The theme of love in Akhmatova’s work. “Great earthly love” (The originality of the theme of love in the lyrics of A
Introduction.
The theme of love in the works of many poets has occupied and occupied central place, because love elevates and awakens the highest feelings in a person. At the turn of the last century, on the eve of the revolution, in an era shocked by two world wars, “women’s poetry” arose and took shape in Russia - the poetry of Anna Andreevna Akhmatova. Perhaps the theme of love in the work of the wonderful poet was one of the main themes.
This topic is very important at the beginning of the twentieth century because, during this time of great upheaval, man continued to love, to be high, noble, passionate.
A lot of critics have studied Akhmatova’s work. Among them, I would like to highlight N.V. Nedobrovo, who was one of the first to appreciate Akhmatova’s work. He wrote that the love theme in Akhmatova’s works is much broader and more significant than its traditional framework.
A.I. Pavlovsky wrote in his article “The Life and Work of Anna Akhmatova” that “a great poet in one or another social situation or through the eyes of one or another generation can be read in different ways.” Akhmatova spoke about the sorrows and wanderings, insults and power, storms and deserts of her love - her own and only.”
V. Vinogradov approached Akhmatova’s poems as a kind of “individually closed system of linguistic means.”
Being a friend of Anna Andreevna herself, critic A. Naiman wrote that “her main and poetic feeling is the feeling of the extreme fragility of existence, the proximity of an inevitably approaching catastrophe.”
Also, everyone who wrote about Anna Akhmatova noted her tragic intonation with which her works were narrated. The love story expressed in verse is a reflection of real life. life story which was tragic. Despite the fact that all critics assessed Akhmatova’s work differently, they were unanimous in the fact that she was a great poet, a great and profound artist. Anna Andreevna passed the big life path, realizing the futility of the circle of life and people from which she came, but this was given to her with great difficulty, at the cost of torment and blood. She is a person of great will and unyielding courage.
All these articles devoted to the theme of love in the works of Anna Akhmatova allow us to determine the range of problems:
1. Solve the mystery of the popularity of Akhmatova’s love lyrics.
2. Find differences early lyrics and lyricists 20 - 30 years.
3. What new did Akhmatova’s lyrics bring to Russian literature?
The purpose of my essay was the decision to explore the theme of love in the works of Anna Akhmatova, get acquainted with the opinions of critics and draw my own conclusions.
The world of deep and dramatic experiences, charm, richness and uniqueness of personality are imprinted in love lyrics Anna Akhmatova. The theme of love certainly occupies a central place in her poetry. Genuine sincerity combined with strict harmony and the laconic capacity of the poetic language of Akhmatova’s love poems allowed her contemporaries to call her the Russian Sappho immediately after the release of her first poetry collections.
The poet's early love lyrics are perceived as a kind of lyrical diary. She speaks of simple human happiness and about earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone can experience and understand. (poem “Song of the Last Meeting”).
My chest was so helplessly cold,
My steps were light.
Yana right hand put it on
Left hand glove.
It seemed like there were many steps,
Aya knew - there were only three of them!
Autumn whisper between the maples
He asked: “Die with me!”
I am deceived by my sadness,
Changeable, evil fate."
I answered: “Darling, dear!
I will also die with you..."
This is the song of the last meeting.
I looked at the dark house.
Only the candles were burning in the bedroom
Indifferent yellow fire.
Tsarskoe Selo.
Love in A. Akhmatova’s lyrics appears as a “fatal duel”; it is almost never depicted serenely, idyllically, but, on the contrary, in extreme crisis terms: at the moment of breakup, separation, loss of feeling or the first stormy blindness of passion. Usually her poems are the beginning of a drama or its climax. Her lyrical heroine pays for love with “torment of a living soul.” The combination of lyricism and epicness brings A. Akhmatova’s poems closer to the genres of the novel, short story, drama, and lyrical diary. One of the secrets of her poetic gift lies in her ability to fully express the most intimate and wonderfully simple things in herself and the world around her.
What is striking in her poems is the “stringy intensity of her experiences and the unmistakable accuracy of their sharp expression. This is Akhmatova’s strength...” (N.V. Nedobrovo).
It was hardly immediately after the appearance of her first book, and after “The Rosary” and “Belostai” in particular, that they started talking about the “mystery of Akhmatova.” The talent was obvious, but its essence was unusual and unclear. The “romance” noted by critics did not explain everything. How to explain, for example, the captivating combination of femininity and fragility with that firmness and clarity of design that testify to power and extraordinary, almost harsh will? At first they wanted to ignore this will, because it contradicted the “standard of femininity.” What aroused bewildered admiration was the strange laconicism of her love lyrics, in which passion resembled the silence of a thunderstorm and usually expressed itself in only two or three words, similar to the Nazarenes flashing behind a menacingly darkened horizon.
In the complex music of Akhmatova’s lyrics, in its barely flickering depths, in its shadows that escape the eyes, in the subsoil, in the subconscious, a special, frightening disharmony constantly lived and made itself felt, which embarrassed Akhmatova herself. She later wrote in “Poem Without a Hero” that she constantly heard an incomprehensible hum, as if some kind of underground bubbling, shifting and friction of those original solid rocks on which life had been eternally and reliably based, but which began to lose stability and balance.
The holidays were warmed by fires,
Carriages fell off bridges,
And the whole mourning city floated
To an unknown destination,
Along the Neva or against the current, -
Just away from your graves.
The arch blackened like a nagalier,
In the summer the weather vane sang subtly,
And the silver month is bright
It's frozen over the Silver Age.
Because on all roads,
Because to all thresholds
The shadow was slowly approaching,
The wind blew from the poster wall,
Smoke danced squat on the roof,
The cemetery smelled of lilacs.
Sworn by Queen Avdotya,
Dostoevsky and the possessed
The fog was leaving the city,
And looked out of the darkness again
Old St. Petersburg resident and reveler!
How the drum beat before the execution...
And always in the frosty stuffiness,
Pre-war, prodigal and menacing,
Some kind of future rumble,
But then he was heard more faintly,
He hardly bothered souls
I was drowning in the snowdrifts of the Neva...
The very first harbinger of such an alarming sensation was the poem “First Return” with its images of a mortal sleep, a shroud and a funeral bell, and with a general feeling of a sharp and irrevocable change.
Akhmatova’s love story included the era - she voiced and altered the poems in her own way, introducing into them a note of anxiety and sadness that had a broader meaning than her own fate.
It is for this reason that Akhmatova’s love lyrics over time, in the pre-revolutionary and then in the first post-revolutionary years, conquered more and more reading circles and generations and, without ceasing to be the object of admiring attention of fine connoisseurs, clearly came out of the seemingly intended narrow circle of readers.
A.I. Pavlovsky in his book “Anna Akhmatova - Life and Work” said that Akhmatova is truly the most characteristic heroine of her time, revealed in infinite variety women's destinies: lovers and wives, widows and mothers, unfaithful and abandoned. According to A. Kollontai, Akhmatova gave “a whole book of a woman’s soul.” Akhmatova “poured into art” complex history the female character of the turning point, its origins, breaking, new formation.
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. Herzen once said that a woman is “driven into love” as a great injustice in the history of mankind. In a certain sense, all the lyrics (especially the early ones) of Anna Akhmatova are “driven into love.” 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 lyric poetry of the twentieth century. Her poetry contains both “divinity” and “inspiration.” Keeping high value Akhmatova returns the ideas of love associated with symbolism to a living and real, not at all abstract character. The soul comes to life “Not for passion, not for fun, // For great earthly love”:
This meeting is unsung by anyone,
And without songs the sadness subsided.
Cool summer has arrived
As if new life has begun.
The sky seems like a vault of stone,
Stung by yellow fire,
And more necessary than our daily bread
I have one word about him.
You, who sprinkle the grass with dew,
Revive my soul with the news, -
Not for passion, not for fun,
For great earthly love.
“Great earthly love” is the driving principle of all Akhmatova’s lyrics. It was she who made us see the world in a different way - no longer in a symbolist and not in an Acmeist way, but, to use the usual definition, realistically:
That fifth time of the year,
Just praise him.
Breathe the last freedom
Because it is love.
The sky flew high
The outlines of things are light,
And the body no longer celebrates
The anniversary of your sadness.
In this poem, Akhmatova called love “the fifth season of the year.” From this unusual, fifth time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold strength, truly reaching the heights of his sense of life. The world opens up in additional reality: After all, the stars were larger,
After all, the grass smelled different.
Poem “Love conquers deceitfully”:
Love conquers deceitfully
The motive is simple, unskillful
Just so recently - strange
You were gray and sad.
And when she smiled
In your gardens, in your house, in your field,
Everywhere it seemed to you
You are free and free.
You were bright when taken by her
Drinking her poison.
After all, the stars were larger
After all, the grass smelled differently,
Autumn grasses.
Tsarskoe Selo.
That’s why Akhmatova’s verse is so objective: it returns things to their original meaning, it focuses attention on what we are normally able to pass by indifferently, not appreciate, not feel.
And one more feature. In Akhmatova’s love poems, many epithets are born from an integral, indivisible, united perception of the world.
Akhmatova’s poems are literally “made” from everyday life, from simple everyday life - right down to the green washstand on which a pale evening ray plays. One involuntarily recalls the words spoken by Akhmatova in her old age, that poetry “grows from rubbish,” that even a spot of mold on a damp wall can become the subject of poetic inspiration and depiction.
It is not for nothing that, speaking about Akhmatova, about her love lyrics, critics (A.I. Pavlovsky, A. Naiman, A. Batalov) subsequently noticed that her love dramas, unfolding in verse, occur as if in silence: nothing is explained, nothing is commented on There are so few words that each of them carries a huge psychological load. “It is assumed that the reader should either guess, or, most likely, will try to turn to his own experience, and then it turns out that the poem is very broad in its meaning: its secret drama, its hidden plot relates to many, many people,” wrote A. Naiman (stories about Anna Akhmatova).
I pray to the window ray -
He is pale, thin, straight.
I've been silent since this morning,
The heart is in half.
My washstand
Green copper.
Notak plays a ray on it,
Which is fun to watch.
So innocent and simple
Evening silence
New this temple is empty
It's like a golden holiday
Comfort for me.
So in this early poem. It’s not so important to us what exactly happened in the heroine’s life? After all, the most important thing is pain, confusion and the desire to calm down at least by looking at sunbeam, - all this is clear, understandable and familiar to almost everyone. The wisdom of Akhmatova’s miniature, somewhat vaguely similar to the Japanese hoku, lies in the fact that it speaks of the healing power of nature for the soul. The sun’s ray, “so innocent and simple,” illuminates with equal affection the greenery of the washstand and human soul, truly is the semantic center of this amazing poem.
This is the early lyric poetry of Anna Andreevna Akhmatova.
Akhmatova's lyrics changed noticeably in the 20s and 30s.
Because Akhmatova’s lyricism was constantly expanding throughout the post-revolutionary twenty years, incorporating more and more new ones that were previously not characteristic of her area, now the love story has occupied one of the main poetic territories in it.
Of course, the expansion of the range of poetry, which was a consequence of changes in the poet’s worldview and perception, could not, in turn, not affect the tonality and character of the love lyrics themselves. True, some of its characteristic features remained the same. The love episode, for example, as before, appears before us in a peculiar Akhmatovian guise: it, in particular, is never sequentially developed, it usually has neither end nor beginning; the love confession, despair or plea that makes up the poem always seems to the reader as would be a snippet of a conversation overheard by chance (poem “Oh, you thought - I’m like that too”).
Oh, you thought I was like that too
That you can forget me.
And that I will throw myself, begging and sobbing,
The hooves of a bay horse.
Ilistanu ask the healers
Spine in slanderous water
And I will send you a terrible gift -
My treasured fragrant scarf.
Damn you. Not a groan, not a glance
I will not touch the damned soul,
But I swear to you by the garden of angels,
I swear by the miraculous icon
Our other fiery children -
I will never return to you.
The heroine of Akhmatov’s poems, most often speaking as if to herself in a state of impulse, semi-delirium or ecstasy, naturally does not consider it necessary, and indeed cannot, further explain and explain to us everything that is happening. Only the basic signals of feelings are transmitted, without decoding, without comments, hastily - in the hasty alphabet of love. Hence the impression of extreme intimacy, extreme frankness of these lyrics. (poem “Somehow we managed to separate”).
Somehow we managed to separate
Put out the hateful fire.
Eternal enemy, it's time to learn
You really need to love someone.
I am free. Everything is fun for me
At night the music will fly to console,
Ana morning glory will be dragged
A rattle rattles over your ear.
It’s not worth remembering and praying
And when you leave, look back...
The black wind will calm me down.
The golden leaf fall is cheerful.
As a gift, I will accept separation
Deliverance is like grace.
But tell me, on the cross
Do you dare to send another?
Akhmatova's poems about love - everything! - pathetic. But - one way or another - Akhmatova’s love lyrics of the 20s - 30s to a greater extent addressed to the inner, secretly spiritual life. The poems of this period are more psychological. If in “Evening” and “The Rosary” the feeling of love was depicted, as a rule, with the help of very few material details, now, without in the slightest degree abandoning the use of an expressive subject touch, Anna Akhmatova, for all her expressiveness, is still more flexible in the direct depiction of psychological content . Before us is still an explosion, a catastrophe, but now it is a thundercloud that has eclipsed all horizons, throwing thunder and lightning:
But if we meet eyes
I bow to you to heaven,
The granite will melt.
Akhmatova herself many times associated the excitement of her love with the great “Song of Songs” from the Bible, wrote the famous critic A.I. Pavlovsky.
Beginning with the “White Flock”, but especially in “Plantain”, “AnnoDomini” and in later cycles, her love feeling acquires a broader and more spiritual character. The poems of the 20s and 30s go to the very heights of the human spirit. They do not subjugate all life, all existence, as was the case before, but they bring all existence, all life into love experiences the whole mass of their inherent shades. Filled with this enormous content, love became not only richer and more colorful, but also truly tragic, wrote A. Batalov. (literary criticism “Next to Akhmatova”).
If you arrange Akhmatova’s love poems in a certain order, you can build a whole story with many mise-en-scenes, twists and turns, characters, random and non-random incidents. Meetings and separations, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, dedication, 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 poet himself, there constantly lived a burning, demanding dream of truly high love, undistorted in any way. Akhmatova’s love is a formidable, commanding, morally pure, all-consuming feeling that makes one remember the biblical line: “Strong as death, love is its arrows - arrows of fire.”
If you arrange Akhmatova’s love poems in a certain order, you will notice that at the very beginning of the lyric poems the heroine is proud, reverent, and tender. And at the end of the lyrical poems she is a woman who has learned a lot and has come a long way. But throughout her work, the lyrical heroine is strong and proud. This is one of the striking features of her love lyrics.
The second important feature of Akhmatova’s lyrical works is the role of everyday details.
Akhmatova has poems that are literally “made” from everyday life, from everyday, simple life. One involuntarily recalls the words of Anna Andreevna herself that poems “grow from rubbish”, that even mold stains on a damp wall, burdock, and nettles can become the subject of an image.
According to critic A.I. Pavlovsky, “the most important thing in her craft is vitality and realism, the ability to see poetry in ordinary life.” Her “material” details, sparingly presented but distinct everyday interiors, boldly introduced prosaisms, and most importantly, that internal connection that can always be traced between her external environment and the stormy life of the heart, everything resembles not only prose, but also poetic classics.
The third feature of Anna Akhmatova’s works is the poems written in her lyrical diary. Akhmatova always preferred a “fragment” to a coherent, consistent story. The fragment added a documentary quality to the work: after all, before us is either an excerpt from an overheard conversation, or a dropped note:
He loved three things in the world:
Evening singing, white peacocks
Worn out maps of America.
I didn't like it when children cry
Didn't like raspberry tea
Women's hysteria.
...Aya was his wife.
"He loved..."
And the fourth feature is “romance”. For the first time, the idea of “romance” in Akhmatova’s work was expressed by Eikhenbaum. He wrote: “Akhmatova’s poetry is a complex lyrical novel. We can trace the development of the narrative lines that form it, we can talk about its composition, right down to the relationship of individual characters.”
V. Gippius also wrote interestingly about the “romanticism” of Anna Andreevna’s lyrics. He saw the key to Akhmatova’s success and influence in the fact that lyric poetry replaced the form of the novel, which had fallen asleep at that time.”
All those who wrote about Akhmatova noted the tragic intonation with which the plots of her books are narrated. That special intonation they called Akhmatova hinted at more than just another story of great and never-ending love.
I am very close to the position of the critic N.V. Nedobrovo, who noted that “the love theme and Akhmatova’s poetry as a whole is much broader and more significant than its traditional framework.” He pointed out that the distinctive feature of the poet’s personality is not weakness and brokenness, but, on the contrary, exceptional willpower. In the poems he saw “a lyrical soul that is rather hard than too soft, rather tough than tearful, and clearly dominant rather than oppressed.”
It is not for nothing that another critic A.I. Pavlovsky gave a high assessment of his analysis: “He, in fact, was the only one who understood before anyone else the true scale of Akhmatova’s poetry, pointing out that the distinctive feature of the poet’s personality is not weakness and brokenness, but, on the contrary, exceptional willpower.” And Anna Akhmatova herself believed that it was N.V. Nedobrovo who guessed and understood her entire future creative path.
There is a connection between the poet and the time in which she lived. On the one hand, her lyricism and creativity are a look, as it were, through the “prism of poetry,” which gave her the opportunity to overcome all difficulties.
On the other hand, her willpower and spirit did not allow her to lose herself, and made it possible to survive and remain a poet.
The main thing about the theme of love for Anna Akhmatova is the persistent quest for the spirit, the search for the meaning and height of life, which is accompanied by gestures of excitement, conscience, and faith:
And only my conscience gets worse every day
He's furious: he wants tribute from the great.
Covering my face, I answered her...
But there are no more tears, no more excuses.
Akhmatova is afraid to be frank in her confessions and pleas. It can only be understood by those who have the same “love code”.
“Without feeling landmarks, without seeing beacons, barely maintaining balance,” Anna Akhmatova was guided by the secret and powerful “intuitive power” of artistic creativity:
My sad Muse,
Like a blind person, she led me.
A great poet, in a given social situation, can be read in different ways. This is the property of any genuine art if it deeply and faithfully conveys at least one of the melodies of its time to its contemporaries.
Bibliography.
1. Pavlovsky A.I. "Anna Akhmatova: Life and Work." Enlightenment, 1991.
2. NaimanA. "Stories about Anna Akhmatova." Magazine " new world" 1989
3. BatalovaA. "Literary criticism: Next to Akhmatova." 1984
4. Sushilina I.K. "Anna Akhmatova's favorites." 1993
5. Gorlovsky A.S. "Song of Love: Russian Love Lyrics." 1986
Introduction.
The theme of love in the works of many poets occupied and occupies a central place, because love elevates and awakens the highest feelings in a person. At the turn of the last century, on the eve of the revolution, in an era shocked by two world wars, “women’s poetry” arose and took shape in Russia - the poetry of Anna Andreevna Akhmatova. Perhaps the theme of love in the work of this wonderful poet was one of the main themes.
This topic is very important at the beginning of the twentieth century because, during this time of great upheaval, man continued to love, to be high, noble, passionate.
A lot of critics have studied Akhmatova’s work. Among them, I would like to highlight N.V. Nedobrovo, who was one of the first to appreciate Akhmatova’s work. He wrote that the love theme in Akhmatova’s works is much broader and more significant than its traditional framework.
A.I. Pavlovsky wrote in his article “The Life and Work of Anna Akhmatova” that “a great poet in one or another social situation or through the eyes of one or another generation can be read in different ways.” Akhmatova spoke about the sorrows and wanderings, insults and power, storms and deserts of her love - her own and only.”
V. Vinogradov approached Akhmatova’s poems as a kind of “individually closed system of linguistic means.”
Being a friend of Anna Andreevna herself, critic A. Naiman wrote that “her main and poetic feeling is the feeling of the extreme fragility of existence, the proximity of an inevitably approaching catastrophe.”
Also, everyone who wrote about Anna Akhmatova noted her tragic intonation with which her works were narrated. The love story expressed in verse is a reflection of a real life story that was tragic. Despite the fact that all critics assessed Akhmatova’s work differently, they were unanimous in the fact that she was a great poet, a great and profound artist. Anna Andreevna has come a long way in life, realizing the futility of the circle of life and people from which she came, but this was given to her with great difficulty, at the cost of torment and blood. She is a person of great will and unyielding courage.
All these articles devoted to the theme of love in the works of Anna Akhmatova allow us to determine the range of problems:
1. Solve the mystery of the popularity of Akhmatova’s love lyrics.
2. Find the differences between early lyrics and lyrics in the 20s - 30s.
3. What new did Akhmatova’s lyrics bring to Russian literature?
The purpose of my essay was the decision to explore the theme of love in the works of Anna Akhmatova, get acquainted with the opinions of critics and draw my own conclusions.
The world of deep and dramatic experiences, charm, wealth and uniqueness of personality are imprinted in the love lyrics of Anna Akhmatova. The theme of love certainly occupies a central place in her poetry. Genuine sincerity, combined with strict harmony and the laconic capacity of the poetic language of Akhmatova’s love poems, allowed her contemporaries to call her the Russian Sappho immediately after the release of her first poetry collections.
The poet's early love lyrics are perceived as a kind of lyrical diary. She talks about simple human happiness and about earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone can experience and understand. (poem “Song of the Last Meeting”).
My chest was so helplessly cold,
But my steps were light.
I put it on my right hand
Glove from the left hand.
It seemed like there were a lot of steps,
And I knew - there are only three of them!
Autumn whispers between the maples
He asked: “Die with me!”
I'm deceived by my sadness,
Changeable, evil fate."
I replied: “Darling, darling!
And I will also die with you..."
This is the song of the last meeting.
I looked at the dark house.
Only candles were burning in the bedroom
Indifferent yellow fire.
Tsarskoye Selo.
Love in A. Akhmatova’s lyrics appears as a “fatal duel”; it is almost never depicted serenely, idyllically, but on the contrary, in an extremely crisis expression: at the moment of breakup, separation, loss of feeling or the first violent blindness of passion. Usually her poems are the beginning of a drama or its climax. Her lyrical heroine pays for love with “torment of a living soul.” The combination of lyricism and epicness brings A. Akhmatova’s poems closer to the genres of the novel, short story, drama, and lyrical diary. One of the secrets of her poetic gift lies in her ability to fully express the most intimate and wonderfully simple things in herself and the world around her.
In her poems one is struck by “the stringy intensity of experiences and the unmistakable accuracy of their sharp expression. This is Akhmatova’s strength...” (N.V. Nedobrovo).
Almost immediately after the appearance of her first book, and after “The Rosary” and “The White Flock” in particular, people started talking about the “mystery of Akhmatova.” The talent itself was obvious, but its essence was unusual and unclear. The “romance” noted by critics did not explain everything. How to explain, for example, the captivating combination of femininity and fragility with that firmness and clarity of design that testify to authority and an extraordinary, almost harsh will? At first they wanted to ignore this will, because it contradicted the “standard of femininity.” The strange laconicism of her love lyrics also evoked bewildered admiration, in which passion resembled the silence of a pre-thunderstorm and usually expressed itself in only two or three words, similar to lightning flashing behind a menacingly darkened horizon.
In the complex music of Akhmatova’s lyrics, in its barely flickering depths, in its darkness escaping from the eyes, in the subsoil, in the subconscious, a special, frightening disharmony constantly lived and made itself felt, which embarrassed Akhmatova herself. She later wrote in “Poem Without a Hero” that she constantly heard an incomprehensible hum, as if some kind of underground bubbling, shifting and friction of those original solid rocks on which life had been eternally and reliably based, but which began to lose stability and balance.
Christmastide was warmed by fires,
And the carriages fell off the bridges,
And the whole mourning city floated
For an unknown purpose,
Along the Neva or against the current, -
Just away from your graves.
There was a black arch in the galley,
In Letny the weather vane sang subtly,
And the silver moon is bright
It was freezing over the Silver Age.
Because on all roads,
Because to all thresholds
The shadow was slowly approaching
The wind tore posters from the wall,
The smoke danced squatting on the roof,
And the cemetery smelled of lilacs.
And sworn by Queen Avdotya,
Dostoevsky and the possessed
The city was fading into fog,
And looked out of the darkness again
An old St. Petersburg resident and a reveler!
How the drum beat before the execution...
And always in the frosty stuffiness,
Pre-war, prodigal and menacing,
There lived some kind of future hum,
But then he was heard more faintly,
He hardly bothered souls
And he drowned in the snowdrifts of the Neva...
The very first harbinger of such an unsettling sensation was the poem “The First Return” with its images of a mortal sleep, a shroud and a death knell, and with a general feeling of a sharp and irrevocable change.
Akhmatova’s love story included the era - she voiced and altered the poems in her own way, introducing into them a note of anxiety and sadness that had a broader meaning than her own fate.
It is for this reason that Akhmatova’s love lyrics over time, in the pre-revolutionary and then in the first post-revolutionary years, won more and more new readership circles and generations and, without ceasing to be the object of admiring attention of subtle connoisseurs, clearly went beyond the seemingly intended narrow circle of readers.
A.I. Pavlovsky in his book “Anna Akhmatova - Life and Work” said that Akhmatova is truly the most characteristic heroine of her time, revealed in the infinite variety of women’s destinies: lovers and wives, widows and mothers, cheating and abandoned. According to A. Kollontai, Akhmatova gave “a whole book of the female soul.” Akhmatova “poured into art” a complex story feminine character a turning point, its origins, breaking, new formation.
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. Herzen once said that a woman is “driven into love” as a great injustice in the history of mankind. In a certain sense, all the lyrics (especially the early ones) of Anna Akhmatova are “driven into love.” 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 poetry of the twentieth century. There is both “divinity” and “inspiration” in her poetry. While maintaining the high significance of the idea of love associated with symbolism, Akhmatova returns it to a living and real, by no means abstract character. The soul comes to life “Not for passion, not for fun, // For great earthly love”:
This meeting is not sung by anyone,
And without songs the sadness subsided.
Cool summer has arrived
It's like a new life has begun.
The sky seems like a vault of stone,
Stung by yellow fire,
And more necessary than our daily bread
I have one word about him.
You, who sprinkle the grass with dew,
Revive my soul with the news, -
Not for passion, not for fun,
For great earthly love.
“Great earthly love” 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, to use the usual definition, realistically:
That fifth time of the year,
Just praise him.
Breathe the last freedom
Because it is love.
The sky flew high
The outlines of things are light,
And the body no longer celebrates
The anniversary of your sadness.
In this poem, Akhmatova called love the “fifth season of the year.” From this unusual, fifth time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold force, truly reaching the heights of his sense of life. The world opens in additional reality: After all, the stars were larger,
After all, the herbs smelled different.
Poem “Love conquers deceitfully”:
Love conquers deceitfully
A simple, unsophisticated motive
Even so recently - strange
You weren't gray and sad.
And when she smiled
In your gardens, in your house, in your field,
Everywhere it seemed to you
That you are free and at liberty.
You were bright when you were taken by her
And drank her poison.
After all, the stars were larger
After all, the herbs smelled different,
Autumn herbs.
Tsarskoye Selo.
That’s why 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 appreciate, not feel.
And one more feature. In Akhmatova’s love poems, many epithets are born from a holistic, inseparable, united perception of the world.
Akhmatova contains poems that are literally “made” from everyday life, from simple everyday life - right down to the green washstand on which a pale evening ray plays. One involuntarily recalls the words spoken by Akhmatova in her old age, that poems “grow from rubbish,” that even a spot of mold on a damp wall can become the subject of poetic inspiration and depiction.
It is not for nothing that, speaking about Akhmatova, about her love lyrics, critics (A.I. Pavlovsky, A. Naiman, A. Batalov) subsequently noticed that her love dramas, unfolding in poetry, take place as if in silence: nothing is explained, nothing commented on, there are so few words that each of them carries a huge psychological load. “The reader is expected to either guess, or, most likely, try to turn to his own experience, and then it will turn out that the poem is very broad in its meaning: its secret drama, its hidden plot applies to many, many people,” - wrote A. Naiman (stories about Anna Akhmatova).
I pray to the window ray -
He is pale, thin, straight.
Today I have been silent since the morning,
And the heart is in half.
On my washstand
The copper has turned green.
But this is how the ray plays on him,
What fun to watch.
So innocent and simple
In the evening silence,
But this temple is empty
It's like a golden holiday
And consolation to me.
So it is in this early poem. Isn’t it so important to us what exactly happened in the heroine’s life? After all, the most important thing is pain, confusion and the desire to calm down at least when looking at a ray of sunshine - all this is clear, understandable and familiar to almost everyone. The wisdom of Akhmatova’s miniature, which is somewhat similar to Japanese hoku, lies in the fact that it speaks of the healing power of nature for the soul. A ray of sunshine, “so innocent and simple,” illuminating with equal affection both the greenery of the washstand and the human soul, is truly the semantic center of this amazing poem.
This is the early poetry of Anna Andreevna Akhmatova.
Akhmatova's lyrics changed noticeably in the 20s and 30s.
Because Akhmatova’s lyrics constantly expanded throughout the post-revolutionary twenty years, absorbing more and more new areas that were previously unfamiliar to her, now the love story occupied one of the main poetic territories in her.
Of course, the expansion of the range of poetry, which was a consequence of changes in the poet’s worldview and attitude, could not, in turn, not affect the tonality and character of the love lyrics themselves. True, some of its characteristic features remain the same. The love episode, for example, as before, appears before us in a peculiar Akhmatovian guise: it, in particular, is never consistently developed, it usually has neither an end nor a beginning; the declaration of love, despair or prayer that makes up a poem always seems to the reader as if it were a snippet of a conversation overheard by chance. (poem “Oh, you thought I was like that too”).
Oh, you thought I was like that too
That you can forget me.
And that I will throw myself, begging and sobbing,
Under the hooves of a bay horse.
Or I’ll ask the healers
There's a root in the slander water
And I will send you a terrible gift -
My treasured fragrant scarf.
Damn you. Not a groan, not a glance
I will not touch the damned soul,
But I swear to you by the garden of angels,
I swear by the miraculous icon
And our nights are a fiery child -
I will never return to you.
The heroine of Akhmatov’s poems, most often speaking as if to herself in a state of impulse, semi-delirium or ecstasy, naturally does not consider it necessary, and indeed cannot, further explain and explain to us everything that is happening. Only the basic signals of feelings are transmitted, without decoding, without comments, hastily - according to the hasty alphabet of love. Hence the impression of extreme intimacy, extreme frankness of these lyrics. (poem “Somehow we managed to separate”).
Somehow we managed to separate
And put out the hateful fire.
My eternal enemy, it's time to learn
You really need to love someone.
I am free. Everything is fun for me
At night the muse will fly down to console,
And in the morning glory will come
A rattle crackles over your ear.
There's no need to pray for me
And when you leave, look back...
The black wind will calm me down.
The golden leaf fall makes me happy.
I will accept separation as a gift
And oblivion is like grace.
But tell me, on the cross
Do you dare to send another?
Akhmatova's poems about love - that's it! - pathetic. But - one way or another - Akhmatova’s love lyrics of the 20s and 30s are largely addressed to the inner, secretly spiritual life. The poems of this period are more psychological. If in “Evening” and “Rosary” the feeling of love was depicted, as a rule, with the help of very few material details, now, without in the slightest degree abandoning the use of an expressive subject touch, Anna Akhmatova, for all her expressiveness, is still more plastic in direct depiction of psychological content. Before us is still an explosion, a catastrophe, but now it is a thundercloud that has eclipsed all horizons, throwing thunder and lightning:
But if we meet eyes
I swear to you by heaven,
Granite will melt in the fire.
Akhmatova herself many times associated the excitement of her love with the great “Song of Songs” from the Bible, wrote the famous critic A.I. Pavlovsky.
Beginning with “The White Flock,” but especially in “Plantain,” “Anno Domini,” and in later cycles, her love feeling takes on a broader and more spiritual character. The poems of the 20s and 30s go to the very heights of the human spirit. They do not subjugate all life, all existence, as it was before, but all existence, all life bring into love experiences the whole mass of shades inherent in them. Filled with this enormous content, love became not only richer and more colorful, but also truly tragic, wrote A. Batalov. (literary criticism “Next to Akhmatova”).
If you arrange Akhmatova’s love poems in a certain order, you can build a whole story with many mise-en-scenes, twists and turns, characters, random and non-random incidents. Meetings and separations, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, selflessness, pride, sadness - in which 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 poet himself, there constantly lived a burning, demanding dream of truly high love, undistorted in any way. Akhmatova’s love is a formidable, commanding, morally pure, all-consuming feeling that makes one remember the biblical line: “Love is strong as death - and its arrows are fiery arrows.”
If you arrange Akhmatova’s love poems in a certain order, you will notice that at the very beginning of the lyric poems the heroine is proud, reverent, and tender. And at the end of the lyric poems, she is a woman who has learned a lot and has come a long way. But throughout her work, the lyrical heroine is strong and proud. This is one of the striking features of her love lyrics.
The second important feature of Akhmatova’s lyrical works is the role of everyday details.
Akhmatova has poems that are literally “made” from everyday life, from everyday, simple life. One involuntarily recalls the words of Anna Andreevna herself that poems “grow from rubbish”, that even a spot of mold on a damp wall, and burdock, and nettles can become the subject of an image.
According to critic A.I. Pavlovsky, “the most important thing in her craft is vitality and realism, the ability to see poetry in ordinary life.” Her “material” details, sparingly presented but distinct everyday interiors, boldly introduced prosaisms, and most importantly, the internal connection that can always be traced in her between the external environment and the turbulent life of the heart, everything is reminiscent of not only prose, but also poetic classics.
The third feature of Anna Akhmatova’s works is poems written in the form of a lyrical diary. Akhmatova always preferred a “fragment” to a coherent, consistent story. The fragment added a documentary quality to the work: after all, what we have in front of us is either an excerpt from an overheard conversation or a dropped note:
He loved three things in the world:
Behind the evening singing, white peacocks
And erased maps of America.
I didn't like it when children cried
Didn't like raspberry tea
And female hysteria.
...And I was his wife.
"He loved..."
And the fourth feature is “romance”. For the first time, the idea of “romance” in Akhmatova’s work was expressed by Eikhenbaum. He wrote: “Akhmatova’s poetry is a complex lyrical novel. We can trace the development of the narrative lines that form it, we can talk about its composition, right down to the relationship of individual characters.”
V. Gippius also wrote interestingly about the “romanticism” of Anna Andreevna’s lyrics. He saw the key to Akhmatova’s success and influence in the fact that lyric poetry replaced the form of the novel, which had fallen asleep at that time.”
Everyone who wrote about Akhmatova noted the tragic intonation with which the plots of her books are narrated. That special intonation they called Akhmatova hinted at more than just another story of great and never-ending love.
The position of the critic N.V. Nedobrovo is very close to me, who noted that “the love theme and poetry in general by Akhmatova is much broader and more significant than its traditional framework. He pointed out that the distinguishing feature of the poet’s personality is not weakness and brokenness, but, on the contrary, exceptional willpower. In the poems he saw “a lyrical soul that is rather hard than too soft, rather tough than tearful, and clearly dominant rather than oppressed.”
It is not for nothing that another critic A.I. Pavlovsky gave a high assessment to his analysis: “He, in fact, was the only one who understood before anyone else the true scale of Akhmatova’s poetry, pointing out that the distinctive feature of the poet’s personality is not weakness and brokenness, but, on the contrary, exceptional strength will." And Anna Akhmatova herself believed that it was N.V. Nedobrovo who guessed and understood her entire future creative path.
There is a connection between the poet and the time in which she lived. On the one hand, her lyrics and creativity are a look, as it were, through the “prism of poetry,” which gave her the opportunity to overcome all difficulties.
On the other hand, her willpower and spirit did not allow her to lose herself, and made it possible to survive and remain a poet.
The main thing in Anna Akhmatova’s theme of love is the persistent quest for the spirit, the search for the meaning and height of life, which is accompanied by gestures of excitement, conscience, and faith:
And only conscience gets worse every day
He is furious: the great one wants tribute.
Covering my face, I answered her...
But there are no more tears, no more excuses.
Akhmatova is not afraid to be frank in her confessions and pleas. It can only be understood by someone who has the same “love code”.
“Without feeling landmarks, without seeing beacons, barely maintaining balance,” Anna Akhmatova was guided by the secret and powerful “intuitive power” of artistic creativity:
And my sad Muse,
She led me like a blind woman.
A great poet, in a given social situation, can be read in different ways. This is the property of any genuine art, if it deeply and truly conveys at least one of the melodies of its time to its contemporaries.
Bibliography.
1. Pavlovsky A.I. "Anna Akhmatova: Life and Work." Enlightenment, 1991.
2. Naiman A. “Stories about Anna Akhmatova.” Magazine "new world". 1989
3. Batalov A. “Literary criticism: Next to Akhmatova.” 1984
4. Sushilina I.K. "Anna Akhmatova's favorites." 1993
5. Gorlovsky A.S. "Song of Love: Russian Love Lyrics." 1986
Introduction.
The theme of love in the works of many poets occupied and occupies a central place, because love elevates and awakens the highest feelings in a person. At the turn of the last century, on the eve of the revolution, in an era shocked by two world wars, “women’s poetry” arose and took shape in Russia - the poetry of Anna Andreevna Akhmatova. Perhaps the theme of love in the work of the wonderful poet was one of the main themes.
This topic is very important at the beginning of the twentieth century because, during this time of great upheaval, man continued to love, to be high, noble, passionate.
A lot of critics have studied Akhmatova’s work. Among them, I would like to highlight N.V. Nedobrovo, who was one of the first to appreciate Akhmatova’s work. He wrote that the love theme in Akhmatova’s works is much broader and more significant than its traditional framework.
A.I. Pavlovsky wrote in his article “The Life and Work of Anna Akhmatova” that “a great poet in one or another social situation or through the eyes of one or another generation can be read in different ways.” Akhmatova spoke about the sorrows and wanderings, insults and power, storms and deserts of her love - her own and only.”
V. Vinogradov approached Akhmatova’s poems as a kind of “individually closed system of linguistic means.”
Being a friend of Anna Andreevna herself, critic A. Naiman wrote that “her main and poetic feeling is the feeling of the extreme fragility of existence, the proximity of an inevitably approaching catastrophe.”
Also, everyone who wrote about Anna Akhmatova noted her tragic intonation with which her works were narrated. The love story expressed in verse is a reflection of a real life story that was tragic. Despite the fact that all critics assessed Akhmatova’s work differently, they were unanimous in the fact that she was a great poet, a great and profound artist. Anna Andreevna has come a long way in life, realizing the futility of the circle of life and people from which she came, but this was given to her with great difficulty, at the cost of suffering and blood. She is a person of great will and unyielding courage.
All these articles devoted to the theme of love in the works of Anna Akhmatova allow us to determine the range of problems:
1. Solve the mystery of the popularity of Akhmatova’s love lyrics.
2. Find the differences between early lyrics and lyrics from the 20s to the 30s.
3. What new did Akhmatova’s lyrics bring to Russian literature?
The purpose of my essay was the decision to explore the theme of love in the works of Anna Akhmatova, get acquainted with the opinions of critics and draw my own conclusions.
The world of deep and dramatic experiences, charm, wealth and uniqueness of personality are imprinted in the love lyrics of Anna Akhmatova. The theme of love certainly occupies a central place in her poetry. Genuine sincerity combined with strict harmony and the laconic capacity of the poetic language of Akhmatova’s love poems allowed her contemporaries to call her the Russian Sappho immediately after the release of her first poetry collections.
The poet's early love lyrics are perceived as a kind of lyrical diary. She speaks of simple human happiness and about earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone can experience and understand. (poem “Song of the Last Meeting”).
My chest was so helplessly cold,
My steps were light.
Yana put her right hand
Left hand glove.
It seemed like there were many steps,
Aya knew - there were only three of them!
Autumn whisper between the maples
He asked: “Die with me!”
I am deceived by my sadness,
Changeable, evil fate."
I answered: “Darling, dear!
I will also die with you..."
This is the song of the last meeting.
I looked at the dark house.
Only the candles were burning in the bedroom
Indifferent yellow fire.
Tsarskoe Selo.
Love in A. Akhmatova’s lyrics appears as a “fatal duel”; it is almost never depicted serenely, idyllically, but, on the contrary, in extreme crisis terms: at the moment of breakup, separation, loss of feeling or the first stormy blindness of passion. Usually her poems are the beginning of a drama or its climax. Her lyrical heroine pays for love with “torment of a living soul.” The combination of lyricism and epicness brings A. Akhmatova’s poems closer to the genres of the novel, short story, drama, and lyrical diary. One of the secrets of her poetic gift lies in her ability to fully express the most intimate and wonderfully simple things in herself and the world around her.
What is striking in her poems is the “stringy intensity of her experiences and the unmistakable accuracy of their sharp expression. This is Akhmatova’s strength...” (N.V. Nedobrovo).
It was hardly immediately after the appearance of her first book, and after “The Rosary” and “Belostai” in particular, that they started talking about the “mystery of Akhmatova.” The talent was obvious, but its essence was unusual and unclear. The “romance” noted by critics did not explain everything. How to explain, for example, the captivating combination of femininity and fragility with that firmness and clarity of design that testify to power and extraordinary, almost harsh will? At first they wanted to ignore this will, because it contradicted the “standard of femininity.” What aroused bewildered admiration was the strange laconicism of her love lyrics, in which passion resembled the silence of a thunderstorm and usually expressed itself in only two or three words, similar to the Nazarenes flashing behind a menacingly darkened horizon.
In the complex music of Akhmatova’s lyrics, in its barely flickering depths, in its shadows that escape the eyes, in the subsoil, in the subconscious, a special, frightening disharmony constantly lived and made itself felt, which embarrassed Akhmatova herself. She later wrote in “Poem Without a Hero” that she constantly heard an incomprehensible hum, as if some kind of underground bubbling, shifting and friction of those original solid rocks on which life had been eternally and reliably based, but which began to lose stability and balance.
The holidays were warmed by fires,
Carriages fell off bridges,
And the whole mourning city floated
To an unknown destination,
Along the Neva or against the current, -
Just away from your graves.
The arch blackened like a nagalier,
In the summer the weather vane sang subtly,
And the silver month is bright
It's frozen over the Silver Age.
Because on all roads,
Because to all thresholds
The shadow was slowly approaching,
The wind blew from the poster wall,
Smoke danced squat on the roof,
The cemetery smelled of lilacs.
Sworn by Queen Avdotya,
Dostoevsky and the possessed
The fog was leaving the city,
And looked out of the darkness again
Old St. Petersburg resident and reveler!
How the drum beat before the execution...
And always in the frosty stuffiness,
Pre-war, prodigal and menacing,
Some kind of future rumble,
But then he was heard more faintly,
He hardly bothered souls
I was drowning in the snowdrifts of the Neva...
The very first harbinger of such an alarming sensation was the poem “First Return” with its images of a mortal sleep, a shroud and a funeral bell, and with a general feeling of a sharp and irrevocable change.
Akhmatova’s love story included the era - she voiced and altered the poems in her own way, introducing into them a note of anxiety and sadness that had a broader meaning than her own fate.
It is for this reason that Akhmatova’s love lyrics over time, in the pre-revolutionary and then in the first post-revolutionary years, conquered more and more reading circles and generations and, without ceasing to be the object of admiring attention of fine connoisseurs, clearly came out of the seemingly intended narrow circle of readers.
A.I. Pavlovsky in his book “Anna Akhmatova - Life and Work” said that Akhmatova is truly the most characteristic heroine of her time, revealed in the infinite variety of women’s destinies: lover and wife, widow and mother, cheating and abandoned. According to A. Kollontai, Akhmatova gave “a whole book of a woman’s soul.” Akhmatova “poured into art” the complex history of the female character of a turning point era, its origins, breakdown, and new formation.
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. Herzen once said that a woman is “driven into love” as a great injustice in the history of mankind. In a certain sense, all the lyrics (especially the early ones) of Anna Akhmatova are “driven into love.” 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 lyric poetry of the twentieth century. Her poetry contains both “divinity” and “inspiration.” While maintaining the high importance of the idea of love associated with symbolism, Akhmatova returns it to a living and real, not at all abstract, character. The soul comes to life “Not for passion, not for fun, // For great earthly love”:
This meeting is unsung by anyone,
And without songs the sadness subsided.
Cool summer has arrived
It was as if a new life had begun.
The sky seems like a vault of stone,
Stung by yellow fire,
And more necessary than our daily bread
I have one word about him.
You, who sprinkle the grass with dew,
Revive my soul with the news, -
Not for passion, not for fun,
For great earthly love.
“Great earthly love” is the driving principle of all Akhmatova’s lyrics. It was she who made us see the world in a different way - no longer in a symbolist and not in an Acmeist way, but, to use the usual definition, realistically:
That fifth time of the year,
Just praise him.
Breathe the last freedom
Because it is love.
The sky flew high
The outlines of things are light,
And the body no longer celebrates
The anniversary of your sadness.
In this poem, Akhmatova called love “the fifth season of the year.” From this unusual, fifth time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold strength, truly reaching the heights of his sense of life. The world opens up in additional reality: After all, the stars were larger,
After all, the grass smelled different.
Poem “Love conquers deceitfully”:
Love conquers deceitfully
The motive is simple, unskillful
Just so recently - strange
You were gray and sad.
And when she smiled
In your gardens, in your house, in your field,
Everywhere it seemed to you
You are free and free.
You were bright when taken by her
Drinking her poison.
After all, the stars were larger
After all, the grass smelled differently,
Autumn grasses.
Tsarskoe Selo.
That’s why Akhmatova’s verse is so objective: it returns things to their original meaning, it focuses attention on what we are normally able to pass by indifferently, not appreciate, not feel.
And one more feature. In Akhmatova’s love poems, many epithets are born from an integral, indivisible, united perception of the world.
Akhmatova’s poems are literally “made” from everyday life, from simple everyday life - right down to the green washstand on which a pale evening ray plays. One involuntarily recalls the words spoken by Akhmatova in her old age, that poetry “grows from rubbish,” that even a spot of mold on a damp wall can become the subject of poetic inspiration and depiction.
It is not for nothing that, speaking about Akhmatova, about her love lyrics, critics (A.I. Pavlovsky, A. Naiman, A. Batalov) subsequently noticed that her love dramas, unfolding in verse, occur as if in silence: nothing is explained, nothing is commented on There are so few words that each of them carries a huge psychological load. “It is assumed that the reader should either guess, or, most likely, will try to turn to his own experience, and then it turns out that the poem is very broad in its meaning: its secret drama, its hidden plot relates to many, many people,” wrote A. Naiman (stories about Anna Akhmatova).
I pray to the window ray -
He is pale, thin, straight.
I've been silent since this morning,
The heart is in half.
My washstand
Green copper.
Notak plays a ray on it,
Which is fun to watch.
So innocent and simple
Evening silence
New this temple is empty
It's like a golden holiday
Comfort for me.
So it is in this early poem. It’s not so important to us what exactly happened in the heroine’s life? After all, the most important thing is pain, confusion and the desire to calm down at least by looking at a ray of sunshine - all this is clear, understandable and familiar to almost everyone. The wisdom of Akhmatova’s miniature, somewhat vaguely similar to the Japanese hoku, lies in the fact that it speaks of the healing power of nature for the soul. The sun’s ray, “so innocent and simple,” with equal affection illuminating both the greenery of the washstand and the human soul, is truly meaningful the center of this amazing poem.
This is the early lyric poetry of Anna Andreevna Akhmatova.
Akhmatova's lyrics changed noticeably in the 20s and 30s.
Because Akhmatova’s lyricism was constantly expanding throughout the post-revolutionary twenty years, incorporating more and more new ones that were previously not characteristic of her area, now the love story has occupied one of the main poetic territories in it.
Of course, the expansion of the range of poetry, which was a consequence of changes in the poet’s worldview and perception, could not, in turn, not affect the tonality and character of the love lyrics themselves. True, some of its characteristic features remained the same. The love episode, for example, as before, appears before us in a peculiar Akhmatovian guise: it, in particular, is never sequentially developed, it usually has neither end nor beginning; the love confession, despair or plea that makes up the poem always seems to the reader as would be a snippet of a conversation overheard by chance (poem “Oh, you thought - I’m like that too”).
Oh, you thought I was like that too
That you can forget me.
And that I will throw myself, begging and sobbing,
The hooves of a bay horse.
Ilistanu ask the healers
Spine in slanderous water
And I will send you a terrible gift -
My treasured fragrant scarf.
Damn you. Not a groan, not a glance
I will not touch the damned soul,
But I swear to you by the garden of angels,
I swear by the miraculous icon
Our other fiery children -
I will never return to you.
The heroine of Akhmatov’s poems, most often speaking as if to herself in a state of impulse, semi-delirium or ecstasy, naturally does not consider it necessary, and indeed cannot, further explain and explain to us everything that is happening. Only the basic signals of feelings are transmitted, without decoding, without comments, hastily - in the hasty alphabet of love. Hence the impression of extreme intimacy, extreme frankness of these lyrics. (poem “Somehow we managed to separate”).
Somehow we managed to separate
Put out the hateful fire.
Eternal enemy, it's time to learn
You really need to love someone.
I am free. Everything is fun for me
At night the music will fly to console,
Ana morning glory will be dragged
A rattle rattles over your ear.
It’s not worth remembering and praying
And when you leave, look back...
The black wind will calm me down.
The golden leaf fall is cheerful.
As a gift, I will accept separation
Deliverance is like grace.
But tell me, on the cross
Do you dare to send another?
Akhmatova's poems about love - everything! - pathetic. But - one way or another - Akhmatova’s love lyrics of the 20s and 30s are largely addressed to the inner, secretly spiritual life. The poems of this period are more psychological. If in “Evening” and “The Rosary” the feeling of love was depicted, as a rule, with the help of very few material details, now, without in the slightest degree abandoning the use of an expressive subject touch, Anna Akhmatova, for all her expressiveness, is still more flexible in the direct depiction of psychological content . Before us is still an explosion, a catastrophe, but now it is a thundercloud that has eclipsed all horizons, throwing thunder and lightning:
But if we meet eyes
I bow to you to heaven,
The granite will melt.
Akhmatova herself many times associated the excitement of her love with the great “Song of Songs” from the Bible, wrote the famous critic A.I. Pavlovsky.
Beginning with the “White Flock”, but especially in “Plantain”, “AnnoDomini” and in later cycles, her love feeling acquires a broader and more spiritual character. The poems of the 20s and 30s go to the very heights of the human spirit. They do not subjugate all of life, all of existence, as was the case before, but on the other hand, all of existence, all of life brings into love experiences the whole mass of shades inherent in them. Filled with this enormous content, love became not only richer and more colorful, but also truly tragic, wrote A. Batalov. (literary criticism “Next to Akhmatova”).
If you arrange Akhmatova’s love poems in a certain order, you can build a whole story with many mise-en-scenes, twists and turns, characters, random and non-random incidents. Meetings and separations, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, dedication, 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 poet himself, there constantly lived a burning, demanding dream of truly high love, undistorted in any way. Akhmatova’s love is a formidable, commanding, morally pure, all-consuming feeling that makes one remember the biblical line: “Strong as death, love is its arrows - arrows of fire.”
If you arrange Akhmatova’s love poems in a certain order, you will notice that at the very beginning of the lyric poems the heroine is proud, reverent, and tender. And at the end of the lyrical poems she is a woman who has learned a lot and has come a long way. But throughout her work, the lyrical heroine is strong and proud. This is one of the striking features of her love lyrics.
The second important feature of Akhmatova’s lyrical works is the role of everyday details.
Akhmatova has poems that are literally “made” from everyday life, from everyday, simple life. One involuntarily recalls the words of Anna Andreevna herself that poems “grow from rubbish”, that even mold stains on a damp wall, burdock, and nettles can become the subject of an image.
According to critic A.I. Pavlovsky, “the most important thing in her craft is vitality and realism, the ability to see poetry in ordinary life.” Her “material” details, sparingly presented but distinct everyday interiors, boldly introduced prosaisms, and most importantly, the internal connection that can always be traced in her between the external environment and the turbulent life of the heart, everything is reminiscent of not only prosaic, but also poetic classics.
The third feature of Anna Akhmatova’s works is the poems written in her lyrical diary. Akhmatova always preferred a “fragment” to a coherent, consistent story. The fragment added a documentary quality to the work: after all, before us is either an excerpt from an overheard conversation, or a dropped note:
He loved three things in the world:
Evening singing, white peacocks
Worn out maps of America.
I didn't like it when children cry
Didn't like raspberry tea
Women's hysteria.
...Aya was his wife.
"He loved..."
And the fourth feature is “romance”. For the first time, the idea of “romance” in Akhmatova’s work was expressed by Eikhenbaum. He wrote: “Akhmatova’s poetry is a complex lyrical novel. We can trace the development of the narrative lines that form it, we can talk about its composition, right down to the relationship of individual characters.”
V. Gippius also wrote interestingly about the “romanticism” of Anna Andreevna’s lyrics. He saw the key to Akhmatova’s success and influence in the fact that lyric poetry replaced the form of the novel, which had fallen asleep at that time.”
All those who wrote about Akhmatova noted the tragic intonation with which the plots of her books are narrated. That special intonation they called Akhmatova hinted at more than just another story of great and never-ending love.
I am very close to the position of the critic N.V. Nedobrovo, who noted that “the love theme and Akhmatova’s poetry as a whole is much broader and more significant than its traditional framework.” He pointed out that the distinctive feature of the poet’s personality is not weakness and brokenness, but, on the contrary, exceptional willpower. In the poems he saw “a lyrical soul that is rather hard than too soft, rather tough than tearful, and clearly dominant rather than oppressed.”
It is not for nothing that another critic A.I. Pavlovsky gave a high assessment of his analysis: “He, in fact, was the only one who understood before anyone else the true scale of Akhmatova’s poetry, pointing out that the distinctive feature of the poet’s personality is not weakness and brokenness, but, on the contrary, exceptional willpower.” And Anna Akhmatova herself believed that it was N.V. Nedobrovo who guessed and understood her entire future creative path.
There is a connection between the poet and the time in which she lived. On the one hand, her lyricism and creativity are a look, as it were, through the “prism of poetry,” which gave her the opportunity to overcome all difficulties.
On the other hand, her willpower and spirit did not allow her to lose herself, and made it possible to survive and remain a poet.
The main thing about the theme of love for Anna Akhmatova is the persistent quest for the spirit, the search for the meaning and height of life, which is accompanied by gestures of excitement, conscience, and faith:
And only my conscience gets worse every day
He's furious: he wants tribute from the great.
Covering my face, I answered her...
But there are no more tears, no more excuses.
Akhmatova is afraid to be frank in her confessions and pleas. It can only be understood by those who have the same “love code”.
“Without feeling landmarks, without seeing beacons, barely maintaining balance,” Anna Akhmatova was guided by the secret and powerful “intuitive power” of artistic creativity:
My sad Muse,
Like a blind person, she led me.
A great poet, in a given social situation, can be read in different ways. This is the property of any genuine art if it deeply and faithfully conveys at least one of the melodies of its time to its contemporaries.
Bibliography.
1. Pavlovsky A.I. "Anna Akhmatova: Life and Work." Enlightenment, 1991.
2. NaimanA. "Stories about Anna Akhmatova." Magazine "new world". 1989
3. BatalovaA. "Literary criticism: Next to Akhmatova." 1984
4. Sushilina I.K. "Anna Akhmatova's favorites." 1993
5. Gorlovsky A.S. "Song of Love: Russian Love Lyrics." 1986
Introduction.
The theme of love in the works of many poets occupied and occupies a central place, because love elevates and awakens the highest feelings in a person. At the turn of the last century, on the eve of the revolution, in an era shocked by two world wars, “women’s poetry” arose and took shape in Russia - the poetry of Anna Andreevna Akhmatova. Perhaps the theme of love in the work of this wonderful poet was one of the main themes.
This topic is very important at the beginning of the twentieth century because, during this time of great upheaval, man continued to love, to be high, noble, passionate.
A lot of critics have studied Akhmatova’s work. Among them, I would like to highlight N.V. Nedobrovo, who was one of the first to appreciate Akhmatova’s work. He wrote that the love theme in Akhmatova’s works is much broader and more significant than its traditional framework.
A.I. Pavlovsky wrote in his article “The Life and Work of Anna Akhmatova” that “a great poet in one or another social situation or through the eyes of one or another generation can be read in different ways.” Akhmatova spoke about the sorrows and wanderings, insults and power, storms and deserts of her love - her own and only.”
V. Vinogradov approached Akhmatova’s poems as a kind of “individually closed system of linguistic means.”
Being a friend of Anna Andreevna herself, critic A. Naiman wrote that “her main and poetic feeling is the feeling of the extreme fragility of existence, the proximity of an inevitably approaching catastrophe.”
Also, everyone who wrote about Anna Akhmatova noted her tragic intonation with which her works were narrated. The love story expressed in verse is a reflection of a real life story that was tragic. Despite the fact that all critics assessed Akhmatova’s work differently, they were unanimous in the fact that she was a great poet, a great and profound artist. Anna Andreevna has come a long way in life, realizing the futility of the circle of life and people from which she came, but this was given to her with great difficulty, at the cost of torment and blood. She is a person of great will and unyielding courage.
All these articles devoted to the theme of love in the works of Anna Akhmatova allow us to determine the range of problems:
1. Solve the mystery of the popularity of Akhmatova’s love lyrics.
2. Find the differences between early lyrics and lyrics in the 20s - 30s.
3. What new did Akhmatova’s lyrics bring to Russian literature?
The purpose of my essay was the decision to explore the theme of love in the works of Anna Akhmatova, get acquainted with the opinions of critics and draw my own conclusions.
The world of deep and dramatic experiences, charm, wealth and uniqueness of personality are imprinted in the love lyrics of Anna Akhmatova. The theme of love certainly occupies a central place in her poetry. Genuine sincerity, combined with strict harmony and the laconic capacity of the poetic language of Akhmatova’s love poems, allowed her contemporaries to call her the Russian Sappho immediately after the release of her first poetry collections.
The poet's early love lyrics are perceived as a kind of lyrical diary. She talks about simple human happiness and about earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone can experience and understand. (poem “Song of the Last Meeting”).
My chest was so helplessly cold,
But my steps were light.
I put it on my right hand
Glove from the left hand.
It seemed like there were a lot of steps,
And I knew - there are only three of them!
Autumn whispers between the maples
He asked: “Die with me!”
I'm deceived by my sadness,
Changeable, evil fate."
I replied: “Darling, darling!
And I will also die with you..."
This is the song of the last meeting.
I looked at the dark house.
Only candles were burning in the bedroom
Indifferent yellow fire.
Tsarskoye Selo.
Love in A. Akhmatova’s lyrics appears as a “fatal duel”; it is almost never depicted serenely, idyllically, but on the contrary, in an extremely crisis expression: at the moment of breakup, separation, loss of feeling or the first violent blindness of passion. Usually her poems are the beginning of a drama or its climax. Her lyrical heroine pays for love with “torment of a living soul.” The combination of lyricism and epicness brings A. Akhmatova’s poems closer to the genres of the novel, short story, drama, and lyrical diary. One of the secrets of her poetic gift lies in her ability to fully express the most intimate and wonderfully simple things in herself and the world around her.
In her poems one is struck by “the stringy intensity of experiences and the unmistakable accuracy of their sharp expression. This is Akhmatova’s strength...” (N.V. Nedobrovo).
Almost immediately after the appearance of her first book, and after “The Rosary” and “The White Flock” in particular, people started talking about the “mystery of Akhmatova.” The talent itself was obvious, but its essence was unusual and unclear. The “romance” noted by critics did not explain everything. How to explain, for example, the captivating combination of femininity and fragility with that firmness and clarity of design that testify to authority and an extraordinary, almost harsh will? At first they wanted to ignore this will, because it contradicted the “standard of femininity.” The strange laconicism of her love lyrics also evoked bewildered admiration, in which passion resembled the silence of a pre-thunderstorm and usually expressed itself in only two or three words, similar to lightning flashing behind a menacingly darkened horizon.
In the complex music of Akhmatova’s lyrics, in its barely flickering depths, in its darkness escaping from the eyes, in the subsoil, in the subconscious, a special, frightening disharmony constantly lived and made itself felt, which embarrassed Akhmatova herself. She later wrote in “Poem Without a Hero” that she constantly heard an incomprehensible hum, as if some kind of underground bubbling, shifting and friction of those original solid rocks on which life had been eternally and reliably based, but which began to lose stability and balance.
Christmastide was warmed by fires,
And the carriages fell off the bridges,
And the whole mourning city floated
For an unknown purpose,
Along the Neva or against the current, -
Just away from your graves.
There was a black arch in the galley,
In Letny the weather vane sang subtly,
And the silver moon is bright
It was freezing over the Silver Age.
Because on all roads,
Because to all thresholds
The shadow was slowly approaching
The wind tore posters from the wall,
The smoke danced squatting on the roof,
And the cemetery smelled of lilacs.
And sworn by Queen Avdotya,
Dostoevsky and the possessed
The city was fading into fog,
And looked out of the darkness again
An old St. Petersburg resident and a reveler!
How the drum beat before the execution...
And always in the frosty stuffiness,
Pre-war, prodigal and menacing,
There lived some kind of future hum,
But then he was heard more faintly,
He hardly bothered souls
And he drowned in the snowdrifts of the Neva...
The very first harbinger of such an unsettling sensation was the poem “The First Return” with its images of a mortal sleep, a shroud and a death knell, and with a general feeling of a sharp and irrevocable change.
Akhmatova’s love story included the era - she voiced and altered the poems in her own way, introducing into them a note of anxiety and sadness that had a broader meaning than her own fate.
It is for this reason that Akhmatova’s love lyrics over time, in the pre-revolutionary and then in the first post-revolutionary years, won more and more new readership circles and generations and, without ceasing to be the object of admiring attention of subtle connoisseurs, clearly went beyond the seemingly intended narrow circle of readers.
A.I. Pavlovsky in his book “Anna Akhmatova - Life and Work” said that Akhmatova is truly the most characteristic heroine of her time, revealed in the infinite variety of women’s destinies: lovers and wives, widows and mothers, cheating and abandoned. According to A. Kollontai, Akhmatova gave “a whole book of the female soul.” Akhmatova “poured into art” the complex history of the female character of a turning point era, its origins, breakdown, and new formation.
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. Herzen once said that a woman is “driven into love” as a great injustice in the history of mankind. In a certain sense, all the lyrics (especially the early ones) of Anna Akhmatova are “driven into love.” 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 poetry of the twentieth century. There is both “divinity” and “inspiration” in her poetry. While maintaining the high significance of the idea of love associated with symbolism, Akhmatova returns it to a living and real, by no means abstract character. The soul comes to life “Not for passion, not for fun, // For great earthly love”:
This meeting is not sung by anyone,
And without songs the sadness subsided.
Cool summer has arrived
It's like a new life has begun.
The sky seems like a vault of stone,
Stung by yellow fire,
And more necessary than our daily bread
I have one word about him.
You, who sprinkle the grass with dew,
Revive my soul with the news, -
Not for passion, not for fun,
For great earthly love.
“Great earthly love” 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, to use the usual definition, realistically:
That fifth time of the year,
Just praise him.
Breathe the last freedom
Because it is love.
The sky flew high
The outlines of things are light,
And the body no longer celebrates
The anniversary of your sadness.
In this poem, Akhmatova called love the “fifth season of the year.” From this unusual, fifth time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold force, truly reaching the heights of his sense of life. The world opens in additional reality: After all, the stars were larger,
After all, the herbs smelled different.
Poem “Love conquers deceitfully”:
Love conquers deceitfully
A simple, unsophisticated motive
Even so recently - strange
You weren't gray and sad.
And when she smiled
In your gardens, in your house, in your field,
Everywhere it seemed to you
That you are free and at liberty.
You were bright when you were taken by her
And drank her poison.
After all, the stars were larger
After all, the herbs smelled different,
Autumn herbs.
Tsarskoye Selo.
That’s why 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 appreciate, not feel.
And one more feature. In Akhmatova’s love poems, many epithets are born from a holistic, inseparable, united perception of the world.
Akhmatova contains poems that are literally “made” from everyday life, from simple everyday life - right down to the green washstand on which a pale evening ray plays. One involuntarily recalls the words spoken by Akhmatova in her old age, that poems “grow from rubbish,” that even a spot of mold on a damp wall can become the subject of poetic inspiration and depiction.
It is not for nothing that, speaking about Akhmatova, about her love lyrics, critics (A.I. Pavlovsky, A. Naiman, A. Batalov) subsequently noticed that her love dramas, unfolding in poetry, take place as if in silence: nothing is explained, nothing commented on, there are so few words that each of them carries a huge psychological load. “The reader is expected to either guess, or, most likely, try to turn to his own experience, and then it will turn out that the poem is very broad in its meaning: its secret drama, its hidden plot applies to many, many people,” - wrote A. Naiman (stories about Anna Akhmatova).
I pray to the window ray -
He is pale, thin, straight.
Today I have been silent since the morning,
And the heart is in half.
On my washstand
The copper has turned green.
But this is how the ray plays on him,
What fun to watch.
So innocent and simple
In the evening silence,
To this great feeling. At first it seems that these words have no meaning, they are opposite; How can you praise something that brings suffering and pain! But the antithesis here is not accidental: it contains the whole gamut of experiences from happy to unrequited love. Anna Akhmatova managed in just a few lines to convey not just a picture of the meeting or parting of the heroes, but also their thoughts and feelings through...
Sings and sadly "... Of course, in these lyrical moods, images and symbols it is not difficult to guess the influence of decadent philosophy, which has become a symbol Silver Age Russian poetry. 2.2 The lyrical heroine of Anna Akhmatova and the poetics of symbolism and acmeism The aesthetics of acmeism is in many ways close to the aesthetics of symbolism: the desire for the ideal, the unknowable, deep aestheticism, interest in the highest...
“Akhmatova brought to Russian lyric poetry all the enormous complexity and psychological richness of the Russian novel of the 19th century”
(O. E. Mandelstam)
The work of the wonderful poet A. A. Akhmatova is characterized by tragedy, sincerity, and artistic integrity. Her poems contain beauty, folk wisdom, uncompromising beliefs, love of life, and loyalty to the ideals of goodness and justice. Another great poet of the 20th century, M. Tsvetaeva, in a cycle of poems dedicated to Akhmatova, calls her “the muse of crying,” “the most beautiful of muses,” “the moon in the sky,” “the Muse of Tsarskoye Selo.”
Akhmatova’s lyrics infect with love for life, convey the movements of the soul - joy, delight from a meeting, sadness from unrequited love, pride in one’s feeling:
Left me on the new moonMy beloved friend. Well then!He joked: “Rope dancer!How will you survive until May?<...> The orchestra plays merrily, And the lips smile.But the heart knows, the heart knowsThat box five is empty!
Akhmatova’s poetry is characterized by deep psychologism and lyricism, the ability to reveal the very depths of a woman’s inner world. Feelings lyrical heroine are closely connected with a heightened perception of the objective world and convey her state of mind not directly, not lyrically, but through the things around her (this characteristic feature of Akhmatova’s poetics literary critic V. M. Zhirmunsky designated the term "material symbolism"). Let us illustrate Akhmatova’s characteristic “material symbolism” using the example of her poem “You can’t confuse real tenderness”:
Real tenderness cannot be confused with anything, and it is quiet. It’s in vain that you carefully wrap My shoulders and chest in furs. And in vain are the words submissive You talk about first love. How I know these stubborn, unsatisfied glances of yours.
The heroine’s emotional movements are conveyed in the poem through everyday life, the psychological theme unfolds in concrete, sensual details. Akhmatova’s beautiful poems were written about the experiences of a woman’s heart: "Real tenderness is notyou will confuse..."“Instead of wisdom, experience...”, “Waited for him in vain for many years...”, “You don’t love, don’t want to look...”, “He said that I have no rivals...” from a book of poems "Evening", "Rosary", " White flock", "Plantain".
“Akhmatova’s poetry is a complex lyrical novel,” Boris Eikhenbaum wrote after the release of the collection “Podorozhnik.” “It saturates the lyrics with plot specificity. In this sense, it is no less a revolutionary phenomenon in art than Mayakovsky.” Akhmatova’s lyrical “novel” conveys a variety of nuances , emotions, all the shades of her heroine’s feelings correspond to the poet’s chosen poetic meter. Akhmatova’s favorite poetic meter is the dolnik with its rhythmic diversity, mobility of stresses, and sometimes skipping them to convey intonation diversity. colloquial speech. As an example of a dolnik, the above-cited poem by the early Akhmatova “You Can’t Confuse True Tenderness” was included in many textbooks on literary theory.
One of Akhmatova’s most popular poems about love is "Gray-eyed ko"role"(1910). It contains a drama of feelings, a woman’s longing for her beloved, sadness from loss, tenderness for her “gray-eyed” daughter. It is impossible not to note the subtle psychologism of the poem.
creations. The psychologism of Akhmatova’s poetry and the “dramatic-tourism” style specific to her lyrics were noted in both domestic and foreign literary criticism. O. E. Mandelstam remarked on this matter in 1916 in the article “On Modern Poetry”: “The combination of the subtlest psychologism (Annensky school) with the song mode amazes our ears in Akhmatova’s poems. The psychological pattern in Akhmatova’s song is as natural as the veins of a maple leaf.” And in the 1922 article “Letters on Russian Poetry,” Mandelstam traces the origins of the psychologism of Akhmatova’s lyrics more deeply: “Akhmatova brought into Russian literature all the enormous complexity and psychological richness of the Russian novel of the 19th century. There would be no Akhmatova if it weren’t for Tolstoy with “Anna Karenina”, Turgenev with “The Noble Nest”, all of Dostoevsky and partly even Leskov. Akhmatova's genesis lies in Russian prose, not poetry. She developed her poetic form, sharp and original, with an eye on psychological prose.”
The language of Akhmatova’s poems is aphoristic, built according to the laws of colloquial speech, but this is the language of thought. In the lines of a poem "The Gray-Eyed King" direct speech and reflections of the lyrical heroine are included. ("You know, They brought him back from hunting, / They found his body near an old oak tree"); “I’ll wake up my daughter now...”). The details and events unfolding in the poem reveal the plot situation, the panorama of life, speak about tenderness, melancholy, jealousy, love, separation, death, sadness, and speak about a woman’s heart. The lyrical culmination - a breakthrough of feeling - is in the lines: “I’ll wake up my daughter now, / I’ll look into her gray eyes.” And in the end - the conclusion summed up by the “rustling poplars”: “Your king is not on earth.” The critic and friend of Akhmatova V. M. Zhirmunsky in his study “The Work of Anna Akhmatova” correctly and deeply named "colloquiality" her early poems. He noted that Akhmatova’s poems “are written as if with a prose story in mind, sometimes interrupted by individual emotional exclamations... it is based on psychological nuances.”
Akhmatova’s development as a national poet, as a subtle exponent of the inner life and spiritual wealth of man, determined her contact with oral folk art. Many of Akhmatova’s poems are written in the traditions of folklore: village ditties, folk laments, lamentations, chants, lullabies. “An excellent mastery of the poetic means of the Russian language was cultivated in her not only by the traditions of Russian classics, but also by constant contact with the living folk poetic element,” notes V. Zhirmunsky, exploring the originality of Akhmatova’s poetic manner. The root connection with folk lyrics, both in content and in highly artistic form, can be traced in the poem “There are many shiny rings on his hand...” The poetic means of folklore in the poem are also the technique of anthropomorphism, the humanization of inanimate objects (the ray talks with the lyrical hero, whispers “with prayer": "be proud of your dream"); and lively conversational intonation, and vivid comparisons, and metaphors, and repetition - an effective technique of folklore poetics, serving as a means of actively influencing the listener (“I will never give it to anyone”). The language of the verse is rich and flexible, it expresses the most subtle shades of feelings, delights the ear with its diversity, as it feeds on the juices of living colloquial speech:
There are many shiny rings on his hand- The tender hearts of girls conquered by him.There the diamond rejoices and the opal dreams,And the beautiful ruby is so intricately red.But there is no ring on my pale hand, I will never give it to anyone.The golden ray of the month bound him to meAnd, putting it on in a dream, he whispered to me with a prayer:“Keep this gift, be proud of your dream!”I will never give the rings to anyone.
He rightly said about the ennobling influence of Akhmatova’s poetry A. P. Platonov in the article "Anna Akhmatova"(written in 1940, published in 1966), seeing the source
the strength and significance of her poetry in connection with life: “Not every poet... can compare with Akhmatova in the power of her poems, which ennoble human nature.<...>Akhmatova is capable of creating the music of poetry from everyday experience, which is important for many.<...>The highest poet is the one who finds a poetic form for reality.<...>Let us appreciate Akhmatova for the uniqueness of her beautiful words, because when she pronounces them, she spends too much for us, and we will be inexhaustible in our gratitude to her.”
Patriotic note - distinguishing feature Akhmatova's poetry. For her, there is no aesthetics outside of ethics. Loyalty native land, human dignity, honor, love for the Fatherland dictated to the poet Akhmatova the lines of such works as the poem "Requiem" poems “I had a voice...”“I am not with those who abandoned the earth...”, “Native Land”, etc. Akhmatova claims that love for one’s Fatherland does not allow a person to leave “... his deaf and sinful land”, to leave “Russia forever”. Its slogan is “I am not with those who abandoned the earth / To be torn apart by enemies.” In Akhmatova’s poems there is perseverance and will, strength of character, and the poems themselves seemed to become Akhmatova’s destiny. They contain the poet’s internal biography, the direction of her creative searches, and the anticipation of recognition by descendants. B. L. Pasternak figuratively and rightly spoke about artistic realism as the “main and constant difference” inherent in Akhmatova’s work in the preface to Akhmatova’s collection, published in 1942 in Tashkent by the publishing house “Soviet Writer”: “Faith in the native sky and loyalty to her native land breaks out in her with the naturalness of her natural gait.” O. Mandelstam rightly wrote about the “severe and almost religious simplicity and solemnity” of Akhmatova’s poems back in 1916 in the article “On modern poetry. To the release of the “Almanac of Muses”, noting that Akhmatova's poetry is "close to becoming one of the symbols of the greatness of Russia."
- Why do you dream of wedding shoes? Why do you dream of wedding shoes with heels?
- Turkey stewed in a slow cooker: spicy, with vegetables, in sour cream, cream and walnuts
- Types of speech: description, narration and reasoning
- Martyrs Tatiana. Moscow Church of St. Martyrs Tatiana Temple of the Martyr Tatiana at Moscow State University schedule
- Milotici: return of the Russian village Moravov Alexander Viktorovich
- Why you shouldn't cry in front of the mirror
- Recommendations: what to grease the pies to make them rosy and appetizing
- Actors Spiderman Aunt May Aunt May in Spiderman
- Making sounds for children Lessons on making sounds for children
- Criteria for preparing an act on write-off of motor vehicles
- Pink salmon in the oven - delicious and easy recipes for baked fish Pink salmon fillet baked with vegetables
- Prayer of the unfading color for the preservation of the family
- Deciphering the natal chart of the house
- What does mulberry help with?
- Photo report “Birthday of Samuil Yakovlevich Marshak in the group”
- Breathing at high pressure Breathing correctly at high pressure
- Bryansk State University named after
- Tasks to test spelling and punctuation literacy
- Macroeconomic calendar
- Interesting signs about spiders