about N. Gumilyov, because she considered N. Gumilyov an outstanding poet.

By March 1931, she began working on the article "Pushkin's Last Tale". Four years later, on October 27, N.N. Punin and L.N. Gumilyov were arrested. Akhmatova had to urgently leave for Moscow. On October 30, M. Bulgakov helped the poetess write a letter to Stalin with a request to alleviate the fate of her husband and son. In these troubles Akhmatova took an active part: L. Seifullina, E. Gershtein, B. Pasternak, B. Pilnyak. (“I ask you, Iosif Vissarionovich, to help Akhmatova and release her husband and son, the attitude towards which Akhmatova is for me a categorical guarantee of their honesty. Betrayed to you B. Pasternak” - an excerpt from a letter to I. Stalin). On November 3, Nikolai Punin and Lev Gumilyov were released.

But on March 10, 1938, L.N. Gumilyov was arrested again, A. Akhmatova stood in lines in front of the prison on the street. Shpalernaya (house of preliminary detention). After the events experienced, Akhmatova wrote the famous lines: “The husband is in the grave, the son is in prison / Pray for me” (poem “Requiem”). On September 19, she broke up with N.N. Punin, but continued to live in the same apartment. On September 27, LN Gumilyov was sentenced to 10 years in labor camps by the military tribunal of the Leningrad Military District.

In May 1940, Akhmatova's Leningrad collection "From Six Books" was published. Pasternak wrote to the poetess that the queues for her new book stretched over two streets. September 28, 1941 - Akhmatova, by decision of the authorities, was evacuated first to Moscow, then to Chistopol, from there she arrived in Tashkent with the family of K.I. Chukovsky through Kazan.

In 1946, creative evenings were held in Moscow, in Leningrad, and everywhere she was awaited by the most enthusiastic reception. And on September 1, Akhmatova incurs the wrath of Stalin, who learned about the visit of the English historian I. Berlin to her, as a result of this, the Presidium of the Board of the Union of Writers of the USSR decides to exclude A. Akhmatova and M. Zoshchenko from the Union of Soviet Writers.

In 1951, Akhmatova was reinstated in the Writers' Union, in the same year she had her first myocardial infarction. In 1953, a tragic event occurred - the death of N.N. Punin in the Vorkuta camp, and on April 15 of the same year, Lev Gumilyov returned from the camp. In May, the Leningrad branch of the Literary Fund provided A. Akhmatova with a summer house in the writer's village of Komarovo; she called this her dwelling "The Booth".

In May 1960, Akhmatova developed intercostal neuralgia, which was taken by the ambulance doctor for myocardial infarction. With this diagnosis, she was hospitalized in the Botkin hospital.

In 1962She was nominated for the Nobel Prize in 1963for the Etna-Taormina International Literary Prize. May 1964a gala evening dedicated to the 75th anniversary of Anna Akhmatova took place. In winter, she traveled to Italy to be honored on the occasion of the Etna-Taormina Prize. In the castle Ursino Akhmatova was awarded the literary prize "Etna-Taormina" for the 50th anniversary of her poetic activity. In January, Oxford University decided to award Anna Andreevna an honorary doctorate in literature. In October, the last lifetime collection of poems and poems, "The Run of Time", was published.

March 3, 1966because of the fourth heart attack, Akhmatova went to a cardiological sanatorium, and the 5th of March, in the morning - Anna Andreevna Gorenko-Akhmatova died. 9th of Marcha civil memorial service was held in the courtyard of the mortuary of the Institute. Sklifosovsky.

3. The mystery of the popularity of Akhmatova's love lyrics

Almost immediately after the appearance of the first book "Evening", and after the "Rosary" and "White Pack" in particular, they began to talk about the "mystery of Akhmatova". The talent itself was obvious, but unusual, and therefore unclear was its essence, not to mention some really mysterious properties. How to explain, for example, a captivating combination of femininity and fragility with that firmness and distinctness of the drawing, which testify to imperiousness and extraordinary, almost rigid will? At first they wanted to ignore this will, it was quite contrary to the "standard of femininity." The strange laconicism of her love lyrics evoked bewildered admiration, in which passion resembled the silence of a pre-storm and usually expressed itself only in two or three words, similar to lightning flashes flaring up behind a menacingly darkened horizon: “I am not afraid of anything on earth, / Turning pale in heavy panting. / Only the nights are terrible because / What I see in your eyes in a dream. Femininity in Akhmatova’s poems was manifested in the acceptance of a bitter share: “Glory to you, hopeless pain!”, in gratitude for what is usually cursed for: “Heart to heart is not riveted, / If you want, go away”, in awareness of the need for love: “Suffocating, I shouted: “Joke! / All that was. If you leave, I will die."

But if the suffering of a loving soul is so incredibly silent, closed and charred to the point of loss of speech, then why is the whole world around us so huge, so beautiful and captivatingly authentic? The point, obviously, is that, like any major poet, her love story, which unfolded in the verses of the pre-revolutionary years, was wider and more meaningful than its specific situations.

In the complex music of Akhmatova's lyrics, in its barely flickering depth, in its darkness escaping from the eyes, in the subsoil, in the subconscious, a special, frightening disharmony constantly lived and made itself felt, embarrassing Akhmatova herself. She later wrote in "A Poem without a Hero" that she constantly heard an incomprehensible rumble ("And always in the frosty stuffiness, / Pre-war, prodigal and formidable, / Some future rumble lived"), as if some kind of underground gurgling, shifts and friction of those the original solid rocks on which life was eternally and reliably based, but which began to lose stability and balance.

Akhmatova's love story included an era, she voiced and altered the poems in her own way, introduced into them a note of anxiety and sadness, which had a wider meaning than her own fate.

It must be said that Soviet poetry of the first years of October and the Civil War, busy with the grandiose tasks of overthrowing the old world, loving images and motifs, as a rule, of a universal, cosmic scale, preferring to speak not so much about a person as about humanity, was initially insufficiently attentive to the microcosm of intimate feelings, classifying them in a burst of revolutionary puritanism as socially unsafe bourgeois prejudices. “Of all possible musical instruments, in those years she preferred percussion. Against this roaring background, which did not recognize halftones and shades, next to the thunderous marches and "iron" verses of the first proletarian poets, Akhmatova's love lyrics, played on murmured violins, should, according to all the laws of logic, be lost and disappear without a trace ... But that did not happen" 10.

“Young readers of the new, proletarian, Soviet Russia embarking on the socialist path, working women, Red Army women and Red Army men, all these people, so distant and hostile to the world itself, mourned in Akhmatov’s poems, nevertheless noticed and read small, white, elegantly published volumes of her poems (Rosary", "White Flock", "Anno Domini"), which continued to come out unperturbed all these fiery years.

4. Early lyrics

Anna Akhmatova entered the literature, moreover, artistically established herself under the sign of a love theme. Her first five collections, from "Evening" (1912) to "Anno Domini" (1921), are located on the same thematic line, make up an almost homogeneous array, but there are responses to the historical event - the First World War ("Prayer", "Memory 19 July 1914”, “July 1914”), declaration of the author’s position at the time of social cataclysms (“I had a voice”, “I am not with those who left the earth”), defense of moral dignity (“Solitude”, “Slander”). Poems not about love sharply show the poet's involvement in the super-personal sphere of being and everyday life: "I was then with my people, / Where my people, unfortunately, were." “However, the primacy of the intimate-personal principle remains unshaken, rather the opposite: revelations addressed to the depths of the soul outline the individuality of the lyrical “I” and thereby justify its right to civil pathos. Poems about love form, in fact, the background and subsoil of programmatic poetic statements. 11.

Akhmatova focuses her gaze on love-dislike, on the interweaving and clash of emotional opposites, even extremes, on the absence of genuine, deep closeness - in the presence of intimacy.

“The love story unfolds both in breadth and depth - both as a chain of dramatic events, and as a layering of experiences and self-perceptions. “I” and “you” (“she” and “he”) in a variety of ways reveal the dissimilarity of mutual perception, respectively, personal behavior: he is “cute” for her, even “irreparably cute”, “the most gentle, meekest”, “wise and brave”, “strong and free”, but also “arrogant and evil”, “prisoner of another”; for him, she is a “stranger”, exhausted by her attraction, sensually desirable, but mentally indifferent” 11 (“What power does a person have / Who doesn’t even ask for tenderness!”). She suffers painfully, she is bitter, it hurts, he ironizes, draws, enjoys his power (“Oh, I know: his consolation is / It is intense and passionate to know, / That he does not need anything, / That I have nothing to refuse him "). She told him: "You know, I'm languishing in captivity, / I pray for the death of the Lord", he - to her: "... go to the monastery / Or marry a fool ...". At the same time, she is confident in the penetrating power of feeling, in the inevitability of its impact (“I was your insomnia, / I was your longing”, “And if you offend with a mad word - / It will hurt yourself”), he, with all his arrogance, sometimes experiences restlessness, anxiety (“woke up, you groaned”).

Her torment spills over into a vengeful warning (“Oh, how often will you remember / The sudden longing of unnamed desires”), he is sometimes ready to make excuses (“I am with you, my angel, I did not dissemble”), a true feeling sometimes breaks into his sensual desire (“Like the sun of God, he loved me”), so the definition of “unrequited love” (also used) is hardly suitable, it narrows, simplifies the situation. Sometimes there is a change of roles: a man (more precisely, a “boy”) is given to experience “the bitter pain of first love”, a woman remains indifferent to him (“How helplessly, greedily and hotly strokes / My cold hands”).

“In the vicissitudes of a tense drama, love is surrounded by a network of contradictory names-interpretations: light, song, “last freedom” - and sin, delirium, illness, poison, captivity” 10. The feeling is accompanied by the dynamics of heterogeneous states: expectations, languor, exhaustion, petrification, oblivion. And, rising to an insatiable passion, it absorbs other strong movements of the soul (they were also called passions before, in Pushkin's time) - resentment, jealousy, renunciation, betrayal. The content richness of love-dislike makes it worthy of a long, multi-part story.

4.1 Traditions of contemporaries in the work of A. Akhmatova

The experience of Akhmatov's contemporaries was not ignored. “Blok, in "Poems about the Beautiful Lady" (1904), the number of works directly ascending to the title goes to tens and we see the author's intention to establish a kind of grid of coordinates: the relations "I" - "she" are transferred to an unreal universe and their development is given the importance of a mystical action, alluring with its mystery" 7. Akhmatova also more than once or twice moves the episodes of the love story to the "other world", but she eschews mysticism and does not allow herself to move along the Blok path.

In the texture of Akhmatova's first poems, one can find points of contact with I.G. Kuzmin, but repulsion rather than attraction decisively prevails. Akhmatova herself testifies: “My poem“ And the boy who plays the bagpipes ”was written clearly under his (I.G. Kuzmina) influence. But this is an accident, everything is basically different. We (Acmeists) ... everything was serious, but in the hands of Kuzmin everything turned into toys" 10.

The type of feeling captured by Akhmatova caught the attention of her first thoughtful readers. N. Nedobrov's article ("Anna Akhmatova" 1915), published shortly after the release of two debut collections by Akhmatova, received well-deserved fame. According to the critic, their central motive is "unhappy love", but not self-closed, not limited by its own meaning, but stimulating "penetration into a person" into a being of an outstanding female character 7.

Akhmatova has an expression: "peace of dislike." Word found: "dislike". Whatever the relationship between a man and a woman, reproduced by the classics, their basis is a feeling with a positive sign, even if it is a passing or past feeling. “And “unhappy love” (also not bypassed by the poets of that time, let us recall at least Tyutchev’s “Denisiev” cycle) is not an exception, but an aspect of a directed image; "misfortune" here is on a par with "crazy happiness", with "delight", with "joy", that "knows no limit" (A.A. Fet), - in the same row, but at the other pole " 5. Akhmatova, on the other hand, focuses her gaze on love-dislike, on the interweaving and clash of emotional opposites, even extremes, on the absence of genuine, deep closeness - in the presence of intimacy. “Poetry masters a special, previously unrepresented version of convergence-divergence, a special kind of behavioral situation. Mastering the phenomenon of life-building of the 20th century?” 4Maybe you are right.

The feeling of love is accompanied by the dynamics of heterogeneous states: expectations, languor, exhaustion, petrification, oblivion. And, rising to an insatiable passion, it absorbs other strong movements of the soul (they were also called passions before, in Pushkin's time) - resentment, jealousy, renunciation, betrayal. The content richness of love-dislike makes it worthy of a long, multi-part story.

The theme is cross-cutting, but poems are by no means always exactly "on the theme", they are often more or less removed from the thematic center. There is, in particular, a group of poems that are adjacent to a legend, a parable and not involved in a love story ("Dry lips are tightly closed", "We walked silently around the house", "I came to change you, sister"). But in the context of the collections, they are charged with the confusion and pain that are characteristic of the heroine as loving woman. The poet talks both directly and indirectly about his subject. “The plurality of guises of the lyrical “I” is clear: a woman is either from a secular environment (“under a dark veil”), then from the bottom (“my husband whipped me ... with a belt”), then from a bohemian circle (“Yes, I loved them, those gatherings of the night"); the difference in social status is complicated by a change in family status: sometimes she is single, sometimes married, moreover, not only a wife, but also a loving mother; sometimes we find her on the threshold of youth, and sometimes beyond this threshold (in some places this is indirectly indicated: "ten years of fading and screaming", "waiting for him in vain for many years"). The man is also not the same: either his attraction to “her” is the only one (“my faithful, gentle friend is always with me”), or he has a “different wife” and is destined to “raise his sons with his quiet girlfriend / ".

.2 Pushkin and Akhmatova

Speaking about the love lyrics of Akhmatova, one cannot but say a few words about the feelings of the poetess herself, about her idols, about the objects of her admiration. And one of the inexhaustible sources of creative joy and inspiration for Akhmatova was A.S. Pushkin. She carried this love throughout her life. A. Akhmatova owns the articles: "Pushkin's last fairy tale about the Golden Cockerel", "Adolf" by Benjamin Constant in Pushkin's work, "About Pushkin's Stone Guest", as well as works: "Pushkin's death", "Pushkin and the Neva seashore" , "Pushkin in 1828", etc.) In the "Evening" a poem ("In Tsarskoye Selo") is dedicated to Pushkin, consisting of two stanzas, very clear in drawing and quiveringly tender in intonation: saddened the shores. Love for Pushkin was aggravated by the fact that, by coincidence, Anna Akhmatova was a Tsarskoye Selo girl, her adolescent, gymnasium years were spent in Tsarskoye Selo, present-day Pushkin, where even now everyone involuntarily feels the indelible Pushkin spirit, as if forever settled on this "eternally sacred Russian land Poetry" 3. “The same Lyceum and sky, and the girl is just as sad over a broken jug, the park is rustling, the ponds are shimmering, and, apparently, the Muse is also the Muse to countless pilgrimage poets...” 2For Akhmatova, the Muse is always "dark". As if she appeared before her in the "gardens of the Lyceum" immediately in the adolescent guise of Pushkin, a curly-haired lyceum student - a teenager who more than once flickered in the "sacred twilight" of Catherine's Park - he was then her peer, her divine comrade, and she almost searched with meetings with him. In any case, her poems dedicated to Tsarskoe Selo and Pushkin are imbued with that special color of feeling that can best be called falling in love - not that, however, somewhat abstract, albeit "exalted love, which accompanies the posthumous fame of celebrities in a respectful distance, but very lively, direct, in which there is fear, and annoyance, and resentment, and even jealousy ... Yes, even jealousy!

For example, to that beauty with a jug whom he admired, sang and glorified forever ... and who is now so merrily sad, this smartly naked pretender, this lucky woman who settled in Pushkin's immortal verse "Tsarskoye Selo Statue"<#"justify">.3 "Great earthly love" in Akhmatova's lyrics

Akhmatova, indeed, is the most characteristic heroine of her time, manifested in the endless variety of female destinies: mistresses and wives, widows and mothers who cheated and left. According to A. Kollontai, Akhmatova gave "a whole book of the female soul." Akhmatova "poured into art" a complex story of the female character of a turning point era, its origins, breaking, new formation.

The hero of Akhmatov's lyrics is complex and many-sided. Actually, it is even difficult to define him in the sense that, say, the hero of Lermontov's lyrics is defined. It is he - a lover, brother, friend, who appeared in an endless variety of situations: insidious and generous, killing and resurrecting, the first and last: “Who are you: my brother or lover, / I don’t remember, and you don’t need to remember ...” (poem “ Like a straw, you drink my soul. But always, with all the variety of life collisions and everyday incidents, with all the unusual, even exotic nature of the characters, the heroine or heroine of Akhmatova carries something important, primordially feminine, and a verse breaks through to it in the story of some rope dancer, for example, walking through habitual definitions and memorized positions (“I was left on the new moon // My beloved friend. Well, then!”) to what “the heart knows, the heart knows”: the deep longing of the abandoned woman. This ability to reach out to what "the heart knows" is the main thing in Akhmatova's poetry. ("I see everything, // I remember everything") But this "everything" is illuminated in her poetry by one light source. There is a center that, as it were, brings the rest of the world of her poetry to itself, turns out to be its main nerve, its idea and principle. This is Love. The element of the female soul inevitably had to begin with such a declaration of itself in love. AI Herzen once said as a great injustice in the history of mankind that a woman is "driven into love." In a certain sense, all the lyrics (especially the early ones) by Anna Akhmatova are "driven into love" 5. But here, first of all, the possibility of an exit opened up. “It was here that truly poetic discoveries were born, such a view of the world that allows us to speak of Akhmatova’s poetry as a new phenomenon in the development of Russian lyrics of the twentieth century” 4. There is both "deity" and "inspiration" in her poetry. While maintaining the high value of the idea of ​​love associated with symbolism, Akhmatova returns to it a living and real, by no means abstract character:

This meeting is not sung by anyone,

And without songs, sadness subsided.

Cool summer has come

as if new life started.

The sky seems like a stone vault,

Wounded by yellow fire

And more necessary than daily bread

I have one word about him.

You, who sprinkle the grass with dew,

Revive my soul with news,

Not for passion, not for fun

For great earthly love."

(“This meeting is not sung by anyone ...”, 1916)

"Great earthly love" - ​​this is the driving principle of all Akhmatova's lyrics. It was she who forced us to see the world in a different way - no longer symbolist and not acmeist, but, if we use the usual definition, realistically - to see the world.

That fifth season

Only his praise

Breathe the last freedom

Because it is love.

In this poem, Akhmatova called love "the fifth season." From this unusual, fifth, time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All the senses are sharpened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with a tenfold strength, really reaching peaks in the sensation of life. The world opens in an additional reality: "After all, the stars were larger, / After all, the herbs smelled differently." Therefore, Akhmatova's verse is so objective: it returns things to their original meaning, it draws attention to what we are normally able to pass by indifferently, not to appreciate, not to feel. "Above the dried dodder // A bee swims softly" - this is seen for the first time. Therefore, it opens up the opportunity to feel the world in a childishly fresh way. Poems such as "Murka, don't go, there's an owl" are not thematically given poems for children, but they have a feeling of completely childish spontaneity.

.4 Akhmatov's "I" in poetry

Readers and researchers have repeatedly wondered: is Akhmatov's "I" autobiographical? At first, the lyrical heroine was often combined with the author as a living person: the sincerity of the confession bribed, and the private life of Anna Andreevna, since rumor stubbornly took possession of her, provoked a biographical approach to love poems. But this approach was soon denied credibility: too much testified to the conventionality of the depicted (the same multiplicity of guises: in the poems “Song”, “Closed hands”, “My husband whipped me patterned”, the many faces of lyrical heroines testify to their non-coincidence with the author). As a result, the separation of the author and the character, their differentiated perception, prevailed.

Let's just try to avoid the danger of going from one extreme to another. “A great poet, whose biography, sometimes reduced to a legend, is assimilated by the general consciousness along with and in close connection with his work, the great poet as a person cannot be eliminated from his confessional verses, from his “I” confessions. Complete elimination is no more legitimate than the identification of author and hero. The history of reading and comprehension of lyrics speaks in favor of a bidirectional, mobile point of view: "I" is not identical to the author, but is not divorced from him, and the measure of the artistic personality's approach to the real (respectively, the distance from it) is an extremely variable value, moreover, accurate devoid of indicators " 5. In early Akhmatova, persistent distancing gains a clear advantage: the heroine is not given to have personal recognition. Even more: the poet deliberately "obscures the links between personal life and poetry, for example, regroups poems addressed to one person, changes dedications, dates." And this was done, most likely because Akhmatova then did not yet consider herself entitled to open herself to the reader (rumor is not an argument). In later lyrics, the distance will be significantly reduced, sometimes to the point of indistinguishability between the "I" and the author, and in many respects this will be the result of an enlarged biography, personal fate, introduced by the will of circumstances into an epochal perspective.

In addition, "obscuring the links" between image and fact contributed to the formation of lyrical integrity, so necessary for the poet. In reality, judging by the memoirs, different things happened - the path of Anna Akhmatova intersected in different ways with the paths of a very different men; biographers did not fail to take note of this. And in the verses, traces of the lived and experienced are found - sometimes easily recognizable traces. “However, on the territory of the poetic array, repetitive counterpoints prevail, subordinating private differences in the specifics of descriptions, one way or another reflecting biographical diversity.”

As in the classics, the lyrical story shows the characteristic moments of moving relationships: dates, partings, estrangement from each other, the transition of the event to the power of "love memory". But whatever it may be, the order of actions is not respected, stages at different times on the pages of books both coexist and combine. Already in the first collection, first - poems about past suffering ("It's strange to remember: / the soul yearned, / Choked in death delirium"), then - a step back, to a relatively late phase of continuing intimacy ("Still so recently, strange / You were not gray-haired and sad"), then - like a snapshot of a stopped moment of what is happening now ("Closed hands under a dark veil ..."), and next to it - thoughts about the experience ("Maybe it's better that I did not become / your wife"). And this is repeated many times, many first meetings, many last, and there is no path from the beginning to the end. Adjacent verses are attracted to each other on the basis of semantic similarity (in "Evening": two poems about "I" in a rustic appearance, two - about other persons, "gray-eyed king" and "fisherman"; in "White Flock": two - about escape, three - about the "muse", "song", "pre-song anxiety"). The poet's attention is focused on the essential features of the depicted phenomenon, and therefore it is understood outside of time. At the price of truncations and rearrangements, it would be possible to construct a scheme for the development of love-dislike, but such an operation would lead us far away from the author's intention. "Nevertheless, the concept of a diary or a novel is applicable to Akhmatov's tetralogy, although it is characterized in this way all the time."

By definition, a diary is a “chronologically sequential entry”, and if there are deviations in this entry (for example, reflections on the past, about the future), then they only strengthen the dominance of the accepted rule - by the very fact of their dependence on the main entry. Narrative prose has used the diary form more than once, and not without success: for prose, this form is organic (the best confirmation of this is Lermontov's Pechorin's Journal). But the lyrics are by their very nature hostile to the diary.

Of course, epic, novelistic prose introduces, along with the diary, constructions that are dissimilar to it, and even opposite to it, connected with shifts in the plot, with breaks in plot time. “However, shifts and breaks (if they are not an end in themselves) ultimately lead the reader to an understanding of the logic of the unfolding of events, the chronometry of action. Akhmatov's collections do not pretend to such a perception of them. Therefore, the unspecified parallel between the books of poetry and the "big novel" or the interpretation of the lyrical miniature in terms of the novel's plot (V. Bryusov, V. Gippius), in my opinion, is unreliable, and therefore unacceptable.

“Even in particulars, the lyrical narrative dissociates itself from the epic” 8. The heroes of Akhmatova wander, travel, and the route of their wanderings is definitely marked (St. does not intend. On the contrary, on the pages of the novel, geographical movements are plot significant, marking turns in the fates of the characters. Anna Karenina makes frequent moves (Moscow - Petersburg - Italy - Vozdvizhenskoye), and almost every one of them is a milestone in her biography, a moment of growing, inexorably impending tragedy. Everyone changes something, sometimes quite abruptly, in her relationship with her husband, Vronsky, the high society. And for Pechorin, leaving Russia for Persia meant passing away - as expected, it happened.

“Akhmatova did everything necessary to establish herself on the specific principles of poetry, lyrics, and she is stubbornly pushed towards non-poetic forms and genres, voluntarily or involuntarily putting on an outfit alien to him.” The comprehension of Akhmatov's art is inhibited to one degree or another.

The heroines of Akhmatova seem to be ready to mingle with the crowd, their days and nights are the same as those of many others. love couples, meetings, separations, disagreements, walks - from the category of well-known. At the same time, the confession of the heroine breaks through the shell of everyday life, her feeling is elevated to the circle of concepts of triumph and damnation, temple and dungeon, torture and death, hell and paradise. And this is an upward spiral of lyrics activating its own reserves.

“It seems that the persistence with which the young poet developed his theme contained a certain creative challenge.” In 1920, Akhmatova had a chance to answer the questionnaire "Nekrasov and we." Question: "Was there a period in your life when his poetry was dearer to you than the poetry of Pushkin and Lermontov?" Answer: "No." Question: "How did you feel about Nekrasov in your youth?" Answer: Rather negative.

We would be hasty if we intended to draw far-reaching conclusions from these denials. But if we take into account that N.A. Nekrasov was revered as a model of a "citizen poet" and on this basis, A.S. Pushkin was more than once opposed as a "poet-artist", given the possible presence of this opposition in the subtext of the questionnaire, then it will not be a mistake use Akhmatova's answers when clarifying her author's position.

Another place from the questionnaire. Question: "Do you like Nekrasov's poems?" Answer: "I love" 7. “In the context of the questionnaire, this meant: I love, but not more than Pushkin. Akhmatova, concentrating on the story of feeling, did not in any way set herself the goal of polemically moving away from "civil poetry"; the essence is different - in the rejection of the gradation of lyrical tendencies, in the belief that poems, where she and he and their relationship, can be no less relevant than poems with a social or historical bias. It was this, not directly stated, but practically certified equality of poetic intentions that concealed the moment of challenge. 7.

4.5 Analysis of the poem "And when they cursed each other"

And when they cursed each other

In white-hot passion

We both didn't understand

How small is the earth for two people,

And what a violent memory torments,

Torture of the strong - a fiery disease "-

And in the bottomless night the heart teaches

Ask: oh, where is the departed friend?

And when, through waves of incense,

The choir thunders, rejoicing and threatening,

Look into the soul strictly and stubbornly

The same inevitable eyes.

(1909, collection "Evening")

In this poem, as in many others, we see a subtle truth, dressed in a robe of violent passion, “white-hot” and endless, eternal love. The kind of love and passion that only women can have. Truth, like an unusually bright sunbeam through fog, passes through these feelings, being absorbed by their unstoppable energy, tries to penetrate into our consciousness, and, in the end, due to its incomparable power and swiftness, it nevertheless reaches a little noticeable, but still clear, well-defined light. We do not fully see what is there, behind the covers of her emotions and feelings, but still we capture the image of her worldview.

In the poem, one can trace the sudden upheaval of a love affair unfolding in verse, which arises, develops, is resolved by a fit of passion, and, finally, becomes only the property of memory. Passion flared up, "white-hot", and then "they cursed each other." Akhmatova carefully selects epithets: “furious memory”, “fiery illness”, “in the bottomless night”, “lost friend”, “inevitable eyes”. She compares failed love with a “fiery disease”, it is not without reason that she uses such a bright color scheme: the red, fiery color shows the strength of the feeling, because this feeling is passion. And the disease is a disease that torments the heart of the heroine "bottomless nights". The state of loss, misunderstanding of what is happening to the characters is conveyed by almost physical tangibility, "inevitable eyes" have a strange attractive power, they "look into the soul severely and stubbornly." The oxymoron “the earth is small for two people” shows that this huge feeling of “white-hot passion” is so immense that even the whole world is not enough to “crush” it in oneself and not open one’s heart to it. The lyrical heroine talks about this throughout the poem, and at the end, nevertheless, “the same inevitable eyes look into the soul strictly and stubbornly.” This great love does not leave her, and even "when, through the waves of incense, the choir thunders, rejoicing and threatening", she remains with her. Love in these verses is always a duel, but here it is not the strength that is demonstrated, not the superiority of one of the lovers, but the dignity of a person is truly tested. The outcome of a love story here is always predetermined: the happiness of the shared love of the heroine of Akhmatova's lyrics is not given to experience and this drama finds an explanation not in her individual features - nothing is said from them - it is generated by the life that opens here, the essence of which in the early Akhmatova is love. “Speaking of love, Akhmatova talked about what, in her opinion, is the value of human existence” 1. Human destiny has become an artistic device.

A. Akhmatova is trying to convey to us how difficult it really is to truly loving friend friend to people to live apart, having quarreled in a passionate outburst, realizing that between them there is only a space that is easy to overcome for people with such a strong feeling. "Both of us did not yet understand how small the earth is for two people." For real a loving person opens the door in his heart for the beloved, the door where there are only the two of them. And this place can no longer be occupied.

“Strictly stubbornly the same inevitable eyes look into the soul.” “Inevitable eyes” - in one phrase she put everything that is dear to her in this person, everything that she loves; here is the man himself. Here everything is the eyes - the "mirror of the soul", its symbol, personification in the material world. The world in which this great poetess lives.

Already after the appearance of the first book by Akhmatova, V. Bryusov noted that "it is like a novel, the heroine of which is a woman." 2

Usually her poems are the beginning of a drama or its climax. The highest "torment of the living soul" 7pays her lyrical heroine for love. The combination of lyricism and epic (dramatic) brings A. Akhmatova's poems closer to the genres of the novel, short story, drama, lyrical diary. One of the secrets of her poetic gift lies in the ability to fully express the most intimate and wonderfully simple in herself and the world around her: “The same inevitable eyes look into the soul strictly and stubbornly.”

.6 Analysis of the poem "The Song of the Last Meeting"

So helplessly my chest went cold,

But my steps were light.

I put on my right hand

Left hand glove.

It seemed that many steps

And I knew there were only three of them!

Autumn whisper between the maples

He asked: “Die with me!

I'm deceived by my despondent,

Changeable, evil fate.

I said, "Darling, dear

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

This is the song of the last meeting.

I looked at the dark house.

Candles burned in the bedroom

Indifferent yellow fire.

(1911, collection "Evening")

Akhmatov's lyrics of love are, first of all, the lyrics of a break, of a lost feeling. Therefore, the mood of sadness becomes the dominant mood of such poems. A vivid example of all of the above can be A. Akhmatova's poem "The Song of the Last Meeting", written in 1911, referring to Akhmatova's early lyrics, included in her first poetry collection "Evening" (1911).

The drama of the theme is already felt in the very title of the poem: the meeting is not just any, but the “last”. The plot of the poetic narrative is the movement of thought and feeling lyrical heroine, the character of which is already evident from the first lines of the poem. Using the technique of contrast, the poetess thereby emphasizes the pride of the nature of the heroine, who does not want to reveal her feelings:

"So helplessly my chest grew cold / But my steps were light."

The state of mind in Akhmatova's poems was not told - it was reproduced as being experienced now, albeit experienced by memory. It was realized precisely, subtly, and every detail is important here - even the most insignificant detail, which allows you to catch the overflows of spiritual movement, which could not be directly mentioned. These details, the details were sometimes defiantly noticeable in the verses, saying more about what was happening in the heart of their heroine than lengthy descriptions could say. An example of such a striking psychological saturation of a verse, the capacity of a verse word can be the lines:

“So helplessly my chest grew cold, / But my steps were light. // I put on a glove on my right hand from my left hand.

Like no one else, Akhmatova was able to reveal the most hidden depths of a person’s inner world, his experiences, states, moods. Amazing psychological persuasiveness is achieved by using a very capacious and concise technique of an eloquent detail (a glove, a ring, steps, candles, etc.).

The presence of epithets helps to create a mood, to determine the state of the heroine: “easy steps”, “autumn whisper”, “dull ... changeable, evil fate”, “song of the last meeting”, “dark house”, “indifferent yellow fire”.

Akhmatova skillfully uses color, metaphor, comparisons. A candle burns, but with an "indifferent yellow fire." Yellow is the color of separation. Such a detail as candles helps to guess that the lyrical heroine has eternal separation from her beloved ahead. The lyrical heroine, oppressed by pain, finds understanding in the autumn whisper that rang out between the maple trees, which, like her, “is deceived by an evil fate.” The use of this personification helps to express the feelings of the heroine. Appeal: “Darling, dear, and me too. I will die with you ... ”shows the state of despair and doom of the heroine Akhmatova.

Detached from the real world, as she descended the familiar three steps, it seemed to her that there were "many" of them. And in this opposition of the “seeming” and the real, one can clearly feel the discord between the soul of the heroine and her consciousness: “It seemed that there were many steps, / But I knew there were only three of them!” Her heart, apparently, is still with the one whom she has already mentally crossed out of her life: it is no coincidence that the lyrical heroine will not say a word about “him”.

The mental state of the heroine is consonant with the "animate" nature: "Autumn whisper between the maples." Thus, in the poem, the motive of separation is intertwined with the motive of death, merciless fate. The heroine, from the fact that she is not the only victim of a "changeable, evil fate", for a moment seems to feel better, and she tenderly says: "Darling, dear!" The use of sound writing (“autumn whisper between the maples”), the alliteration of the hissing sounds “u”, “sh”, “h” only intensifies the state of sadness, the “whisper” is perceived by the lyrical heroine as “the song of the last meeting”. And the “dark house”, on which she casts a farewell glance, seems to us a dumb witness to the departed love. The candles burning in the bedroom do not dispel this darkness, because now they are burning with an “indifferent yellow” fire, the yellow color of separation crowns this short lyrical confession.

The mood of hopeless, oppressive sadness is created primarily at the lexical level with the help of adjectives: “autumn whisper”, “die”, “dull ... evil fate”, “last meeting”, “dark house”, “indifferent yellow fire”. At the phonetic level, throughout the entire text of the poetic narrative, an assonant sound “y” is heard, which intensifies the sensations of despondency and sadness. The motive of loss is also emphasized by the fact that in the poem all verbs are used exclusively in the past tense: “the chest grew cold”, “clothed”, “the steps were light”, “asked for a whisper”, “I answered”, “looked”.

In the words of Pushkin, the "charm of naked simplicity" is inherent 2. This simplicity of Akhmatov's speech, together with the sincerity of intonation, created through the frequent use of the pronoun "I", makes the poem especially close and understandable. The rhythmic failure in the last line of the first stanza (“Per / chat / ku / from the left / oh ru / ki”), I think, is far from accidental: it emphasizes the spiritual confusion of the lyrical heroine.

Thus, the poem by A. Akhmatova, addressed to a seemingly quite traditional topic, is very original, because, describing only the path of the heroine, who said goodbye to her love and leaves home, with which her very recent happy life is connected, the poetess told us about the full drama of the female fate.

The lyrical heroine remembered to the smallest detail the path that took her farther and farther away from what is called female happiness. familiar to many life situation under the pen of a still young master, words become a lyrical masterpiece.

4.7 Analysis of the poem "She squeezed her hands"

She clasped her hands under a dark veil...

"Why are you pale today?"

Because I am tart sadness

Got him drunk.

How can I forget? He walked out, staggering

Mouth twisted painfully...

I ran away without touching the railing

I followed him to the gate.

Breathless, I shouted: "Joke

All that has gone before. If you leave, I'll die."

Smiled calmly and creepily

And he said to me, "Don't stand in the wind."

(1911, collection "Evening")

The lyrics of Akhmatova during the period of her first books are almost exclusively love. Quite often Akhmatova's miniatures were not completed and looked not so much like a small novel as like a torn page that forced them to think about what had happened to the characters before. Love in Akhmatova almost never appears in a calm stay. This is necessarily a crisis: the first meeting or a break: “She clenched her hands under a dark veil ... // Why are you pale today. //From the fact that I'm tart sadness//Did him drunk." The poetess uses a hidden comparison “she made him drunk with tart sadness” (sadness, like wine) in order to convey the despair of the lyrical heroine, remorse for her guilt for a quarrel with her beloved. Epithets not only help to create a psychological background, they paint in those colors that are consonant with the mood of the characters: “under a dark veil”, “you ... are pale”, “astringent sadness ...”, Akhmatova uses contrasting tones of color painting in this poem (almost white and black ). Verbs denoting actions help to understand the state of mind: “she squeezed her hands”, “I ran away”, “ran”, “shouted”. Two loving people part "how can I forget?" “He came out, staggering, his mouth twisted painfully ...” The first two stanzas describe the state of the heroes, and this is the end - the heroine is in despair If you leave, I will die…” And in contrast, the image of the response: “He smiled calmly and creepily, and told me: “Don’t stand in the wind.”

This poem, which is truly a masterpiece of Akhmatova's work, evokes a complex range of feelings, and one wants to read it again and again. In the artistic system of Anna Akhmatova, a skillfully chosen detail, a sign of the external environment, is always filled with great psychological content: “She clenched her hands under a dark veil ...”. Through the external behavior of a person, his gesture Akhmatov reveals the state of mind of his hero.

One of brightest examples is this little poem. Here we are talking about a quarrel between lovers. Through the fault of the heroine, they part, and she bitterly realizes that she herself became the cause of her unfulfilled love. The poem is made up of a dialogue, but since the event described in it happened the day before, the dialogue is, as it were, between the lyrical heroine Akhmatova and her conscience, the second “I”, and the author is a witness to these sad events.

The poem is divided into two unequal parts. The first part (the first stanza) is a dramatic beginning, putting into action (question: “Why are you pale today?”). Everything that follows is an answer, in the form of a passionate, ever-accelerating story, which, having reached its highest point ("You will leave, I will die"), is abruptly interrupted by an offensively prosaic remark: "Do not stand in the wind." The confused state of the heroes of this little drama is conveyed not by a lengthy explanation, but by expressive particulars of their behavior: “went out, staggering”, “mouth crooked”, “ran away without touching the railing” (transmits the speed of a desperate run), “shouted, gasping”, “smiled calm" and so on. It is full of movement, in it events continuously follow one after another. The dramatic nature of the provisions is succinctly and precisely expressed in contrasting the hot impulse of the soul with a deliberately everyday, insultingly calm answer.

It would probably take a whole page to depict all this in prose. And the poet managed with only twelve lines, conveying in them the whole depth of the characters' experience. We note in passing: the power of poetry is brevity, the greatest economy means of expression. To say a lot about a little is one of the precepts of true art. And Akhmatova learned this from our classics, first of all from A.S. Pushkin, F.I. Tyutchev, as well as from her contemporary, fellow countryman from Tsarskoye Selo Innokenty Annensky, a great master of natural speech information and aphoristic verse.

.8 Analysis of the poem “Today they didn’t bring me letters ...”

Today I didn't receive a letter.

He forgot to write or left;

Spring is like a trill of silver laughter,

Ships are rocking in the bay.

I didn't receive any mail today...

He was with me until recently.

So in love, affectionate and mine,

But it was a white winter

Now it's spring, and the sadness of spring is poisonous,

He was with me until recently...

I hear: a light quivering bow,

Like from a death pain, it beats, it beats,

And I'm scared that my heart will break

I won't finish these tender lines...

(1911, collection "Evening")

A. Akhmatova burst into literature along with the new century, declaring herself "loudly." She changed the concept of love poetry, making personal confession a national treasure. Akhmatova created from fragments of intimate experiences the "rosary" of a lifetime. These are short stories that show real feelings, so they still excite readers. Akhmatova is the master of the first line, which is the hallmark of the poem; it is not for nothing that most of her works are named after the first line. “Today they didn’t bring me letters ...” is no exception. It contains love and separation, happiness and pain. The very beginning, and immediately some kind of doom and at the same time hope: after all, the letters were not brought today, but tomorrow ... Maybe.

“He was with me quite recently, / / ​​So in love, affectionate and mine ...”

He was loved, and now he is loved, because “as from a death pain, it beats, it beats” the bow of the heart, and everything nearby loses its meaning, because: “Today they didn’t bring me a letter ...”

Most an important trick in this poem is a parallelism: nature contrasts with the emotional experiences of the heroine. Everything is calm around:

"Spring is like a trill of silver laughter, / / ​​Ships are rocking in the bay."

And for the heroine "... the sadness of spring is poisonous", "... it's scary that the heart will burst ...". “White winter” is closer to her, because then he was “in love, affectionate and mine.” There, in the "white winter", there was happiness, not overshadowed by the "death pain" from an unwritten letter.

Interesting composition of the poem. In three stanzas - present, past and future. In the past - the happiness of love, which was "quite recently." Today the heroine is bleak, because there is no letter:

"He forgot to write or left ..."

Even more sad is the future, in which it is possible:

"... my heart will break,// I won't finish these tender lines..."

There are almost no expressive means in the poem. Only a few epithets characterize the beloved ("in love, affectionate"), a few more - a poetic gift, compared with a "light, quivering bow." The image of spring is revealed by Akhmatova with the help of an amazing comparison and personification “like a trill of silver laughter”, “sadness of spring”, not accidentally opposed to each other, because the spring joy of nature does not correspond to the spiritual tragedy of the heroine who remained in the “white winter”.

A. Akhmatova's expressive means resemble strokes of paint with which the artist completes the picture. No wonder love is associated with the image of "white winter", that is, pure, bright, and separation with "death pain". Nothing superfluous, almost prosaic asceticism, but the simplicity of presentation does not deprive the poem of deep psychologism, but rather exposes feelings of anguish and pain.

One moment is described in this poem, but it contains life and love. Akhmatova knows how to "pick up the imperceptible signs of the corresponding moment", she notices everything so that "her inner world is not just framed by the outer one, they come together." A light gesture, movement, one or another sign of weight better describe her soul and penetrate into our souls.

4.9 Analysis of the poem “Twenty-first. Night. Monday"

The outline of the capital in the mist.

Written by some idiot

What is love on earth.

And from laziness or boredom

Everyone believed, so they live:

Waiting for a date, afraid of separation

And love songs are sung.

But the secret is revealed to others,

And silence rests on them...

I stumbled upon this by accident

And since then, she's been sick.

(1917, collection "The White Pack")

The poem "Twenty-first. Night. Monday" was included in the collection "The White Flock" (1917). It is not like other works of the poetess, in which joy and tragedy, storms and deserts of love are intertwined: “Some kind of idler wrote, // What is love on earth.”

What's the matter? Why such a drastic change? It seems that the history of the creation of the work will help answer these questions. The poem was written in 1917, one of the most difficult periods in the life of the country and each person individually. Uncertainty was not only in the economy, politics, but also in souls. Therefore, the main poetic feeling of A.A. Akhmatova of those years - a feeling of an impending catastrophe, "the end of the world." I will add to this the search for a new meaning of life, and immediately everything becomes clear. Reading this poem, one cannot but feel that the motive of instability passes through him too rigorously and abruptly, and that, consequently, the very life that surrounds a person is unstable.

This poem is small in volume, only twelve lines, but it contains the whole life, full of grief and suffering, which led to the denial of love. Here (however, as in many of her poems) we see only the end of the drama. In our opinion, this work is a reflection of a real life story that was tragic. After all, in the final analysis, lyrics are, first of all, a biography.

The composition of the poem is somewhat unusual, it serves to reveal the main thought, idea. The first eight lines are a denial of love, and suddenly at the end there is a contradiction, as if the mask has been removed:

"But the secret is revealed to others..."

There is it, this great secret, this sweet pain, in which the heroine does not even admit to herself. Her name is love.

The lyrical heroine of Akhmatova, through the denial of love, appears exactly like many who “Waiting for dates, afraid of separation // And they sing love songs.”

Syntax is important in this poem for creating a picture. First, nominal sentences, like sketches for a large canvas:

Twenty first. Night. Monday.

The outlines of the capital in the mist.

Almost a specific time, almost a specific place. Dry and restrained.

Then a kaleidoscope created by homogeneous predicates “wait”, “afraid”, “sing” - reveals the complexity of feeling: from denial to affirmation. The tone also changes. Despite the change in mood in the poem, it is devoid of vanity. In it, as in most of Akhmatov's works, there is a minimum of expressive means. The personification "... silence rests on them ...", the antithesis "They are waiting for dates, they are afraid of separation ...", the variegated vocabulary "loafer" (low), "rest" (high) only complete the picture sketched at the beginning. It seems to me that the poem “Twenty-first. Night. Monday" looks like a cursory entry in a diary, or even part of a page from it, which has neither beginning nor end. Probably A.A. Akhmatova tried in this way to give the reader the opportunity to think out for himself what happened to the heroine. And, perhaps, looking at someone else's tragedy will help many people avoid their own.

5. Late lyrics

Akhmatova lyrics poetry love

In late lyrics, unlike early ones, poems about the intimate and personal are no longer dominant, but a sector of poetic narration, and their number is significantly reduced (does not reach fifty, this is about a fourth of what was written). The thematic alignment of the last two collections ("Reed" 1923-1940 and "The Seventh Book" 1945-1946) has changed significantly. And now a direct reaction to what is happening in the country and the world is combined with the comprehension of personal fate as a socially, epochally significant fate; accordingly, the image of the lyrical "I" is reconstructed. The continuation of the story about the fates of "her" and "him" is no exception - they reflect thematically different confessions and reflections.

The difference between late poetry and early poetry is that an act of exaltation takes place - overcoming the semantic deficit of the first books. “And evolution here is not the elimination of a flaw, but a modification of the author's task; the poet writes differently because he needs it, not because he wants to correct himself. The development of an intimate-personal theme is sufficient confirmation of this. 8.

Through all the verses of the last thirty years, the thought of returning in time, far back, passes in a frequent dotted line: “No despair, no shame//Neither now, nor later, nor then”; 'now' strongly refers to 'before'. "But the continuation of a long-standing conversation-dialogue is not a simple extension of it, the conversation unfolds in a special way, combining the resurrection of the past - the removal from it - the reassessment of the former and the non-former."

Previously, "love memory" was intertwined with scenes of dates, love intruded into the current one, then moved away into the domain of memories. Now only the memory remains, the feeling is now not experienced, but speculatively restored - with the same tension, with the sharpness with which it was previously experienced.

“Invariably and irreparably, “I” and “you” are disconnected, they communicate only through the channel of memory - “her” memory, and at the same time, the intimization of communication increases. The heroine revives in her imagination, in her inner vision, such details of the past, such moments of meeting-non-meetings that are known only to their participants, and for the rest, remain a mystery. And since the image of the past gravitates toward generalization, intimization captures the deep layers of lyrical revelation.

“Akhmatov's poetry always carried a bewitching “secret”; in early lyrics, this was primarily expressed by an “incomprehensible connection” between feeling, experience and its natural, eternal environment” 5. Late lyrics introduce an intriguing "incomprehensibility" into the content of "love memory".

The first poem from the Cinque cycle (1945-1946) ends with this couplet: “And the door that you opened a little / I don’t have enough strength to slam it shut.” The finale contains some essential - for understanding the whole - hint, but it remains unclear. In the early poems, the meaning of what was and what was not - in the relationship between "I" and "you" - is relatively clear, rare ambiguities complicate, but do not shake the overall impression. "In the late lyrics, the event outline is clouded, the proportion of the hidden statement increases."

The roll call of “I” and “you” seems to overcome the barrier of non-existence, voices sound either on earth or in cosmic infinity (“I don’t meet you in the world”, “So, cut off from the earth, / We are high, like stars, walked"). And he is for her, and she is for him - either a living face, or a shadow, a ghost (“For some reason, I save your shadow”). Everything is mixed up in the last lyrical confession: life is like a dream, a dream has the authenticity of a fact, the “irreparable words” of an imaginary conversation “tremble” as if they had just been said in reality.

“With a firm hand, through lines of a common plan are drawn: the tragic power of memory, painfully reviving the past, transferring it to the present, with its good and evil, with the bitterness of separation and the pain of betrayal.”

“The heroine of later poems often speaks not on her own behalf, but on behalf of her generation, condemned to follow the “terrible path”. "I" and "you" as characters, as images were previously correlative, now for us they are not the same. If “you” does not lose the function of conditional generalization even beyond the line of intimate lyrics, then “I” approaches the author as a person, Akhmatov’s features are distinguishable in the guise of the heroine - the features of her biography, her social position, the hardships that befell her.

At seventy, Anna Akhmatova speaks about love with such energy, with such unspent spiritual strength that it seems as if she is victoriously emerging from her time into eternity. “Akhmatova revealed the philosophical essence of late love, when something that is greater than the person himself comes into play - the Spirit, the Soul. She revealed the unique coincidence of two personalities who cannot connect. And this, as in a mirror, is reflected in her poetry.

.1 Cinque cycle analysis

Like a cloud on the edge

I remember your speech

And to you from my speech

The nights are brighter than the days.

So cut off from the earth

We went high like stars.

No despair, no shame

Not now, not later, not then.

But alive and awake

Do you hear me calling you.

And the door that you opened

I don't have the strength to shut up.

2. Sounds decay in the ether,

And the dawn turned into darkness.

In a forever numb world

And under the wind of invisible Ladoga,

In the light shine of cross rainbows

The conversation of the night turned.

I haven't loved since the old days

To pity me

And with a drop of your pity

I walk like with the sun in my body.

That's why the dawn is around.

I go, doing miracles,

That's why!

You know yourself that I will not praise

Our meeting is the bitterest day.

What do you leave as a keepsake?

my shadow? What do you want a shadow for?

Dedication to the burnt drama

From which there is no ashes,

Or suddenly out of the frame

New Year's scary portrait?

Or barely audible

The ringing of birch embers,

Or what I did not have time

Tell about someone else's love?

We did not breathe sleepy poppies,

And we do not know our fault.

Are we born on our own mountain?

And what a hell of a brew

Did the January darkness bring us?

And what an invisible glow

Did it drive us crazy?

Difficult to overcome innuendo is one of the characteristic features of A. Akhmatova's late work. It is also present in the works of the Cinque cycle. It opens with an epigraph, which is taken as the final lines of Baudelaire's poem "The Martyr" ("How faithful you are to him, he will be faithful to you / / And he will not change to the end" - Akhmatova's translation). A martyr is a young woman killed by her lover in a fit of monstrous passion. The situation reproduced in "Cinque" is mirrored in relation to Baudelaire's poem: the "martyr" is alive, her friend is dead. All poems of the cycle are addressed to an absent person, and irreparably - he is not in the world of the living:

But alive and awake

Do you hear me calling you.

And this man, of course, is a poet (Like a cloud on the edge, / / ​​I remember your speech ...). Using the comparison “like a cloud”, the poetess expresses her feelings when she hears “his speech”, spiritualized sublime. Both of them - poets - "torn off from the earth / / high, like stars, they walked." She compares them creative way with the height of the stars, and for their work they never felt shame or despair. Gradation (Neither despair, nor shame//Neither now, nor later, nor then) testify to the significant temporal length of the author's relationship with his hero.

Using the epithet “in a numb world” (poem 2), the author singles out “only two voices: yours and mine” - his creative path and his interlocutor, and again we trace the mention of the fact that this person (interlocutor) is a poet.

The epithet "cross rainbows" is a poetic image based on the fact that the interlocutors are at two different points in space, and they are separated by a huge, not only earthly distance:

And under the wind from the invisible Ladoga,

Through almost the ringing of bells,

In the light glitter of cross rainbows

The conversation of the night has been turned.

Therefore, the epigraph to "Cinque" must be taken as an acknowledgment of the author's loyalty to her dead friend and as an expression of confidence that at the time of death her tortured friend remained faithful to her. In addition, the fifth poem of the cycle affirms the commonality of their destinies, the commonality of perception of the era that they have experienced:

We did not breathe sleepy poppies,

And we do not know our fault.

Under what star signs

Are we born on our own mountain?

When considering the poem (4), one cannot but turn to poetic passages from the "burnt drama" (the play "Prologue"), to which there is a direct reference in the text of the poem. And in these passages, again, as in the epigraph to the cycle, the theme of the death of a friend comes through very clearly:

Through the afterlife ghostly dawn...

To display the day of their meeting, the author uses the epithet "the bitterest", this explains the gloomy mood in the poem. Akhmatova is sad because of the eternal separation from her unknown friend, to whom she does not want to leave even a shadow as a keepsake: “What do you need a shadow for?” In the poem, as in the whole cycle, there are a lot of rhetorical questions. Lifting the veil of mystery of her interlocutor, Akhmatova does not indicate a specific person, she talks with him, recalls their meetings, the time in which they lived and worked together.

In the verses, only traces of some of the poetess's friends are guessed. Who was actually the hero of these works, are all these works addressed to one person? These questions remain open.

It is not known who the hero of the cycle is, but the poems breathe such genuine tragedy and sorrow that the entire cycle is perceived as a miraculous monument to this person: “But alive and in reality, / / ​​You hear me calling you.”

It can be concluded that all the poems of the cycle are turned into the distant past, in the young years of the author. Love in "Cinque" and in "Prologue" is love for a friend who is infinitely dear and who could not confess this love while he was alive, under any circumstances.

All subsequent years (decades) Akhmatova continued to be powerfully disturbed by memories and thoughts about what she had experienced, and these were memories of such sharpness and strength that even many years after what had happened, they continued to bring to life all new works about "immortal love".

.2 Prototypes of lyrical heroes

In the collection "The Run of Time" the first two poems were published with an epigraph from Mandelstam: "I'll get drunk with oblique water for you." Is there a special meaning in quoting Mandelstam's line, does not the reflection of this name fall on all the poems of the Cinque cycle?

Is it necessary in this case to seek to disclose the author's secret?

Perhaps this should not have been done if it were not for one circumstance: this secret contains an important meaningful function. We are not indifferent to who is the hero of the Cinque cycle - the poems breathe such genuine tragedy and sorrow that the entire cycle is perceived as a miraculous monument to this person.

Love in "Cinque" is love for a friend who is infinitely dear and who could not confess this love while he was alive, under any circumstances.

From whether the poems of the collection are addressed to O.E. Mandelstam or, say, to I. Berlin, the entire poetic context of this cycle changes irreversibly. The very content of these verses is permeated with the personality of the addressee. And therefore, to establish the name of the person to whom they are addressed means to gain the opportunity to fully read them, the opportunity to read them the way they sounded to Akhmatova. Our assumption is that the addressee of the "Cinque" cycle is O.E. Mandelstam, who, as is known, had a high and sincere friendship with Akhmatova, tested for loyalty by many extraordinary life circumstances.

As another confirmation of this point of view, we cite Akhmatova's poem dedicated to Mandelstam in 1957. It is very consonant with the poems of the cycle we have considered, in particular the fifth poem "Cinque":

I will bend over them like over a bowl,

There are countless treasured notes in them -

Of our bloodied youth

This is black tender news.

The same air, the same over the abyss

I once breathed in the night

In that night, both empty and iron,

Oh, how spicy is the breath of a clove,

I once dreamed there -

It's the Eurydice whirling

The bull carries Europe on the waves.

These are our shadows rushing by

Over the Neva, over the Neva, over the Neva.

It splashes the Neva on the steps,

This is your ticket to immortality.

The same three-foot anapaest, the same tragic sound of the verse, the same confidential tone when referring to the innermost interlocutor. Instead of "we" ("we do not know our fault") - "ours" ("our shadows rush by"); instead of "we did not breathe sleepy poppies" - "oh, how spicy the breath of cloves"; "Our bloodied youth" corresponds to "under what star signs we were born on our own mountain."

Recently, two publications have appeared dedicated to Akhmatova, which also touch upon the poems of the "Cinque" cycle.

So, A. G. Naiman in "Stories about Anna Akhmatova" 13it is reported that her meeting in 1945 with the famous English philologist I. Berlin "rearranged and clarified - just as it happened after the clash of the gods on Olympus - her poetic universe and set in motion new creative forces. Cycles of poems "Cinque", " The wild rose blooms", the 3rd initiation of the "Poem without a Hero", the appearance in it of a Guest from the future (directly) and the turn of some other poems, some of their lines (implicitly) are connected with this autumn meeting that lasted all night and another one, at Christmas, short farewell..."

In a less categorical form, I. Berlin points to these same works in his memoirs “Meetings with Russian writers in 1945 and 1956”: “References and allusions to our meetings are found not only in Cinque, but also in other poems” 10. Further, in the memoirs of I. Berlin, we also talk about the 3rd initiation of the "Poem without a Hero" and the theme of the Guest from the future in it.

The epigraph to "Cinque" should be taken as an acknowledgment of the author's loyalty to her dead friend and as an expression of confidence that at the moment of death her tortured friend remained faithful to her.

Can, in this case, this cycle of poems be addressed to I. Berlin?

The situation is the same with the 3rd initiation of the "Poem without a Hero": some of its places cannot be explained with the help of the Nyman-Berlin version and contradict it.

There is no doubt that in Akhmatova's poems of the 40-60s, dates are given according to Gregorian calendar. For example, under the poem "Listening to singing" she put down: "December 19, 1961 (Nikola Zimny)" 10. And only in the 3rd initiation the date is indicated by herself according to the old style. Of course, this is not an accident or a typo.

In this regard, we note that the second meeting of I. Berlin with Akhmatova ("farewell, short") 10took place, according to his testimony, on January 5, that is, around Christmas. This is how A. G. Naiman writes about it.

So the lines of dedication:

He came to me at the Fountain Palace

Late at night foggy

New Year's drink wine.

And remember the Epiphany evening,

Maple in the window, wedding candles

And the death flight poems... -

cannot refer to I. Berlin: he did not come to the fountain house on the eve of Epiphany (January 18), but came on January 5 (on the eve of Christmas), and, judging by his memoirs, he listened to the reading of the poem, “not in this parish, but in first, autumn.

Considering critically some of the provisions contained in the memoirs of A. G. Naiman and I. Berlin, we by no means deny the importance of the very meeting of Akhmatova with I. Berlin in the context of her work. The words that this meeting "rearranged her poetic universe" 10(A. G. Naiman), of course, are an exaggeration, but one cannot but agree with the fact that this meeting served as a powerful creative impulse for Akhmatova. One should not just approach the process of creative mediation of this meeting in the works of Akhmatova too simplistic.

The meeting with I. Berlin, apparently for some reason, raised powerful layers of memories from the depths of the poet's subconscious, highlighting long-standing biographical details with unusual sharpness.

This our assumption is confirmed in a certain way by the following places from the memoirs of I. Berlin:

) “Then she read her poems from the collections Anno Domini, The White Flock, From Six Books. "Poems like these, but much better, caused the death of the most beautiful poet of our time, whom I loved and who loved me ... - tears did not give her the opportunity to continue."

) “I asked about Mandelstam. She did not answer, her eyes were full of tears. Then she asked me not to talk about him. “After he hit Alexei Tolstoy in the face, it was all over ...” A few minutes later she succeeded master yourself..."

It seems that in the first of the quoted passages, it was also about Mandelstam, but I. Berlin could not know this. As follows from the second passage, a direct question about the fate of Mandelstam disturbed Akhmatova's peace of mind, she did not have the strength to talk about it again.

Thus, the publication of the memoirs of A. G. Naiman and I. Berlin not only does not refute our assumption that the addressee of the cycle "Cinque" is Mandelstam, but to a certain extent confirm this assumption.

Conclusion

After spending research work to study the creative heritage of A.A. Akhmatova in terms of depicting love feelings in it in the early (1912-1922) and late (1936-1966) periods, we solved the following tasks:

§ The reasons for the popularity of Akhmatova's legacy were identified, which are that her love lyrics reflected an era that had a wider meaning than her own fate; it was Anna Akhmatova who managed to reveal the depth of the female inner world;

§ They revealed the traditions of contemporaries in the work of Anna Andreevna, which was influenced by the work of A.S. Pushkin;

§ Made comparative analysis images of the theme of love in the early and late periods of Akhmatova's work:

o An analysis of five poems relating to the early period (“Song of the Last Meeting” (1911, collection “Evening”), “And When They Cursed Each Other” (1909, collection “Evening”), “Squeezed Hands” (1911, collection “Evening” ), "Twenty-first. Night. Monday" (1917, collection "White Flock"), "Today they did not bring me a letter" (1911, collection "Evening");

o Analysis of the cycle "Cinque" (1945-1946, collection "The Seventh Book"), relating to the late period;

“If you arrange Akhmatova’s love poems in a certain order, you can build a whole story with many mise-en-scenes, ups and downs, characters, random and non-random incidents” 6. Meetings and partings, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, selflessness, pride, sadness - in what facets and kinks we do not see love on the pages of Akhmatov's books.

In the lyrical heroine of Akhmatova's poems, in the soul of the poetess herself, a burning, demanding dream of a truly lofty love, not distorted by anything, constantly lived. “Akhmatova’s love is a formidable, imperious, morally pure, all-consuming feeling, which makes us remember the biblical line: “Love is strong as death - and its arrows are arrows of fire”

School students can use the material to prepare for lessons on the work of A.A. Akhmatova.

Bibliography

1.Akhmatova A.A., Works in 2 volumes, v. 2, M., "Enlightenment", 1986

.Bryusov V.Ya., "Among the verses." 1894-1924, M., " Fiction", 1990

3.Gumilyov N.S., "Letters on Russian Poetry", M., "Fiction", 1990

4.Gippius V.V., Anna Akhmatova. M., "Literary studies", 1989

.Gurvich IN, Artistic discovery in Akhmatova's lyrics. - "Questions of Literature", M., "Fiction", 1995, no. III.

.Musatov V.E. "Akhmatov Readings", M., "Enlightenment", 1992

.Nedobrovo N.V., "Anna Akhmatova". Pb., "Russian Thought", 1915

.Pavlovsky A.I., "Essay on creativity" Then we did not know this yet ... ", Pb.," Literary Russia ", 1964

.Simchenko O.V., “The theme of memory in the work of Anna Akhmatova”, M., “Proceedings of the Academy of Sciences of the USSR. Literature and Language Series, 1985

.Chukovskaya L.K., "Notes on Anna Akhmatova", M., "Fiction", 1989

.Eikhenbaum B.M., “Anna Akhmatova. The experience of analysis”, Pb., “Literary Russia”, 1923

12.Maria Rose Satin s "Shipovnik tsvetet". - "A study of creative method", 1977, Univ. of Pennsylvania.

.Susan Amert, In a Shattered Mirror. The later poetry of Anna Akhmatova, Stanford, 1992

The poetry of Anna Akhmatova is peculiar. The theme of love occupies a central place in her work. But, this love is expressed not only in manifestations of feelings for a man. In Akhmatova's poems, these are both maternal feelings and love for Russia, expressed in deep feelings.

The time in which Akhmatova lived was not easy for Russia. And a difficult fate befell the poetess. All this is reflected in her poems.

Works devoted to love themes, Anna never wrote with the idea of ​​their serene course. Her poems are always a surge of feelings, whether it is love or parting. They always appear in their very apogee, or else this is the beginning of a tragedy.

Akhmatova's early poems are perceived as a diary, the entries in which are presented in poetic form. Creative muse and simple earthly love are in them an endless struggle.

The poetess shows great interest in the spiritual world of man. Her poems are frank and sincere. Poetic language is strict, concise and, at the same time, capacious.

Drawing pictures of the simple human happiness and sorrows, Anna combined classics and innovation in her lines. And the manifestations of love feelings are so strong that they make the whole world around us freeze.

A difficult time for the country and the people always leaves its mark on the work of writers and poets. So Akhmatova writes about it. In "Prayer" she requests that this cloud pass over Russia faster. Anna devotes a whole cycle of poems to besieged Leningrad. Folk tragedy is reflected in her work. She is part of this people, part of the country and suffers the same way.

The personal tragedies of the poetess also find their expression in the works. Many of her close people suffered a sad fate. In one of the poems, Akhmatova writes that she called death to the dear ones. Awareness of the coming fate makes her consider herself the cause of the ill-fated fate of loved ones. In another poem, she bitterly writes lines about the need to part with her loved one. After all, otherwise, as Anna writes, he will not be alive. These lines show both bitterness, and hopelessness, and subordination to fate.

The strongest of all is maternal love and, most terrible of all, maternal grief. Before this misfortune, even mountains bend, as Akhmatova writes in Requiem. Her only son spent more than 10 years in prison. This lyric is dedicated to him. And the beginning was given to him by a meeting with one woman in a prison queue with a poetess. The conversation that arose between them prompted Anna to describe her mother's grief.

The "Requiem" shows all the pain and tension in which a woman is in anticipation of what will become of her child. Experience, despair, uncertainty of the future - all this makes the mother's heart suffer and ache. And the meeting described in the dedication emphasizes the fact that there were a lot of such unfortunate mothers in the country at that time, that this grief is nationwide.

In the lyrics of Akhmatova, both love and suffering, both national and personal, are all there. All this is conveyed to her with great depth and conciseness in a simple and, at the same time, comprehensive language.

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The creative path of Anna Akhmatova began in 1912 with the collection "Evening", and the vast majority of early poems were devoted to love. But in this eternal, repeatedly beaten theme, the poetess " silver age' proved to be an innovator. Almost every work of hers is a novel in miniature. The poetess seems to pull out a small episode from the whole story, shows love in a state of crisis, and the feeling becomes extremely acute.

Akhmatova's poems about love are most often poems about a gap.

They contain tense silence, and a cry of pain, and the anguish of a broken heart, and the feelings of an abandoned woman. However, in her poems there is no weakness and brokenness, on the contrary, the lyrical heroine shows incredible fortitude. She is both feminine and masculine at the same time.

This deep and complex image requires great skill from the poet. But Akhmatova seems to handle it easily. In just a few short quatrains, she manages to convey the psychologism of the lyrical heroine in great detail. And the main means of creating the character's image are things. Little things, such as, for example, a glove put on the other hand, green copper on the washstand, a forgotten whip, the reader remembers immediately and for a long time.

Description of items shows the internal state lyrical hero, therefore, not a single thing in Akhmatova’s poems is accidental: “So helplessly my chest grew cold, // But my steps were light.// I put on my right hand// The glove from my left hand.” This is an excerpt from their poem "The Song of the Last Meeting", but how surprisingly this imagery manifests itself here. poetic speech Akhmatova. The author seems to say one word, and the reader himself finishes the phrase. The heroine put the glove on the wrong hand, and this gesture showed confusion, helplessness, detachment of the unfortunate woman from the outside world. All this is difficult to convey in ordinary words, it only needs to be imagined and felt.

Love in Akhmatova's lyrics never appears in its calm state. Very often, along with despair, pain, hopelessness, thoughts of death wake up in the lyrical heroine. Then Akhmatova conveys the inner state of her character through the landscape. In the same “Song of the Last Meeting”, the lyrical heroine feels unity with nature, she sees a kindred spirit in the “autumn whisper”. The wind quietly whispers: “I will be deceived by my dull, // Changeable, evil fate ...”, and she replies understandingly: “Dear, dear, - and I too. I'll die with you!" The death of the human soul occurs in parallel with the death of nature, so the image of autumn is not uncommon in Akhmatova's poems. In the work “Tearful Autumn, Like a Widow…”, the season is personified, appears before us “in black clothes” and sobs incessantly, “sorting out her husband’s words”. The merging of the lyrical heroine with autumn also speaks of the inner dying of the offended woman.

With her poems, Akhmatova proves that autumn can also come in the soul with its piercing cold and endless rains. Love in the lyrics of the poetess is always disharmonious, it is filled with the deepest drama, a sense of hopelessness and a premonition of an approaching catastrophe. But this shows a strong-willed and brave female face. In one of her poems, Akhmatova writes: "I taught women to speak." Indeed, her work frankly and truthfully shows the depth of the inner world of a simple woman.

Updated: 2018-03-02

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