What attracted and opened the poetry Akhmatova. Anna Akhmatova Love Lyrics. The topic of people's suffering and grief in the "Requiem" poem

Agrowing poems Ahmatova settled in my soul, when one day in childhood, running along the edge of the sea, I, subsequently, exactly read about it in her poem "at the very sea", and was amazed to accurately describe sensations. After that, I generally woke up interest in poetry, Akhmatova, in turn, became a favorite poet. I hit me the fact that such a great author did not study so long in educational institutions and even forbidden and did not publish. Akhmatova and her great gift in power and greatness stands at one stage with the genius of Pushkin, whom she adored without jealousy, respected and understood. Anna Akhmatova lived in the royal village for many years. This place has become one of the most relative and expensive in the world for her life. This and because of the fact that her youth passed there and because of the fact that her first love happened there, the first kiss, there were a date with Nikolai Gumilev, as a tragic century author, and later her Akhmatova, about which she was in The subsequent will write in their terrible lines ... On the border of the two centuries, the talented Russian poetess Anna Akhmatova was born. And rather the talented Russian poet, because Anna Andreevna herself hated and did not recognize the concept of "poetess", and called himself only by the poet. The strong impact is possible on the formation of Akhmatova as a poet, the fact that childhood and youth was led to the royal village, where the atmosphere had a permeable poetry. Her poem is a female soul mirror. Do we have the right to share poetry on the "men's" and "female"? After all, literature is universal. The first works of Akhmatova are a love lyrics. They depicts love is not easy, not always joyful, often she carries sadness and pain. Often the poem of Akhmatova are psychological tragedies with tense plots. They are based on experiences and tragedies. The heroine of early poetry Anna Andreevna is an abandoned, incomprehensible, rejected woman, but she suffer all this with honor, with proudly raised head, without having humiliation. In these poems, not only confession of a loving female heart is sounded, this is a confession of a person who is worried about all the bad weather and the sorrow of the last century. O. Mandelshtam said that Akhmatova introduced the whole huge, complex world of psychology and the latitude of the Russian novel of the nineteenth century to Russian literature. Everyone of her work is already a novel. But there was nothing that Ahmatov would love more than his homeland, native edges. For Russia, the years of repression and persecution of the intelligentsia in huge quantities left the country. But no matter how hard it was, Anna Andreevna, she did not leave Russia, without his homeland, she did not imagine her life. Akhmatova wrote a lot on the topic of repression. She did not undergo this terrible burden, but experienced these years very hard. Her favorite son was repressed, she decided to erect him and all those who were subjected to an intangible monument to this test, was born "Requiem". It describes the horror that people experienced all these years, their suffering, fears and experienced sorrows. It was for so much a strong and implanting guilt of the government, that it was possible to preserve it only in memory. Writing, or the publication of such a work - was equivalent to suicide. But, not in one of her poems and novels we do not feel despair, fear and weakness. Never Akhmatov saw with his hands lowered and headed head. She survived the glory, forcing and again glory. Having breaking through with the people through the fascist invasion, she rejoiced returning to Leningrad, shook the victory on the day with his compatriots. Anna Andreevna finally waited for mercy from fate. But as a thunder among the clear sky, the Zhdanovsky Resolution of 1946 came out. The whole world for Akhmatova as if meal. After she dropped out of the Writers' Union, she was even devoid of even the opportunity to acquire food. Her faithful friends created a secret Akhmatova Aid Fund. At that time, it was a real heroism. Anna Andreevna later talked about it that she, as a sick man, brought oranges and candy, while she was just hungry. Her name was forgotten in the literature for many years and is prohibited. The authorities did everything in order to forget about it. But she with bitterness and life experience grins over their lived life, and above those who tried to destroy it. I would have erected Akhmatova many monuments: Bosa's little girl in Chersonese, the young gymnasics of the royal village, a gorgeous young woman with a black agate thread on the neck in the summer garden and of course where Anna Andreevna wanted - near the walls of the Leningrad Prison. It was there that the monument of the woman who aged from grief and trouble should rise with gray hair, with a nodule - the transfer for a beloved son, who is nothing to do with the sentence only because he is the son of the great poets of Nikolai Gumilyov and Anna Akhmatova. Perhaps these monuments are not needed, because she has already created a non-manual monument, and erected him after Pushkin, is her creativity.

The tragic sound of "Requiem" A. Akhmatova

Objectives: become acquainted with the peculiarities of the genre and compositions of the poem "Requiem"; expand the idea of \u200b\u200bthe poem as a genre of literature; determine the role of artistic funds in the poem; Develop the analysis skills of the poetic text.

During the classes

I see everything,

I remember everything.

A. Akhmatova

I. Checking homework.

1. Reading By heart and analyze the poems of the Akhmatova from the proposed list (see the previous homework).

2. Generalization byissues:

– With the help of which poetic means is reconstructed the inner world of the heroine of the poems Akhmatova? (INsurvey 2, p. 184.)

– How do they manifest in verses of the Ahmatova tradition of Russian poetic classics? (Question 6, p. 184.)

– What attracted and what did the poetry of Akhmatova have opened?

II. Poem A. Akhmatova.

1. Repetition of the theory Literature.

– What is the features of the poem as a genre of literature?

– What is the lyrical hero of the poem?

– What is the difference between the emotional attitude of the poem from the works of other poetic genres?

2. Individual message Pupils.

"Poem without a hero" Akhmatova (based on the text of the text and the textbook's textbook. Zhuravlev, p. 182-184).

III. The epoch and man in the poem of Akhmatova "Requiem".

1. The word teacher.

Akhmatov did not minimize Waves rolling around the country of Stalinist repressions: In 1935, her only son Lev Nikolaevich Gumilev was arrested. Soon freed, he was twice twice, imprisonment and reference.

The tragedy of Akhmatova who worried about it shared with all the people. And this is not a metaphor: there was a lot of hours in a terrible queue, which was stretched along the gloomy walls of the old Petersburg prison "Crosses". And when one of those who stood there next to her, barely heard asked: "Do you can describe it?", Akhmatova replied: "I can". So the poems were born, together those who composed "Requiem" - the poem, which became a tribute to mournful memory about all innocently ruined during the years of Stalin's arbitrariness.

Completed in the pre-war 1940, the poem was published many years after the death of her author, in 1987, and it is read as a final accusation on the case of terrible atrocities of the bloody era. But this accusations imposed not a poet, but time, and not retribution charges Ahmatov - it appeals to the story, in which the memory of mankind is being enshrined.

Two decades after the completion of the poem, in 1961, her epigraph was presented, in which the position of Akhmatova in life and in poetry received the final - striking in severe rigor and expressive laconism - characteristic:

No, and not under the strangers,

And not under the protection of alien wings, -

I was then with my people,

Where my people were unfortunately.

– In the epigraph, the words "alien" and "my people" are repeated. INwhat is the meaning of the enhanced suchrepeating opposition?

– In the poem, the features of the generalized human portrait become features of the appearance of the era. Confirm this by contacting the epilogue.

2. Work with text. Reading and analyzing the work.

Approximate questions when analyzing

1. Requiem is a clock Catholic Mass, mourning the dead. Why did Ahmatov gave his work such name? What is his meaning?

2. What moments of history have formed the basis of the work? As in the poem, a family trouble (in the 30s, the husband of Akhmatova, Professor of the All-Russian Academy of Arts N. Punin and her son L. Gumilyov) develops into a popular drama and convicted?

3. What parts is divided by "requiem", as its composition reflects the semantic multidimensionality and the depth of the text?

4. What is the meaning of epigraph (1961) and preface (1957) to the poem written in 1935-1940?

5. How does the poetess explain the choice of the topic?

6. Why does "hope all sings away" among the "weakly years"?

7. What pictures occur when you read the lines:

Stars of death stood above us

And innocent withered rus

Under the bloody boots

And under the tires of black marus.

8. How do you fight the desire of death and will fight in the poem? What contrast images are captured by this duel?

9. How does Ahmatov spend the border between the former life and the madness that covers the country?

10. Why does the poem end?

11. What is the meaning of the epilogue?

12. Why Akhmatova asks to put a monument "... here, where I stood three hundred hours // and where did not open for me"?

13. What is the lyrical heroine "Requiem"?

14. What techniques reaches the Akhmatov of the universal sound of his topic?

3. Independent work.

a) The class is divided into groups in accordance with the number of parts in the poem.

b) Study. What are the means of artistic expressiveness help to reveal the idea of \u200b\u200b"requiem"?

c) hearing and discussion of the work.

IV. The result of the lesson and generalization.

– What impressions remained after reading the poem of Akhmatova?

– What is the role of the means of artistic expressiveness in this work?

Teacher. The monument is a terrible era became "Requiem", dedicated to the most "damned dates" of mass murders, when the whole country has become a single queue in prison, when each personal tragedy merged with the national.

Akhmatova is not a victim, but a suffering participant and a strict judge of history.

I am a reflection of your face.

In vain wings in vain treppetanya -

After all, I'm with you to the end.

("Many".)

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Introduction

At the turn of the past and last centuries, although not literally chronologically, on the eve of the revolution, in the era, shocked by the two world wars, in Russia arose and developed, perhaps the most significant in all world literature of the new time "Women's" poetry - Poetry Anna Akhmatova. Poetry Akhmatova Lyrics Love Requiem

Poet, Prose, translator, one of the prominent female poems of the 20th century, Akhmatova destroyed a long-standing stereotype in the presentation that the so-called "female poetry" is limited to the sphere of loving family and landscape topics, is narrowlyobiographic in nature and is distinguished by the traditional of the organization of the poetic material. In addition to the deeply developed theme of female love, its creativity is limited to the topics of civil and philosophical lyrics, and poetry itself receives additional - mythopoietic and cultural - measurements, immersing the spiritual world of the lyrical heroine of Akhmatova in the "Great Time" of world history and culture.

Relevance of the topic of course work It is that the creativity of Akhmatova as a poet for a long time was banned, since in many of their works she wrote about the harsh reality of that time. But she never stopped writing. The work of the largest Russian poet of the XX century A. Akhmatova in full only recently came to the reader. Now we can imagine the creative path of Akhmatova without bills and seizures, truly feel drama, the tensions of her quest in the literature.

Objectm Research Is the work of A. Akhmatova.

Subject of research The features of creativity A. Akhmatova.

purposeresearch - Consider and analyze the features of the artistic world of poetry Anna Akhmatova.

Due to this purpose, we can formulate the following tasks:

Identify features early and late lyrics Anna Akhmatova;

Show the romance of intimate-philosophical lyrics A. Akhmatova;

Consider the role of details in love poetry A. Akhmatova;

Analyze the poem "Requiem".

Scientific noveltyresearch is to identify features in the individual-copyright picture of the world A. A. Akhmatova on the material of the lyrical works of the poet, identifying the dynamics of the development of poetry A. A. Akhmatova.

Practical significance It is determined by the fact that the course of the course work can be used in school lessons and electives, in lecture courses in Russian literature, in special courses in Russian literature.

When performing this work we used such methodsAs ideological, comparative historical.

The comparative historical method, with which the "way of comparison is revealed by the general and special in historical phenomena, is achieved by the knowledge of various historical levels of development of the same phenomenon or two different coexistent phenomena."

The ideological method, which implies "identification of the author's worldview installations and conceptually takes into account that the worldview of each particular person has belonging to this or that historically established or emerging types of worldview", in this work it is the basis of the study, since it will allow it to penetrate into the deeder The work of any author, including A. Akhmatov.

Structurecourse Work Determined by the specifics of the research tasks. Work consists of introduction, two chapters, conclusion and literature of the used literature.

1 . The originality of the artistic world of early poetry A.Ahmatova.

The beginning of the twentieth century was marked by the appearance of two female names in the Russian literature, next to whom it seems an inappropriate word "poetess", for Anna Akhmatova and Marina Tsvetaeva - poets in the highest sense of the word. It was they who proved that "female poetry" is not only "poems in the album", but also a prophetic, great word that can accommodate the whole world. It was in poetry that the Ahmatova woman became higher, cleaner, wiser. Her verses taught women to be worthy of love equal to love, be generous and sacrifical. They teach men to listen not to "loved over", and the words are as hot, how proud.

Poetry Akhmatov attracts the reader of the depth of feelings and at the same time the meaningfulness of thought.

The creativity of Akhmatova is customary to divide for two periods - early (1910 - 1930s) and late (1940 - 1960s). There is no impassable boundaries between them, and the partition serves the forced pause: after being released in 1922, her collection "Anno Domini Mcmxxi" Akhmatov was not printed until the end of the 30s.

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

The artistic world of the poet is rich and diverse. "With the overall coverage of all the impressions given by the Akhmatova lyrics, it turns out a very bright and very tense life. The beautiful movements of the soul, a variety of and strong unrest, the flour, which is indisputable to envy, proud and free relations of people, - all this, according to Nikolai Vladimirovich, the Literary Room and the Poet, who played a big role in the creative fate of Akhmatova) was reflected in the work of great poetess. "Great Earth Love" is the driving beginning of her lyrics.

Akhmatova poetry is a combination of a sentence of a word with a sharply transforming poetic context, with the dynamics of an unnamed and tension of semantic clashes. This is a big poetry, a modern and recycling experience of the two centuries of the Russian verse. She is close to this lyrics - nervous, with its city conflicts, with a spoken intellectual speech. But all these ratios are not directly straightforward.

The first collection of Akhmatova "Evening" was released in 1912 in the publication of the "Poets shop". The preface to Him wrote M. Kuzmin, noting that Ahmatov had all the data to become a real poet. The epigraph to Him Akhmatova took the words from the poem of the French poet Andre Perenie: "The flower of the vine grows, and I am tonight for 20 years." This is not by chance, because the first poems are permeated with sadness, the tragedy of loneliness. Love appears as torture, suffering, troubles:

Then snake, curling the ball,

He myself sore,

Then whole days dove

On a white windshield

Then in more than bright bright,

Write in the dentition of the left ... ("Love", 1911)

Most often in the poems of this collection, a moment of farewell, gap, the fatal end is given. When reading such poems, a certain "picture" is presented, which makes the reader empathize with the heroine. Akhmatova does not reject love, but feels like rock: "There should be every love torture on this earth." This is said in the poem of 1911 "Museum", where love turns out to be a rival of poetry, imposing on the soul of "Shackles":

Muse! You see how happy everyone is -

Girls, women, widow.

Better perfection on the wheel,

Only not these shackles.

The second book of the poems of Akhmatova "Rosary" came out in the spring of 1914. Like the first second collection was devoted to love experiences. The feature of the love lyrics of Akhmatova and that happiness of the divided love of her heroine is not given. It is most often disliked, unwanted, rejected. Her love is unrealized love, failed. But as noted in 1921, K. Chukovsky, A. Akhmatova "The first found that to be unloved poetic." Akhmatova One of the first in Russian poetry reflected the relationship between men and women in terms of a woman. Ahmatova revealed the spiritual self-profit of the female personality. The proof of this is the following lines from the poem "So many requests from your beloved always! ...":

And, sad tale to find out

Let them smile slyly ...

I do not give love and peace

Give me bitter than glory.

"Great Earth Love" is the moving beginning of its entire lyrics. It was she who forced a different, realistically see the world. In one of his poems, Akhmatov called the love of the "fifth time of the year."

Then fifth season,

Only his Slavor.

Breathe last freedom,

Because it is love.

From this unusual, fifth, time was seen by her other four, ordinary. In a state of love, the world is seen again. All the feelings are exacerbated and tense. And the unusualness of the usual one opens.

A person begins to perceive the world with a rated force, really reaching the feelings of the life of the vertices. The world opens in an additional reality:

After all, the stars were larger,

After all, they smelled otherwise herbs.

Love in verse is not only love-happiness, the more well-being. Too often, it is love-suffering, pity, peculiar torture, painful, up to the breakdown of the soul, painful, "decadent". The lyric heroines of her poetry are various Ipostasis of the Russian woman. This is a woman wife, and a woman mother, and a lover woman.

Back in 1923, B. M. Eikenbaum, analyzing the poetics of Akhmatova, noted that the image of a heroine's image was beginning to be held in the "clear" (or rather, by oxymorence), the image of the heroine - not the "harlot" with turbulent passions, which is not can pour forgiveness from God. "

For the poetry, Akhmatova is characterized by deep psychologism and lyricism, the ability to reveal the depths of the female inner world.

V.M. Zhirmununsky in his study "Creativity Anna Akhmatova" is true and deeply as a kind of feature of the poetic manner of Akhmatova called "partition" of her early poems. He noted that the poems of Akhmatova "were written as it were with the installation for a prosecical story, sometimes interrupted by individual emotional exclamations ... It is based on psychological nuances."

Many poems of Akhmatova are written in the traditions of Folklore: a rustic chastushka, a folk crying, inhibiting, sharing, lullaby. "The magnificent possession of the poetic funds of the Russian language was brought up in it not only by the traditions of Russian classics, but also with a constant contact with the living folk poetic elements," said V. Zhirmununsky, exploring the peculiarity of the poetic manner of Akhmatova.

I'm in the sunrise

About love I sing,

Knees in the garden

Swan Field.

People's song Element turned out to be close to the poetic globility of the early Akhmatova. The leitmotif of the first collections Akhmatova is a female share of fate, the sorrow of the female soul, told by the heroine itself.

The tongue of verses is rich and flexible, he expresses the thinnest shades of feelings, pleases the hearing with its diversity, as it feeds on the juices of a live speech:

On his hand a lot of brilliant rings -

Conquered by the girls of delicate hearts.

So snakes diamond and dreams of opal,

And beautiful ruby \u200b\u200bis so quaint al.

Akhmatova poems inherent in the story, differentiation and subtlety of lyrical experiences.

Consider the features of the lyrics of Anna Akhmatova in more detail.

1.1 Romance of intimate-philosophical lyrics A.Ahmatova.

Lyrics of the Ahmatova period of her first books ("Evening", "Rosary", "White Farn") - almost exclusively Lyrics of Love. Already after the appearance of the first book, V. Bryusov noted that she was like a novel whose heroines are a woman.

The early Lyrics of Akhmatova is a marriage with the poet Nikolai Gumilev and the subsequent divorce, secondly, the birth of the son of Leo and, thirdly, the beginning of the First World War, which had a great influence on the minds of all progressive writers in Russia. This is what A. I. Pavlovsky writes: "In the love affair A. Akhmatova, he entered the era - she voiced in his own way and reedded poems, introduced a note of anxiety and sadness that had a wider value than their own fate."

Back in 1923, in the book "Anna Akhmatova" B. M. Eychenbaum, analyzing the poetics of Akhmatova, noted the "Romance" of her poetry, saying that each book of her poems is like a lyrical novel, having in its genealogical Tree Russian realistic prose. Proving this, Eikenbaum wrote in one of his reviews: "Akhmatova poetry is a complex lyrical novel. We can trace the development of the formative of its narrative lines, we can talk about its composition, up to the ratio of individual characters. When moving from one collection to another, we have experienced a characteristic feeling of interest in the plot - to how this novel will develop. " The poems of Akhmatova exist separately, not as independent lyrical plays, but as mosaic particles, which are connected and fold into something similar to a big novel. For the story, culminating moments are selected: the meeting (often - the last), more often - farewell, parting. Many Akhmatova poems can be called small stories, novels.

The main heroine of "Romanov", especially in the early lyrics, is a woman who loves. Her heroine is complex and multik, not surrounded by life and anxieties, but - existential, eternal woman. "Each line of Akhmatova, - wrote A. Kollontai, is a whole book of women's soul."

As a straw, drink my soul.

I know the taste of her town and Hamlen,

But I am not broken with a prayer,

Oh, peace is multicone.

When you end, say. Not sadly

That my soul is not in the world

I'll go dear short

See how children play.

The gooseberry blooms on the bushes

And bricks are carrying for the fence.

Who are you: my brother or lover,

I do not remember and not remember.

How light here and how sniable

Resting the tired body ...

And passersby think vaguely:

True, just yesterday widowed.

The lyrical heroine of Akhmatova is most often the heroine of Love is unfulfilled, hopeless. Lyrics in the lyrics of Akhmatova appears as "Fatal Food", it is almost never depicted by a serene, idyllic, but, on the contrary, in dramatic moments: at the moments of break, separation, loss of feelings and the first rapid blinding passion. Usually its poems - the beginning of the drama or its climax, which gave the basis of M. Tsvetaeva to call Muse the Akhmatova "Crying Museum". One of the frequently encountered motives in Akhmatova poetry is the motive of death: the funeral, the grave, the death of the Sergious king, the dying of nature, etc. For example, in the poem "The Song of the Last Meeting":

And I knew - their only three!

Between maples whisper autumn

I asked: "Melci me!" .

Trust, chamber, intimacy - undoubted qualities of Akhmatovskaya poetry. However, over time, the love lyrics of Akhmatova ceased to be perceived as a chamber and began to be perceived as universal, because the manifestations of a love feeling were investigated by the poetess deeply and comprehensively.

This "female entity" and at the same time significance of the human personality with a large artistic expressiveness is represented in the poem "Do not like, do not want to watch?" From Triptych "confusion":

Do not love, do not want to watch?

Oh, how beautiful you are damned!

And I can not takele

And since childhood was a winged.

I will grab the fog,

Merge things and faces

And only red tulip,

Tulip you have in a loop.

About Romance The lyrics of Akhmatova was interesting to W. Hippius. He saw the "objective meaning of her love lyrics in the fact that this lyrics came to replace the died or rear in the form of the novel. And indeed, the ordinary reader may underestimate the sound and rhythmic wealth of such, for example, lines: "And the century we cherish barely audible steering steps," but he cannot do not capture the peculiarity of these ages, the miniature, where the drama is told in a few rows. The novel became a necessary element of life, as the best juice, recoverable, in speaking by Lermontov, from each of her joy. Hearts were perpetuated with irregular features, and cycle of ideas, and an elusive background of cute life. It is clear that the novel helps to live. But the novel in the former forms, the novel, as a smooth and multi-water river, began to meet more and less often, began to replace the rapid swift streams ("Novella"), and there are instant "geysers." In this kind of art, in the lyrical novel - miniature, in the poetry of "Geysers" Anna Akhmatova reached great mastery. " Here is one of these novels:

How to make a simple courtiness,

It came up to me, smiled.

Halflaskovo, half-haired

Kisses hands touched.

And mysterious ancient faces

I looked at my eyes.

Ten years of fading and screams.

All my sleepless nights

I invested in a quiet word

And she said in vain.

You walked away. And it became again

On the soul and empty and clear.

(Confusion)

Roman is over. Ten years tragedy told in one short event, one gesture, look, Word.

Poems Akhmatova carry a special element of love-pity:

Oh no, I loved you,

Poyed sweet fire,

So explain what power

In the unfortunate name yours.

Often, the miniatures of Akhmatova were, in accordance with her favorite manner, were not fundamentally completed. They drank not so much on a small romance, how much to the randomly eliminated page from the novel or even a part of a page that does not have any beginning, no end and forcing the reader to think what happened between heroes before.

Want to know how it was all this? -

Three in the dining room struck

And saying goodbye, holding the railing,

She seemed to say with difficulty:

"It's all ... oh, no, I forgot,

I love you, I loved you

Already then!"

It is possible that such verses observant V. Hippius called "geysers", because in such verses fragments a feeling really, as if instantly breaks out out of some serious captivity of silence, patience, hopelessness and despair.

This poem "Would you like to know how it was all? .." Written in 1910, that is, even before the first collection of the poems "Evening" (1912) came out, but one of the most characteristic features of the poetic manner of Akhmatova in it has already been expressed In an obvious and consistent form. Akhmatova always preferred a "fragment" with a connected, consistent and narrative story. He gave an excellent opportunity to saturate the poem with acute and intensive psychologism; In addition, oddly enough, the fragment attached a kind of document to the depicted document: after all, before us, not the excerpt from an inappropriately overheard conversation, not the obstacle note, not intended for foreign eyes. We, therefore, by chance, look into someone else's drama, as if despite the intentions of the author.

In his autobiography, Anna Akhmatova could not tell everything about his life, about those persecutions and deprivations that fell on her share. Much of her we learn from her poems, it was not for nothing that she said: "In verses, everything about yourself," "Poems are sobbing over life."

A diary record looks like a poem "He loved three things in the world ...", which is a portrait of N. Gumileva:

He loved three things in the world:

For evening singing, white peacocks

And erased map of America.

Did not like when children cry

Did not love tea with raspberry

And women's hysteria.

... And I was his wife.

He loved...

Sometimes such love "diary" recordings were more common, included not two, as usual, and three or even four persons, as well as some features of the interior or landscape; But internal fragmentation, a similar to the "Romance page" was invariably preserved in miniatures.

There my shadow remained and whining,

Everything in the same room lives,

Guests from the city for midnight waiting

And enamel's samples kisses.

And in the house is not quite safe:

Fire will lit, but still dark ...

Not from that hostess is boring

Not from the owner drinks wine

And hear how in a thin stone

The coming guest talks with me.

In this poem, it is felt like a fragment of an internal monologue, fluidity and unintentionalness of mental life.

Particularly interesting to the verses of love, where Akhmatova passed to the "third party", that is, it would seem that it used a purely narrative genre, which implies and consistency, and even descriptive, but in such verses she still preferred lyrical fragmentation, blur and shortness. Here is one of these poems written on behalf of a man:

"It came up. I did not give up the excitement,

Equiformly looking into the window.

The village is like a porcelain idol,

In a position chosen by it for a long time.

Be fun - the usual thing

To be attentive - it's hard ...

Or languid laziness defeated

After Martov Spicy Nights?

Torivny buzz of conversations,

Yellow chandelier lifeless heat

And flashed skillful samples

Over raised light hand.

Smiled again the interlocutor

And hopefully looks at her ...

My lucky rich heir,

You forgive the visan of my. "

It came up. I did not give up the excitement ...

1.2 Role of details in love poetry A.Ahmatova.

Akhmatova - Master of thin and accurate detail.

Akhmatova's love lyrics is distinguished by the deepest psychologism. She, like no one, managed to reveal the most coveted depths of the female inner world, experiences, sentiment. To achieve stunning psychological persuasiveness, it enjoys a very capacious and concise artistic admission of the speaking detail, which, in memory of the participants in the climax of a personal drama, becomes a "bad story." Such "signs" of Akhmatova finds in an unexpected traditional poetry of the ordinary world.

Already in the first collection of "Evening", the researchers of creativity A. Akhmatova pointed out that the richness of the inner spiritual life of the poet was transmitted through the "unexpected details" - the oysters in ice, an undisclosed fan, an abandoned whip, a look "on the riders of slim". Axismic "substance", the audience and plasticity of images in the early poetry of Akhmatova - the structurally formative principle of its poetics.

For the poetry, Akhmatova is characterized by deep psychologism and lyricism, the ability to reveal the depths of the female inner world. The feelings of lyrical heroine are closely connected with the aggravated perception of the objective world and transmit its mental state is not directly, not lyrically, but through the things they are surrounding (this characteristic of the Akhmatova feature of the literary critic V. M. Zhirmunsky launched the term "real symbolism").

The characteristic Akhmatovskaya "real symbolism" can be traced on the example of its poem "I learned simply, wisely live":

I learned just, wisely live,

Look at the sky and pray to God

And long before wandering,

To tire unnecessary alarm.

When rustled in the loop rap

And the bunch of Ryabina is yellow-red,

I am a funny poems

About the life of a flimsy, tween and beautiful.

I'm coming back. Licks my palm

Fluffy cat, purries a little,

And the bright light lights up

On the turret of the lake sawing.

Only occasionally rubs quiet

Creek Aist, flewing to the roof.

And if you knock on my door,

I think I will not even hear.

The poetic strength of Akhmatova is manifested in choosing and the neighborhood of words in the same manner as in choosing and the neighborhood of details. Akhmatova used in relation to poetry the expression "freshness of words" (we fresh words and feelings are simplicity / to lose it, that the painter is a sight). Freshness of words is determined by the freshness and accuracy of the view, originality and uniqueness of the personality of the poet, its poetic personality. In verses, Ahmatova, even ordinary words sounded as first spoken. Words are transformed into Akhmatov contexts. The unusual neighborhood of words changes their meaning and tone.

The words "simply, wisely live", "unnecessary alarm", "fluffy cat", "bright fire" can be used in the usual speech, but in the context of this poem and in the wider context of Akhmatova poetry, they sound like inherent in Akhmatov style, like her Individual words. It is quite an individually combination of definitions in the line "On the life of a pulled, tween and beautiful", the combination of "funny poems".

According to Critica, A. I. Pavlovsky, "The most important thing in her craft is vitality and realism, the ability to see poetry in ordinary life." Its "renewed" details, scarboards filed, but clear household interiors, boldly introduced prosecons, and most importantly, the internal connection, which is always traced from her between the external environment and the stormy life of the heart, everything reminds, not only prose, but also a poetic classics.

N. Gumilev in 1914 in the "letter of Russian poetry" noticed: "I turn to the most significant in the poetry Akhmatova, to its style: it almost never explains, it shows." Showing, not explaining using the reception of the speaker, Akhmatova seeks the reliability of the description, the highest psychological persuasiveness. These can be details of clothing (fur, glove, ring, hat, etc.), household items, seasons, phenomena of nature, flowers, etc., as, for example, in the famous poem "The Last Meeting Song":

But my steps were easy.

I put on my right hand

Glove with left hand.

It seemed that many steps,

And I knew - their only three!

Between maples whisper autumn

I asked: "Melci me!

I decece my dull,

Changeable, evil fate. "

I replied: "Cute, cute!

And me too. I will die with you ... "

This is the song of the last meeting.

I looked at the Dark House.

Only in the bedroom burned candles

Indifferent yellow fire.

Wearing gloves - a gesture that has become automatic, do not think without thinking. And "confusion" here testifies to the state of the heroine, about the depth of shocks experienced by it.

Ahmatov lyrical poems are peculiar to the narrative composition. Poems Externally almost always constitute a simple story - a poetic story about a particular love date with the inclusion of household details:

The last time we met then

On the embankment, where they always met.

There was high water in the Neva,

And flooded in the city were afraid.

He spoke of summer and about

What to be a poet woman is absurdity.

How I remember the high royal house

And Petropavlovsk Fortress! -

Then, that the air was not at all,

And how the gift of God is so wonderful.

And at this hour was given to me

The last of all insane songs.

Heroine's mental movements are transmitted in poems through a domestic, the psychological topic is deployed in specific items.

Psychology, feelings in verses Anna Akhmatova are not transmitted through direct descriptions, but through a specific, psychologized part. In the poetic world, Akhmatova is very significant are artistic detail, real details, household items. M. Kuzmin in the preface to "in the evening" noted "the ability of Akhmatova to understand and love things precisely in their incomprehensible communication with experienced minutes."

The poems of "evenings" are saturated with objects, while they are always unpleasant, simple, never turn into allegories and are interesting not so much a real meaning as a plot role, emotional sound, correlation with the experiences of the heroine. The author is interested in everything that has forms, volumes, outlines, weight, smell, taste. Ahmatova poets the "swelling of the sickness of the patient," feels like "sweet smell of blue grapes," sees that "flexible vines trunks are still thin.

In the poem "I came here, the idleness ..." We see that the poetess is interested in such details of objects like, color, smell, volume:

Delighted Rusty Tinoy

The pond is wide, raised.

Over trembling aspinum

Light month of the slant.

I notice everything as a new one

Wet smells of poplar.

I'm silent. Silent, ready

Before you, Earth.

In the second collection of "rosary" we see that Akhmatov expands the semantic borders of the Word, operates with a psychological detail, which is a sign. In her verses, the reader meets the symbols depending on the context, and the symbols are stable, which it is permanently (beam, ring, mirror, sounds, window, rosary, abyss). The poetess itself was convinced that "rosary" nothing to do with symbolism no longer have no longer, it remained faithful to acmeistic tastes and even the later verses said that they sound the "anxistic word" sounds.

I look all day from a round window:

Beleet warming fence,

And swan thicket track,

And I would go through it - such joy.

Let's not drink from one glass

Neither water we nor sweet wine

We do not kiss we in the morning early,

And I will not see the window.

In the book of poems "White Farn" included details of the landscape: "Wet spring air", dim blue color of the sky, "Cranes shouts and black fields", autumn narrow roads, drizzling, "linden linden and elm", black crosses. This we can post in the lines of the poem "Black Curved Road":

Black rushing the road

Rain drizzle

Conduct me a little

Someone asked ...

Swim fog like Fimiams

Thousands of Cadyl.

Satellite song stubborn

Sezza Bedil.

Akhmatova is peculiar to the exact transfer of the finest observations.

From I. Annensky Akhmatova inherited acute observation, close attention to the details of the life, filed in such a way that the shades of moods are revealed for them, psychological conditions. As Kuzmin wrote: "Anna Akhmatova has the ability to understand and love things precisely in their incomprehensible connection with experienced minutes." Its early poetry is a sad control lyrics instant, minute, transient.

She opened poetry in a nearby, in the usual course of life. The wealth of inner spiritual life was transmitted through the part with an increased semantic load - ice oysters, an undisclosed fan, an abandoned whip, a glove is not on her hand. Many "little things" Akhmatova became famous:

So helpless breasts chopped,

But my steps were easy.

I put on my right hand

Glove with left hand.

Tsvetaeva wrote on this: "I put on my right hand with a glove from the left hand" - she gives one blow all the female and all lyrical confusion - all the empiric! - One stroke of the feather perpetuates the original gesture of a woman and a poet, who forget about the great moments of life, where the right and where the left is not only the glove, and the hand, and the country of light, which suddenly lose all confidence. Through the obvious, even the striking accuracy of the parts is approved and more than the mental state is sympathetic and symbolized, - a whole spiritual system. "

We agree that the verses of Akhmatova are permeated by psychologism. She could pass her feelings, thoughts, experiences through the finest details:

Half open door

Linden linden sweet ...

On the table forgotten

Chlystik and glove.

Circle from the lamp yellow ...

Shorokham to look.

Why did you go?

I do not understand…

In the love lyrics of Akhmatova, there are poems that "made" literally from everybody, from everyday life - right up to the greenhouse, which plays a pale evening beam.

I pray the window beam

He pale, thin, straight.

Today in the morning silent

And the heart is in half.

In my clothes, mine

Dark copper.

But it plays the beam on it,

What fun to look.

So innocent and simple

In evening silence

But in this chramine empty

He is like a gold holiday

And consoam me.

As we can see, the poet paid his attention to everything, even on household items - right up to the greenhouse, which plays a pale evening beam. As the poetess spoke already in old age that the poems "grow from Sora" that the subject of poetic enthusiasm and image can even become a stain of mold on the raw wall, and lops, and nettle, and raw fence, and a dandelion. The most important thing in her work is realistic, the ability to see poetry in ordinary life.

Already contemporaries Akhmatova noticed what an unusually a big role was played in the verses of young poetess everyday detail.

I will grab the fog,

Merge things and faces

And only red tulip,

Tulip you have in a loop.

("Confusion", 1913.)

It is worth us this tulip "to remove" from the poem, and it will die immediately! .. Why? Not because all this silent explosion of passion, despair, jealousy and truly deadly resentment - everything focused in the tulip. He alone arrogantly triumphs in the deserted and celled pellena tears, hopelessly bleacised the world. The situation of the poem is such that the heroine seems to be a tulip not "detail" and, of course, not "bar", and that he is a living being, a true, full hero of the work.

2 . Features of the artistic world of the late period of creativity A.Ahmatova.

Late poetry Anna Akhmatova - reflection of the tragedy of time.

By the late period of Lyrics A. Akhmatova should include the books "Reed", "Seventh Book", "Uncle", written in the interval from 1936 to 1966.

Features of the late period of creativity A. Akhmatova: the transfer of an objective and realistic attitude to the depicted phenomena of life, the internal dramaticness of the poems (full of tangible clashes), and their philosophicity (there is a constant reflection on the run of time, the call of space and man), historicism of thinking, expansion Thematic range (she writes about his hometown, long lasting past, love, about loved ones, secrets of crafts, poet duty), biblical and gospel motives.

In its work of the 30s, there really was a kind of take-off, the framework of her verse was immeasurably expanded, having become both great tragedies - and the second world war began, and the other, the one that began and was launched, unleashed by criminal authority against their own people. And the maternal mountain ("... Son terrible eyes - petrified suffering"), and the tragedy of the homeland, and the unpacable approaching military suffering, who already knocking on the country's door, - everything went into her verse, charred and harden it:

Not! And not under the strangers

And not under the protection of alien wings -

I was then with my people,

Where the people, unfortunately, was.

In the 30s, Akhmatova - instead of a diary, which was impossible to behave, was recorded on the scattered pieces of paper individual, externally, it would seem not related short poems, called it later by the "shards". The name of this kind of cycle is symbolic - in it in the scattered and ruined focus, broken fate. Perhaps there is in this name and another meaning, talking about the hope of the poet for the future memory of people who miraculously, from under the ruin, will they ever be on the eyes of these shards of a broken life, similar to those who are sometimes found in the departed "cultural layer. "

Anna Andreevna Akhmatova worked at a very difficult time, time of disaster and social shocks, revolutions and wars. Poets in Russia in that stormy era, when people forgot what freedom, often had to choose between free creativity and life.

But, despite all these circumstances, the poets still continued to work wonders.

The source of inspiration for Akhmatova became Motherland, Russia, dedicated, but from this even closer and relative. Anna Akhmatova could not leave for emigration, as she knew that only in Russia she could create that it was her poetry in Russia.

Increasingly and more often it connects his own destiny with the fate of the people.

The Lyrics of Akhmatova in the 20s-30s change markedly. It is possible to distinguish two main features of this period - this is the topic of the homeland and the topic of suffering and the grief of the Russian people.

2.1 The topic of the Motherland in Lyrics A.A.Ahmatova.

Over time - time of storms and shocks in the fate of Russia - the Lyrics of Akhmatova, at first the chamber, intimate-confessional, gained a high civil sound. This happened because the poetess could not not think about his homeland that scary events covered, not worrying for their compatriots who were in a difficult situation. Already during the First World War, which poetess perceived as a national tragedy, the motives of self-sacrifice and love for their homeland entered her work. In verses of the collection "White Farn", where Akhmatova appealed to the topic of the Motherland for the first time, the proximity of the inevitable catastrophe is felt, the premonition of the tragedy in Russia's life.

The topic of the Motherland is increasingly powerful in poetry during the First World War. The poetess, realizing that the war is the greatest evil, because she kills, writes the poems of crying:

Juniper smell sweet

From burning forests flies.

Over the mountains, the soldens are moaning,

Widow crying on the village rings.

The Motherland is writhing from pain, and Akhmatov prays fate, "so that the cloud of the rays in the glory of the rays." But clouds were thickened, and not glory, and suffering, pain and flour brought Russia 1917.

But the poetess immediately determined the most important thing for himself - to be together with his country on all her paths and strain. Program in this respect should be considered rows:

He said: "Come here,

Leave your edge, deaf and sinful,

Leave Russia forever ... "

But indifferent and calm

I closed my arms with my hands,

So that this speech is unworthy

The sorrowful spirit did not defile.

Motherland in this poem is identified with a Russian speech, with a native word, with the most expensive, for which it is worth fighting, which should be courageously defended. And here Ahmatov says "We" - this is the voice of the whole people. Akhmatova's poetic voice becomes the voice of folk sorrows and at the same time hope.

Russia has always remained for poetess the only abode. Keep loyalty to the Motherland - this is what Akhmatova saw the main civil debt. Together with his country, she experienced all the disasters that fell to the share of Russia. How closely perceived the poetess fate of his homeland, about the strength of her love and self-sacrifice, the lines of the Prayer poem, written in 1915, are talking about the strength of her love and self-sacrifice.

Give me the bitter years of illness,

Pasta, insomnia, heat ...

To cloud over the dark Russia

Became a cloud in glory rays.

We see that Ahmatov for everything was ready for Russia, if only she managed to overcome all the difficulties that had fallen into her share. In verses poetess, the desire to merge with the people began to sound more and more clearly.

The peculiarity of the collection "Plantain" is that the war and the revolution is understood in it not in the historic philosophical, but in a personality-poetic plan. The civilians of this book associated with the problem of moral and living choice are far from the adoption of the revolution, but there are no political hatred in them.

For the Akhmatova, the "Motherland" and "power" were never synonymous. There was no choice for it - to leave Russia or stay. She considers heating to betrayacy:

Not with those I who threw the land

On the enemies is touched.

I don't get them deeply

I will not give my songs.

But eternally no pity for me an exile,

As a prisoner as a patient.

Dark Your Road, Wanderer,

I smell like bread someone else.

And here in the deaf tea fire

The balance of youth is

We are not a single blow

Did not rejoint from ourselves.

And know that in the assessment of late

Every hour will be justified ...

But there are no people in the world there are no people,

Proper and easier for us.

In this poem, we noted the lexical features of the text in which A. Akhmatova brightly demonstrates his love and devotion to his native land. The poem is sustained in a high style: the old band "does not make"; Words of the high-style "Rasperzing", "Exile", "" Wanderer "," nor ". Many denies: "Not with those I ...", "I do not introduce", "I will not give", "not rejected", "there are no people in no way ...". It also needs to be noted negatively painted vocabulary: "threw", "ripples", "rough flattery", "pity ... exile", "prisoner, ... patient", "dark", "in the deaf of fire", "Gush". These words reflect the negative attitude of the artist to those who left their homeland. The fate of the exile was presented to her not only unworthy, but also miserable. She preferred, remaining at home, to take the blows of fate with her. Together with his country, she experienced all the disasters that fell to the share of Russia.

"During the years of Naparachi, during the unthinkable life," when "everything is plundered, has been made, sold," Akhmatova kept faith in the world and the heat of the coming days of Russia, felt the connection with all the patriots remaining at home. The image of the heroine of Ahmatov poems gradually became more and more harmonious.

Akhmatova, possessing a prophetic gift, premeditated the approach of a new war, which will be the tragedy for many nations, and this "Twenty-fourth Drama of Shakespeare", which the terrible time writes, "We are not able to read!" Unable because behind the thirties: broken fate, millions of innocent victims, ringing prison keys, apostasy from universal norms, personal grief (the arrest of the Son). Ahmatova herself wondered why the verse was not silent, because "the mountain begged in front of this, the Great River bends."

By the beginning of new tests, waiting for people during the war years, she approached the dressed experience of civilian poetry.

The war found Ahmatov in Leningrad, the city that became her spiritual homeland. Again, the tragedy of the people coincides with the personal tragedy (the arrest of the Son for the second time). And again, "we" sounds in military lyrics:

We know that now lies on the scales

And what is done now.

Hour courage struck on our clock,

And courage will not leave us.

The war expands his homeland to Asia's expanses, where the poetess is in evacuation. Ahmatova does not describe the war - she did not see her, but he considers himself obliged to mourn the great sacrifices of their people:

And you, my friends of the last call!

So that you mourn, my life is saved.

In all military verses, courageous sorrow, the greatest sense of compassion, immense love for his long-suffering people sounds. And the victory in the verses of Akhmatova is the image of the victory-widow. The whole pain of his homeland poetess absorb himself, and only being a citizen and a patriot, you can say:

As for the first time I am on her,

To his homeland, looked.

I knew it's all my -

My soul and body.

This is a look from the height of the aircraft, but this is a look of the poet, which rises to this height of love for their homeland and the people. Ahmatova was always "where my people, unfortunately, was.

The poems of Akhmatova during the Second World War - a peculiar formula of angry, militant patriotism. Feeling his life as part of the national national being, the poetess wrote works, which reflected the spiritual attitude of fighting Russia. We see in them and the approval of the strength, will, the courage of the people, and the depleting feelings of mothers, wives and sisters of Russian soldiers, as well as the unshakable faith in victory.

In one of the "Northern Elegi", Akhmatova reflects on his fate, which imposed a mercupious time:

Me like the river

The harsh era turned.

("Me, like a river ...", Leningrad, 1945.)

Her way from now on became different. But she did not regret it. Yes, in her life, much was missed, recalls the heroine of Elegy, many spectacles passed the party: "And the curtain rummaged without me and also fell." But - she divided by his poetry, his fate to fate millions of compatriots. And their life was captured in the verses of Akhmatova.

The cycle of poems about the Leningrad blockade, which the poetess survived together with thousands of other residents of the city, can not read indifferent. The pain permeates each line:

Bring me a handful of clean,

Our Nevsky Study Water

And from your golden head

I am a bloody wave traces.

("I knock the cam - I will reveal", 1942.)

However, for this pain is indestructible faith in victory and endless courage. The author does not think of himself out of the suffering of his people; The children of the blockade Leningrad are her children. Akhmatova saw the high task of his poetry to mourgeing the dead, keep the memory of them: "So that you mourn you, I have saved life."

The final chord of the topic of the Motherland in Akhmatova sounds poem "Native Earth" (1961):

And there are no people in the world in the world,

Proper and easier for us.

In the cherished lands, we do not wear a chest,

There are no verses about it, I do not compose

Our bitter sleep she does not be Beditit

It does not seem promised paradise.

Do not make it in your soul

Subject of purchase and sale,

Toraic, disadvantage, distinguishing on it,

I do not even remember about it.

Yes, for us it is dirt on the calicists,

Yes, for us it is a crunch on your teeth.

And we are chamme and messenger, and crumbling

He is not involved in the dust.

But put in it and become it,

That is why I call so freely - yours.

The epigraph is selected lines from its own poem of 1922. The poem is light by tone, despite the premonition of close death. In fact, Akhmatova emphasizes the loyalty and inviolability of his human and creative position. The word "land" is multi-valued and meaningful. It is the soil ("dirt on the calicists"), and the Motherland, and its symbol, and the theme of creativity, and the original, with which the human body is connected after death. Starting various meanings of the word along with the use of various lexico-semantic reservoirs ("Kaloshi", "confused"; "promised", "uncomprehending") creates an impression of exceptional latitude and freedom.

Pictures of peaceful life came to replace the "horrors of war", and together with all A. Akhmatov rejoiced the strength and freedom of his country. Fate was not happy to the poetess. She survived a lot of trouble, saw the death of the closest people, experienced the strength of terror. But the verse of Akhmatova was always honest and courageous. "At that time, how the worlds swear," she did not remain a calm contemplator. Tests gave power and strength to her verses, helped to realize their civil debt - to be with their people, to be his voice. Throughout his work, the poetess covered the "terrible way" of his generation - generation that has gone through a lot of suffering.

2.2 The topic of people's suffering and grief in the "Requiem" poem

Mass repressions in the country, tragic events of personal life (repeated arrests and links of the son and her husband) caused the poem "Requiem" (1935-1940). The poem was found out of individual poems created mainly in the pre-war period. Five years with breaks worked Akhmatov over this work.

Above the lyrical cycle "Requiem", subsequently called the author of the poem, Akhmatova worked in 1934 - 1940s and returned to him in 1957 - 1961. In 1962, the text of the poem was transferred to the editorial office of the "New World", but was not published; In printed form, without the author's knowledge, the book came out a year abroad, in Munich.

These poems were not recorded - they were remembered firmly reliable friends of Akhmatova. Finally, a single work was connounced only in the fall of 1962, when it was first written on paper. L. Chukovskaya in the "Notes on Anna Akhmatova" reports that on this day Akhmatova solemnly reported: "Requiem" knew 11 people by heart, and no one betrayed me. "

Critica Y. Karyakin said that "Requiem" is truly popularly popular by the people, the placket of the people, the focus of all his pain. Poetry Akhmatova is a confession of a man living all the troubles, pains and passions of his time and its land. "

Anne Andreevna Akhmatova had to survive a lot. The terrible years, who changed the whole country, could not but affect her fate. The poem "Requiem" was evidence of everything, with which the poetess had to come together. The poem is directly devoted to the years "Big Terror" - the suffering of the repressive people.

I was then with my people,

The word "Requiem" itself (in the notebooks Akhmatova - Latin Requiem) means "a clock mass" - Catholic worship for the dead, as well as a mourning musical work. The Latin name of the poem, as well as the fact that in the 1930s - 1940s.

"Requiem" consists of ten poems. Prosaic preface, named Akhmatova "Instead of Preface", "Dedications", "Entry" and the Duchphern Epilogue. Included in "Requiem" "Crucifix" also consists of two parts. The genre of the poem has a much greater largerness of the parts, rather than the usual poetic cycle. As a rule, a number of verses with a common theme, a motive, genre specificity, are combined into the cycle. The poem "so it's not for nothing that we have pushed together ...", written later, is also related to the "Requison". Anna Andreevna took the words: "No, and not under the strangers of the sky ..." As an epigraph to Requisie, since they, according to the poetess, asked the tone to the whole poem, being her musical and semantic key.

No, and not under the strangers,

And not under the protection of alien wings, -

I was then with my people,

Where my people, unfortunately, was.

I woven a wide cover for them

Of the poor, they have overheard words.

In this epigraph, the word "alien" is repeated twice, twice the word "people": the strength of the cohesion of the fate of the people and his poet is checked by the common misfortune for them. We see that from the very beginning the author emphasizes that the poem affects not only her misfortune as a mother, but concerns nationwide grief.

"Requiem" has a life foundation that is extremely clear in a small prosaic part - "instead of preface." It discloses specific "addresses". We are talking about women separated from arrested. It is drawn directly to those whom they mourn. These are close to them, leaving for a cautious or execution. The story of seventeen months spent in the queues near prison conctsoms the epigraph. Already here it is clearly felt by the inner goal of the whole work - show the scary years of "Yevshchina".

In this small passage, the era - terrible, hopeless, is evaporated. The idea of \u200b\u200bthe work corresponds to the vocabulary: Akhmatov did not recognize, but how then they said more often, "identified", the lips of the woman "blue" from hunger and nervous exhaustion; Everyone speaks only in a whisper and only "in the ear".

"Dedication" is a description of the feelings and experiences of people who spend all their time in prison queues. The poetess speaks of a "fatal longing", about hopelessness, the absence of even the slightest hope of changing the current situation. All the life of people now depended from the sentence, which will be brought to a close person. This sentence forever separates the family of condemned from normal people. Akhmatova finds amazing figurative means to convey its condition and others:

For someone, the wind is fresh,

For someone, the sunset is not interested -

We do not know, we are everywhere,

I hear only the keys of the captured crosses

Yes, steps are heavy soldiers.

Following the initial part of "entry" ("it was, when he smiled ..."), the majestic, giving a place of action from some supervised space height (from which Leningrad was visible - the likeness of a gigantic swing pendulum; moving "convicts' shelves"; all Russia , Crashing under the boots of the executioners), is given, almost chamber, family scene. But this is no less perhaps quality - utmost concreteness, psychological details Picture:

Led you at dawn

For you, as on the removal, went,

Children cried in the dark doors

The Borean candle has flooded.

On your lips your cold icons,

Mortal sweat on the brow ... Do not forget! -

I will be like shooting herbs,

Under the Kremlin tower to swell.

In these stitches, a huge human grief fitted. It was "as on the removal" - this is a reminder of the funeral. The coffin is out of the house, close relatives go behind him. Crying children who have fallen a candle - all these details are a kind of addition to the painted picture.

The main heroine of "Requiem" is the mother, the same as Anna Akhmatova herself, who has some faceless forces (state and life), take away the Son, depriving his freedom and, maybe life. The work is built as a cat dialogue with rock, that is, irreversible circumstances, independent of human capabilities.

His personal Mount Akhmatova expressed poems in short lines:

Quietly pouring quiet don,

Yellow month is included in the house.

Included in the cap the hat.

Sees yellow month shadow.

This woman is sick,

This woman is alone.

Husband in the grave, son in prison,

Pray for me.

Poetry Anna Akhmatova.

I want to tell about Anna Akhmatova, my beloved Russian poetess.

The poetry of this amazing person hypnotizes with its simplicity and freedom. The works of Akhmatova will not leave indifferent anyone who at least once heard or read them.

The skill of Akhmatova was recognized almost immediately after the release of the first poetic collection "Evening". And released two years after that "Rosary" even more confirmed the unusual talent of poetess.

A. Akhmatova in his poems is in the infinite diversity of women's destinies: mistresses and wives, widows and mothers who changed and left. The works of Akhmatova are a complex history of the female character of a difficult era.

It was in 1921 that, in the dramatic time of his and public life, Akhmatova managed to write the string string:

Everything is plundered, committed, sold,

Black death flashed wing

All hungry longing is logodo,

Why did we get lightly?

In the poetry of Akhmatova, there are both revolutionary motives and traditional, characteristic of Russian classics. However, I want to stay in the world of poetry, the main nerve, the idea and principle of which is love.

In one of his poems, Akhmatova called the love of the "fifth time of the year." Love gets additional sharpness, manifested in the limit crisis expression - take-off or falling, first meeting or committed breaking, deadly danger or deadly meal. Therefore, Akhmatova and a lyrical novel with an unexpected end of a psychological plot.

Usually its poem - or the beginning of the drama, or only its climax, or, even more often, the final and ending. The works of Akhmatova carry a special element of love-pity: Oh no, I didn't love you, walled sweet fire, so explained, what power in the unfortunate name of yours. This sympathy, empathy, compassion in love-pity makes many poems of Akhmatova genuinely folk.

In the works of poetess there is another love - to their native land, to his homeland, to Russia:

Not with those I who threw the land

On the confusion of enemies,

I do not get them rude,

I will not give my songs.

Anna Akhmatova lived a long and difficult life. Despite the fact that her husband was shot, and the son passed from prison in the link and back, despite all the persecution and poverty, her life was still happy, representing a whole era in the poetry of our country.

What attracted and opened the poetry Akhmatova. Anna Akhmatova Love Lyrics. The topic of people's suffering and grief in the "Requiem" poem

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