One of the brightest, most original and talented poets of the Silver Age, Anna Gorenko, better known to her admirers as Akhmatova, lived a long life full of tragic events. This proud and at the same time fragile woman witnessed two revolutions and two world wars. Her soul was seared by repression and the death of her closest people. The biography of Anna Akhmatova is worthy of a novel or film adaptation, which was repeatedly undertaken by both her contemporaries and the later generation of playwrights, directors and writers.

Anna Gorenko was born in the summer of 1889 in the family of a hereditary nobleman and retired naval mechanical engineer Andrei Andreevich Gorenko and Inna Erazmovna Stogova, who belonged to the creative elite of Odessa. The girl was born in the southern part of the city, in a house located in the Bolshoi Fontan area. She turned out to be the third oldest of six children.

As soon as the baby was one year old, the parents moved to St. Petersburg, where the head of the family received the rank of collegiate assessor and became a State Control official for special assignments. The family settled in Tsarskoe Selo, with which all Akhmatova’s childhood memories are connected. The nanny took the girl for a walk to Tsarskoye Selo Park and other places that were still remembered. Children were taught social etiquette. Anya learned to read using the alphabet, and she learned French in early childhood, listening to the teacher teach it to older children.

The future poetess received her education at the Mariinsky Women's Gymnasium. Anna Akhmatova began writing poetry, according to her, at the age of 11. It is noteworthy that she discovered poetry not with the works of Alexander Pushkin and, whom she fell in love with a little later, but with the majestic odes of Gabriel Derzhavin and the poem “Frost, Red Nose,” which her mother recited.

Young Gorenko fell in love with St. Petersburg forever and considered it the main city of her life. She really missed its streets, parks and Neva when she had to leave with her mother for Evpatoria, and then for Kyiv. Her parents divorced when the girl turned 16.

She completed her penultimate grade at home, in Evpatoria, and finished her last grade at the Kyiv Fundukleevskaya gymnasium. After completing her studies, Gorenko becomes a student at the Higher Courses for Women, choosing the Faculty of Law. But if Latin and the history of law aroused a keen interest in her, then jurisprudence seemed boring to the point of yawning, so the girl continued her education in her beloved St. Petersburg, at N.P. Raev’s historical and literary women’s courses.

Poetry

No one in the Gorenko family studied poetry, “as far as the eye can see.” Only on the side of Inna Stogova’s mother was a distant relative, Anna Bunina, a translator and poetess. The father did not approve of his daughter’s passion for poetry and asked not to disgrace his family name. Therefore, Anna Akhmatova never signed her poems with her real name. In her family tree, she found a Tatar great-grandmother who supposedly descended from the Horde Khan Akhmat, and thus turned into Akhmatova.

In her early youth, when the girl was studying at the Mariinsky Gymnasium, she met a talented young man, later the famous poet Nikolai Gumilyov. Both in Evpatoria and in Kyiv, the girl corresponded with him. In the spring of 1910, they got married in the St. Nicholas Church, which still stands today in the village of Nikolskaya Slobodka near Kiev. At that time, Gumilyov was already an accomplished poet, famous in literary circles.

The newlyweds went to Paris to celebrate their honeymoon. This was Akhmatova's first meeting with Europe. Upon his return, the husband introduced his talented wife into the literary and artistic circles of St. Petersburg, and she was immediately noticed. At first everyone was struck by her unusual, majestic beauty and regal posture. Dark-skinned, with a distinct hump on her nose, the “Horde” appearance of Anna Akhmatova captivated literary bohemia.

Soon, St. Petersburg writers find themselves captivated by the creativity of this original beauty. Anna Akhmatova wrote poems about love, and it was this great feeling that she sang all her life, during the crisis of symbolism. Young poets try themselves in other trends that have come into fashion - futurism and acmeism. Gumileva-Akhmatova gains fame as an Acmeist.

1912 becomes the year of a breakthrough in her biography. In this memorable year, not only was the poetess’s only son, Lev Gumilyov, born, but her first collection, entitled “Evening,” was also published in a small edition. In her declining years, a woman who has gone through all the hardships of the time in which she had to be born and create will call these first creations “the poor poems of an empty girl.” But then Akhmatova’s poems found their first admirers and brought her fame.

After 2 years, a second collection called “Rosary” was published. And this was already a real triumph. Fans and critics speak enthusiastically about her work, elevating her to the rank of the most fashionable poetess of her time. Akhmatova no longer needs her husband's protection. Her name sounds even louder than Gumilyov’s name. In the revolutionary year of 1917, Anna published her third book, “The White Flock.” It is published in an impressive circulation of 2 thousand copies. The couple separates in the turbulent year of 1918.

And in the summer of 1921, Nikolai Gumilyov was shot. Akhmatova was grieving the death of her son’s father and the man who introduced her to the world of poetry.

Since the mid-1920s, difficult times have come for the poetess. She is under close surveillance of the NKVD. It is not printed. Akhmatova’s poems are written “on the table.” Many of them were lost during travel. The last collection was published in 1924. “Provocative”, “decadent”, “anti-communist” poems - such a stigma on creativity cost Anna Andreevna dearly.

The new stage of her creativity is closely connected with soul-debilitating worries for her loved ones. First of all, for my son Lyovushka. In the late autumn of 1935, the first alarm bell rang for the woman: her second husband Nikolai Punin and son were arrested at the same time. They are released in a few days, but there will be no more peace in the life of the poetess. From now on, she will feel the ring of persecution around her tightening.

Three years later, the son was arrested. He was sentenced to 5 years in forced labor camps. In the same terrible year, the marriage of Anna Andreevna and Nikolai Punin ended. An exhausted mother carries parcels for her son to Kresty. During these same years, the famous “Requiem” by Anna Akhmatova was published.

To make life easier for her son and get him out of the camps, the poetess, just before the war, in 1940, published the collection “From Six Books.” Here are collected old censored poems and new ones, “correct” from the point of view of the ruling ideology.

Anna Andreevna spent the outbreak of the Great Patriotic War in evacuation in Tashkent. Immediately after the victory she returned to the liberated and destroyed Leningrad. From there he soon moves to Moscow.

But the clouds that had barely parted overhead—the son was released from the camps—condensed again. In 1946, her work was destroyed at the next meeting of the Writers' Union, and in 1949, Lev Gumilyov was arrested again. This time he was sentenced to 10 years. The unfortunate woman is broken. She writes requests and letters of repentance to the Politburo, but no one hears her.

After leaving yet another prison, the relationship between mother and son remained tense for many years: Lev believed that his mother put creativity in first place, which she loved more than him. He moves away from her.

The black clouds over the head of this famous but deeply unhappy woman disperse only at the end of her life. In 1951, she was reinstated in the Writers' Union. Akhmatova's poems are published. In the mid-1960s, Anna Andreevna received a prestigious Italian prize and released a new collection, “The Running of Time.” The University of Oxford also awards a doctorate to the famous poetess.

At the end of his years, the world-famous poet and writer finally had his own home. The Leningrad Literary Fund gave her a modest wooden dacha in Komarovo. It was a tiny house that consisted of a veranda, a corridor and one room.

All the “furniture” is a hard bed with bricks as a leg, a table made from a door, a Modigliani drawing on the wall and an old icon that once belonged to the first husband.

Personal life

This royal woman had amazing power over men. In her youth, Anna was fantastically flexible. They say she could easily bend over backwards, her head touching the floor. Even the Mariinsky ballerinas were amazed at this incredible natural movement. She also had amazing eyes that changed color. Some said that Akhmatova’s eyes were gray, others claimed that they were green, and still others claimed that they were sky blue.

Nikolai Gumilyov fell in love with Anna Gorenko at first sight. But the girl was crazy about Vladimir Golenishchev-Kutuzov, a student who did not pay any attention to her. The young schoolgirl suffered and even tried to hang herself with a nail. Luckily, he slipped out of the clay wall.

It seems that the daughter inherited her mother’s failures. Marriage to any of the three official husbands did not bring happiness to the poetess. Anna Akhmatova's personal life was chaotic and somewhat disheveled. They cheated on her, she cheated. The first husband carried his love for Anna throughout his short life, but at the same time he had an illegitimate child, about whom everyone knew. In addition, Nikolai Gumilyov did not understand why his beloved wife, in his opinion, not a genius poetess at all, evokes such delight and even exaltation among young people. Anna Akhmatova's poems about love seemed too long and pompous to him.

In the end they broke up.

After the breakup, Anna Andreevna had no end to her fans. Count Valentin Zubov gave her armfuls of expensive roses and was in awe of her mere presence, but the beauty gave preference to Nikolai Nedobrovo. However, he was soon replaced by Boris Anrepa.

Her second marriage to Vladimir Shileiko exhausted Anna so much that she said: “Divorce... What a pleasant feeling this is!”

A year after the death of her first husband, she breaks up with her second. And six months later she gets married for the third time. Nikolai Punin is an art critic. But Anna Akhmatova’s personal life did not work out with him either.

Deputy People's Commissar of Education Lunacharsky Punin, who sheltered the homeless Akhmatova after a divorce, also did not make her happy. The new wife lived in an apartment with Punin’s ex-wife and his daughter, donating money to a common pot for food. Son Lev, who came from his grandmother, was placed in a cold corridor at night and felt like an orphan, always deprived of attention.

Anna Akhmatova’s personal life was supposed to change after a meeting with the pathologist Garshin, but just before the wedding, he allegedly dreamed of his late mother, who begged him not to take a witch into the house. The wedding was cancelled.

Death

The death of Anna Akhmatova on March 5, 1966 seems to have shocked everyone. Although she was already 76 years old at that time. And she had been ill for a long time and seriously. The poetess died in a sanatorium near Moscow in Domodedovo. On the eve of her death, she asked to bring her the New Testament, the texts of which she wanted to compare with the texts of the Qumran manuscripts.

They rushed to transport Akhmatova’s body from Moscow to Leningrad: the authorities did not want dissident unrest. She was buried at the Komarovskoye cemetery. Before their death, the son and mother were never able to reconcile: they did not communicate for several years.

At his mother’s grave, Lev Gumilyov laid out a stone wall with a window, which was supposed to symbolize the wall in the Crosses, where she carried messages to him. At first there was a wooden cross on the grave, as Anna Andreevna requested. But in 1969 a cross appeared.

The Anna Akhmatova Museum is located in St. Petersburg on Avtovskaya Street. Another one was opened in the Fountain House, where she lived for 30 years. Later, museums, memorial plaques and bas-reliefs appeared in Moscow, Tashkent, Kyiv, Odessa and many other cities where the muse lived.

Poetry

• 1912 – “Evening”
• 1914 – “Rosary”
• 1922 – “White Flock”
• 1921 – “Plantain”
• 1923 – “Anno Domini MCMXXI”
• 1940 – “From six books”
• 1943 – “Anna Akhmatova. Favorites"
• 1958 – “Anna Akhmatova. Poems"
• 1963 – “Requiem”
• 1965 – “The Running of Time”

1. In 1965, Akhmatova’s last lifetime collection of poems, “The Running of Time,” was published, which aroused the delight of many admirers.
2. "Percussion Instruments" by E. Denisov
3. The poem “I don’t regret, I don’t call, I don’t cry...” was written by S.A. Yesenin in 1921. Its genre is elegy, the poem belongs to philosophical lyrics. Compositionally, it is built on the basis of antithesis. The youth of the lyrical hero is contrasted with mature age, the age of “autumn”. This theme of the transience of life unfolds in the poem gradually, gaining momentum in each stanza. At first, the lyrical hero notes how fleeting time is, he seems to be recording his age: I don’t regret, I don’t call, I don’t cry, Everything will pass like smoke from white apple trees. Withered in gold, I will no longer be young. Then he turns to the “heart,” to the “vagrant spirit,” noting the cooling of feelings, the stinginess of desires. In the voice of the lyrical hero one can hear mental fatigue and melancholy notes. His feelings are emphasized by multiple negations (triple negation in the first stanza and two negations further). The appeal to one’s “lost freshness” and to life is the culmination in the poem in developing the theme of the transience of time: Oh, my lost freshness, Riot of eyes and flood of feelings! Have I now become stingier in my desires, my life? or did I dream about you? As if I rode on a pink horse in the echoing early spring. This image of a pink horse symbolizes the poet’s youth, her dreams and ideals, the tenderness of her soul. At the same time, the lyrical hero here is aware of the signs of the illusory nature of life in general. The last stanza completes the development of the motif and is a kind of denouement, coloring the entire work with a completely different intonation: All of us, all of us in this world are perishable, Copper quietly pours from the maple leaves... May you be blessed forever, That has come to flourish and die. There is no longer denial here, but there is affirmation, affirmation of the rationality of life, time and nature. Thus, antitheticalness is present in every stanza of the poem. In addition, two natural images (“white apple trees smoke” and maple “copper leaves”) create a ring composition in Yesenin.

Ketova Alexandra. Grade 10

The purpose of our work is to analyze the main artistic techniques and means in the poems of the collections “Evening” and “Rosary”, which create the lyrical diary of the poetess.

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Early collections of Anna Andreevna Akhmatova as a lyrical diary of the poetess

Performed by Ketova Alexandra,

student of class 10A

Scientific adviser -

Mikusheva T.A.,

teacher of Russian language and literature

Syktyvkar 2016

Introduction……………………………………………………………………………….3

Chapter I……………………………………………………………………………….4

Chapter II…………………………………………………………………………………8

Conclusion……………………………………………………………..31

References………………………………………………………..32

Introduction

Recently, interest in the Silver Age has increased significantly, because for many years the Russian reader did not have the opportunity to fully study the work of many great poets: Gumilyov and Mandelstam, Tsvetaeva and Akhmatova. The work of Anna Andreevna Akhmatova is especially attractive. 2012 marked the 100th anniversary of the publication of her first poetry collection, “The Rosary.” Since that time, a new great name has appeared in Russian poetry. Akhmatova's early poems reflect the deep inner world and individuality of the poetess. Many researchers call Anna Andreevna's first collections a lyrical diary. The basis of Akhmatova’s early lyrics is Acmeism, a literary movement that opposes symbolism and arose at the beginning of the 20th century in Russia. The Acmeists proclaimed materiality, objectivity of themes and images, and precision of words. The main criterion of Acmeism was attention to the word, to the beauty of the sounding verse.

The purpose of our work– analysis of the main artistic techniques and means in the poems of the collections “Evening” and “Rosary”, creating the lyrical diary of the poetess.

To achieve the goal, the following tasks had to be completed:

• study the biography of the poetess;
• get acquainted with the history of the creation of collections (“Evening” and “Rosary”);
• consider the themes of the poems;
• analyze the techniques and devices in poems.

The work puts forward the following hypothesis: Anna Akhmatova uses many poetic techniques and means to create a special intimacy and chamberness of poems, that is, to create a lyrical diary.

The following research methods were used in the work: analysis, comparison, juxtaposition, interpretation.

The work consists of an introduction, two chapters, a conclusion and a list of references.

CHAPTER I

1.1.Biography

Anna Andreevna Akhmatova is a Russian poetess, translator and literary critic, one of the most significant figures in Russian literature of the 20th century.

In the spring of 1910, after several refusals, Akhmatova agreed to become the wife of Nikolai Gumilyov, many of her poems are dedicated to him. From the very beginning of her family life, the poetess defended spiritual independence; she made an attempt to get published without the help of Gumilyov, and in the fall of 1910 she submitted poems to the magazines “Gaudeamus”, “General Journal”, “Apollo”, which published them. When Gumilev returns from an African trip (March 1911), Akhmatova reads to him everything he wrote during the winter and for the first time receives her husband’s full approval of her literary experiments. From that time on, she became a professional writer. In 1912, participants in the newly formed “Workshop of Poets,” of which Akhmatova was elected secretary, announced the emergence of the poetic school of Acmeism. At the same time, her collection “Evening” gained very early success.

The poetess was recognized as a Russian classic back in the 1920s, but she was subjected to repression and persecution both during her lifetime and more than two decades after her death. At the same time, Akhmatova’s name, even during her lifetime, was surrounded by fame among poetry admirers both in the USSR and in exile.

Her fate was tragic. Three people close to her were subjected to repression: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in a camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930-1940s and 1940-1950s. The grief of the wives and mothers of “enemies of the people” was reflected in one of Akhmatova’s most significant works - the poem “Requiem”.

Let's move on to the history of the creation of the poetess's first collections.

1.2.Collection “Evening”

Anna Akhmatova's first book, “Evening,” containing 40 poems, was published at the very beginning of March 1912, in St. Petersburg, by the Acmeist publishing house “Poets Workshop.” To publish 300 copies, the head of the publishing house, poet and critic (and husband of the poetess) Nikolai Stepanovich Gumilyov paid one hundred rubles from his own pocket.

The unexpected happened: “Evening” became the main event of the season. The collection of Akhmatova, unknown to anyone just yesterday, delighted readers so much that everything was sold out. People became interested in the author's biography. In general, there were all the signs of success.

Evening is the time of day following day and preceding night. Sometimes its beginning is associated with the sun reaching the horizon and the beginning of twilight. Thus, the name is associated with the end of life before eternal night. In the collection “Evening,” Akhmatova recalls her childhood and compares what she experienced with the present.

1.3.Collection "Rosary"

Let's look at Anna Andreevna's second collection. He, too, was an extraordinary success. The publication of “The Rosary” by the Hyperborey publishing house in 1914 made Akhmatova’s name known throughout Russia. The first edition was published in 1000 copies. The main part of the first edition of “The Rosary” contains 52 poems, 28 of which were previously published. Until 1923, the book was reprinted eight times. Many poems of the “Rosary” have been translated into foreign languages. Press reviews were favorable.

“Rosary beads” are the heroine’s intimate experiences. Rosaries are beads strung on a thread or braid. Like most young poets, Anna Akhmatova often uses words: pain, melancholy, death. This so natural and therefore beautiful youthful pessimism has until now been the property of “tests of the pen” and, it seems, in Akhmatova’s poems for the first time received its place in poetry. Both collections are intimate in nature.

1.4.Working with terms

Throughout her life, Anna Andreevna kept a diary. However, it became known only 7 years after the death of the poetess.

To analyze the poems in Akhmatova’s collections, it is necessary to consider a literary genre such as a diary.

A diary is a collection of fragmentary entries that are made for oneself, kept regularly and most often accompanied by a date. Such records (“notes”) organize individual experience and, as a written genre, accompany the formation of individuality in culture, the formation of “I” - in parallel with them, the forms of memoirs and autobiography develop.

Let's turn to the diary as a literary form. It is a literary work (diary novel) or other publications that use the diary form and stylize it.

Features of the diary as a literary genre:

• utmost sincerity;
• authenticity, expression of one’s feelings, usually without regard to anyone else’s opinion;
• chronological sequence of events;
• display of everyday details, the world of things.

A diary in literature uses these traits to reveal the hero’s state of mind, to show the formation and development of his personality

To analyze Akhmatova’s poems, it is also necessary to turn to such concepts of literary theory as character, intimacy, and detail.

Character - an artistic image of a person in a literary work, outlined with a certain completeness and individual certainty, through which both a historically determined type of behavior and the moral and aesthetic concept of human existence inherent in the author are revealed. The principles and techniques of character reconstruction vary depending on the tragic, satirical and other ways of depicting life, on the literary type of the work and genre; they largely determine the face of a literary movement.

Intimacy - closeness, sincerity, intimacy, confessionality, personality, friendliness, bosomness (Dictionary of Russian synonyms)

Detail.

Artistic detail(French detail - part, detail) - a particularly significant, highlighted element of an artistic image, expressive detail in a work, carrying a significant semantic and ideological-emotional load. A detail is capable of conveying the maximum amount of information with the help of a small amount of text; with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), the interior, the setting.

Let's look at the techniques for creating a lyrical diary in Akhmatova's collections in the second chapter.

CHAPTER II

The collections “Evening” and “Rosary” are particularly intimate and intimate, which allowed us to call them a lyrical diary. We will consider the following means of creating it: extreme sincerity; authenticity, expression of one’s feelings; chronological sequence of events; display of everyday details, the world of things.

1.Uttomest sincerity.

In her works, the poetess is frank with the reader, she opens him a secret door into her heart, lays out everything as if in spirit. Poems are often imbued with the cry of her soul; they trace the state of the author.

2. Credibility, expression of one’s feelings.

The mood of the lyrical heroine is expressed through verbs that convey her emotional state.

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...

It’s strange to remember: my soul was yearning,

I was choking in a dying delirium.

And now I'm a toy became,

Like my pink cockatoo friend.

Gasping for breath, I shouted: “It’s a joke.

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

Smiled calm and creepy

And he told me: “Don’t stand in the wind.”

Was stuffy from the burning light,

And his glances are like rays.

I just shuddered: this

Maybe he can tame me.

Leaned over - he would say something...

The blood drained from his face.

Let the gravestone will lie down

On my life love.

Do you want to know how it all happened? -

It struck three in the dining room,

And, saying goodbye, holding the railing,

It's like she's having a hard time said:

"That's all... Oh, no, I I forgot

I love you, I loved you

Already then!" -

"Yes".

I prayed, choked, screamed, lost my mind, loved - all these verbs tell about the inner experiences of the poetess, convey her pain and suffering, joy and excitement, melancholy and confusion.

3. Chronology

4. Details and the world of things.

A special feature of Akhmatova’s lyrics is that the poetess turned ordinary things, everyday objects into the subject of poetry.

Conclusion: Anna Akhmatova’s early collections of poems “Evening” and “Rosary Beads” are truly the poetess’s personal diary, reflecting the events of her life, personal experiences and the world of things in which she was surrounded.

Conclusion

The fate of Anna Akhmatova was tragic. Three people close to her were subjected to repression: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in a camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930-1940s and 1940-1950s. Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and persecution (including the 1946 resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, which was not repealed during her lifetime); many works were not published in her homeland not only during the author’s lifetime, but and for more than two decades after her death. At the same time, Akhmatova’s name, even during her lifetime, was surrounded by fame among poetry admirers both in the USSR and in exile.

In her earliest works, the poetess was frank with the reader, she opens him a secret door into her heart, lays out everything as if in spirit. Poems often become the cry of her soul; they reveal the state of the author. Verbs that convey her emotional state help express the mood of the lyrical heroine.

We have established a chronological sequence in the collections. Akhmatova makes ordinary things, everyday details the subject of high poetry.

Thus, we can conclude that Anna Akhmatova’s first collections are indeed her lyrical diary, because meet such criteria as extreme sincerity, authenticity of expression of one’s feelings, chronological sequence, display of everyday details, the world of things.

Bibliography

1. A.A.Akhmatova. Poems and poems. M.: EKSMO-PRESS, 2000

2. History of Russian literature of the twentieth century. Textbook for general education institutions. In 2 volumes. – M.: Mnemosyne, 2013

3. http://litved.rsu.ru;

4. http://uchitel-slovesnosti.ru;

5. http://referatwork.ru

6. http://literatura5.narod.ru

7. http://www.stihi-rus.ru/1/Ahmatova/

8. http://anna.ahmatova.com

And Nna Akhmatova wrote about herself that she was born in the same year as Charlie Chaplin, Tolstoy’s “Kreutzer Sonata” and the Eiffel Tower. She witnessed the change of eras - she survived two world wars, a revolution and the siege of Leningrad. Akhmatova wrote her first poem at the age of 11 - from then until the end of her life she did not stop writing poetry.

Literary name - Anna Akhmatova

Anna Akhmatova was born in 1889 near Odessa into the family of a hereditary nobleman, retired naval mechanical engineer Andrei Gorenko. The father was afraid that his daughter’s poetic hobbies would disgrace his family name, so at a young age the future poetess took a creative pseudonym - Akhmatova.

“They named me Anna in honor of my grandmother Anna Egorovna Motovilova. Her mother was a Chingizid, the Tatar princess Akhmatova, whose surname, not realizing that I was going to be a Russian poet, I made my literary name.”

Anna Akhmatova

Anna Akhmatova spent her childhood in Tsarskoe Selo. As the poetess recalled, she learned to read from Leo Tolstoy’s “ABC,” and began speaking French while listening to the teacher teach her older sisters. The young poetess wrote her first poem at the age of 11.

Anna Akhmatova in childhood. Photo: maskball.ru

Anna Akhmatova. Photos: maskball.ru

Gorenko family: Inna Erasmovna and children Victor, Andrey, Anna, Iya. Photo: maskball.ru

Akhmatova studied at the Tsarskoye Selo Women's Gymnasium “at first it’s bad, then it’s much better, but always reluctantly”. In 1905 she was home schooled. The family lived in Yevpatoria - Anna Akhmatova’s mother separated from her husband and went to the southern coast to treat tuberculosis that had worsened in children. In the following years, the girl moved to relatives in Kyiv - there she graduated from the Fundukleevsky gymnasium, and then enrolled in the law department of the Higher Women's Courses.

In Kyiv, Anna began to correspond with Nikolai Gumilyov, who courted her back in Tsarskoe Selo. At this time, the poet was in France and published the Parisian Russian weekly Sirius. In 1907, Akhmatova’s first published poem, “On His Hand There Are Many Shining Rings...”, appeared on the pages of Sirius. In April 1910, Anna Akhmatova and Nikolai Gumilev got married - near Kiev, in the village of Nikolskaya Slobodka.

As Akhmatova wrote, “No other generation has had such a fate”. In the 30s, Nikolai Punin was arrested, Lev Gumilyov was arrested twice. In 1938, he was sentenced to five years in forced labor camps. About the feelings of the wives and mothers of “enemies of the people” - victims of repressions of the 1930s - Akhmatova later wrote one of her famous works - the autobiographical poem “Requiem”.

In 1939, the poetess was accepted into the Union of Soviet Writers. Before the war, Akhmatova’s sixth collection, “From Six Books,” was published. “The Patriotic War of 1941 found me in Leningrad”, - the poetess wrote in her memoirs. Akhmatova was evacuated first to Moscow, then to Tashkent - there she spoke in hospitals, read poetry to wounded soldiers and “greedily caught news about Leningrad, about the front.” The poetess was able to return to the Northern capital only in 1944.

“The terrible ghost pretending to be my city amazed me so much that I described this meeting of mine with him in prose... Prose has always seemed to me both a mystery and a temptation. From the very beginning I knew everything about poetry - I never knew anything about prose.”

Anna Akhmatova

"Decadent" and Nobel Prize nominee

In 1946, a special Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks was issued “On the magazines “Zvezda” and “Leningrad” - for “providing a literary platform” for “unprincipled, ideologically harmful works.” It concerned two Soviet writers - Anna Akhmatova and Mikhail Zoshchenko. They were both expelled from the Writers' Union.

Kuzma Petrov-Vodkin. Portrait of A.A. Akhmatova. 1922. State Russian Museum

Natalia Tretyakova. Akhmatova and Modigliani at an unfinished portrait

Rinat Kuramshin. Portrait of Anna Akhmatova

“Zoshchenko portrays Soviet orders and Soviet people in an ugly caricature, slanderously presenting Soviet people as primitive, uncultured, stupid, with philistine tastes and morals. Zoshchenko’s maliciously hooligan portrayal of our reality is accompanied by anti-Soviet attacks.
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Akhmatova is a typical representative of empty, unprincipled poetry, alien to our people. Her poems, imbued with the spirit of pessimism and decadence, expressing the tastes of the old salon poetry, frozen in the positions of bourgeois-aristocratic aesthetics and decadence, “art for art’s sake,” which does not want to keep pace with its people, harm the education of our youth and cannot be tolerated in Soviet literature".

Excerpt from the Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad”

Lev Gumilyov, who after serving his sentence volunteered to go to the front and reached Berlin, was again arrested and sentenced to ten years in forced labor camps. Throughout his years of imprisonment, Akhmatova tried to achieve the release of her son, but Lev Gumilyov was released only in 1956.

In 1951, the poetess was reinstated in the Writers' Union. Having never had her own home, in 1955 Akhmatova received a country house in the village of Komarovo from the Literary Fund.

“I didn’t stop writing poetry. For me, they represent my connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country. I am happy that I lived during these years and saw events that had no equal.”

Anna Akhmatova

In 1962, the poetess completed work on “Poem without a Hero,” which she wrote over 22 years. As the poet and memoirist Anatoly Naiman noted, “Poem without a Hero” was written by the late Akhmatova about the early Akhmatova - she recalled and reflected on the era she found.

In the 1960s, Akhmatova's work received wide recognition - the poetess became a Nobel Prize nominee and received the Etna-Taormina literary prize in Italy. Oxford University awarded Akhmatova an honorary doctorate of literature. In May 1964, an evening dedicated to the 75th anniversary of the poetess was held at the Mayakovsky Museum in Moscow. The following year, the last lifetime collection of poems and poems, “The Running of Time,” was published.

The illness forced Anna Akhmatova to move to a cardiological sanatorium near Moscow in February 1966. She passed away in March. The poetess was buried in the St. Nicholas Naval Cathedral in Leningrad and buried at the Komarovskoye cemetery.

Slavic professor Nikita Struve

Anna Andreevna Akhmatova (surname at birth - Gorenko; June 11, 1889, Odessa, Russian Empire - March 5, 1966, Domodedovo, Moscow region, RSFSR, USSR) - one of the largest Russian poets of the 20th century, writer, literary critic, literary critic, translator.
The poet's fate was tragic. Although she herself was not imprisoned or exiled, three people close to her were subjected to repression (her husband in 1910-1918 N.S. Gumilev was shot in 1921; Nikolai Punin, her life partner in the 1930s, was arrested three times , died in a camp in 1953; only son Lev Gumilyov spent more than 10 years in prison in the 1930s-1940s and in the 1940s-1950s). The grief of the widow and mother of imprisoned “enemies of the people” is reflected in one of Akhmatova’s most famous works, the poem “Requiem.”
Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and persecution; many of her works were not published not only during the author’s lifetime, but also for more than two decades after her death. Even during her lifetime, her name was surrounded by fame among wide circles of poetry admirers both in the USSR and in emigration.
Biography
Akhmatova was adjacent to Acmeism (collections “Evening”, 1912, “Rosary”, 1914). Loyalty to the moral foundations of existence, the psychology of female feelings, comprehension of the national tragedies of the 20th century, coupled with personal experiences, attraction to the classical style of poetic language in the collection “The Running of Time. Poems. 1909-1965". Autobiographical cycle of poems “Requiem” (1935-1940; published 1987) about the victims of repression of the 1930s. In “Poem without a Hero” (published in full 1976) there is a recreation of the “Silver Age” era. Articles about the Russian poet Alexander Sergeevich Pushkin.
Family. Childhood. Studies. Anna Akhmatova born June 23, 1889, in Bolshoy Fontan, near Odessa. Her ancestors on her mother’s side, according to family legend, went back to the Tatar Khan Akhmat. His father was a mechanical engineer in the navy and occasionally dabbled in journalism. As a child, Akhmatova lived in Tsarskoe Selo, where in 1903 she met Nikolai Stepanovich Gumilyov and became a regular recipient of his poems. In 1905, after her parents’ divorce, she moved to Evpatoria. In 1906-1907, Anna Andreevna studied at the Fundukleevskaya gymnasium in Kyiv, in 1908-1910 - at the law department of the Kyiv Higher Women's Courses. Then she attended N.P. Raev’s women’s historical and literary courses in St. Petersburg (early 1910s).
Gumilev. In the spring of 1910, after several refusals, Anna Akhmatova agreed to become Gumilyov’s wife (in 1910-1916 she lived with him in Tsarskoye Selo); On her honeymoon she made her first trip abroad, to Paris (she visited there again in the spring of 1911), met Amedeo Modigliani, who made pencil portrait sketches of her. In the spring of 1912, the Gumilevs traveled around Italy; their son Lev was born in September. In 1918, having divorced Gumilev (the marriage actually broke up in 1914), Akhmatova married Assyriologist and poet Vladimir Kazimirovich Shileiko (real name Voldemar).

Anna Akhmatova's first publications. First collections. Writing poetry from the age of 11 and publishing from the age of 18 (the first publication was in the Sirius magazine published by Gumilyov in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience in the summer of 1910. Defending spiritual independence from the very beginning of her family life, Anna made an attempt to get published without Gumilyov’s help - in the fall of 1910 she sent poems to V. Ya. Bryusov’s “Russian Thought”, asking whether she should study poetry, then gave poems to the magazines “Gaudeamus”, “General Journal”, “Apollo”, which, in contrast from Bryusov, they were published. Upon Gumilyov’s return from his African trip, Akhmatova reads to him everything he had written over the winter and for the first time received full approval for her literary experiments. From that time on, she became a professional writer. Her collection “Evening,” released a year later, gained very early success. In the same 1912, participants had recently The so-called “Workshop of Poets” (Akhmatova was elected its secretary) announced the emergence of the poetic school of Acmeism.
Under the sign of growing metropolitan fame, Akhmatova’s life passed in 1913: Anna spoke to a crowded audience at the Higher Women’s Courses, her portraits were painted by artists, and poets addressed her with poetic messages. New, more or less long-lasting intimate attachments of Akhmatova arose - to the poet and critic N.V. Nedobrovo, to the composer A.S. Lurie and others. In 1914, Anna Akhmatova’s second collection, “The Rosary” (reprinted about 10 times), brought her All-Russian fame, which gave rise to numerous imitations, which established the concept of “Akhmatov’s line” in the literary consciousness. In the summer of 1914, Akhmatova wrote the poem “Near the Sea,” which goes back to her childhood experiences during summer trips to Chersonesus near Sevastopol.
"White Flock". With the outbreak of World War I, Anna Akhmatova sharply limited her public life. At this time she suffered from tuberculosis, a disease that did not let her go for a long time. In-depth reading of the classics (A.S. Pushkin, Evgeniy Abramovich Baratynsky, Jean Racine, etc.) affects her poetic manner, the acutely paradoxical style of quick psychological sketches gives way to neoclassical solemn intonations. Insightful criticism discerns in her collection “The White Flock” (1917) a growing “sense of personal life as a national, historical life.” Inspiring an atmosphere of “mystery” and an aura of autobiographical context in her early poems, Anna Andrevna introduced free “self-expression” as a stylistic principle into high poetry. The apparent fragmentation, disorganization, spontaneity of lyrical experience is more and more clearly subordinated to a strong integrating principle, which gave Vladimir Vladimirovich Mayakovsky a reason to note: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.”
Post-revolutionary years. The first post-revolutionary years in the life of Anna Akhmatova were marked by hardships and complete separation from the literary environment, but in the fall of 1921, after the death of Blok and the execution of Gumilyov, she, having parted with Shileiko, returned to active work - participated in literary evenings, in the work of writers' organizations, and published in periodicals . In the same year, two of her collections were published - “Plantain” and “Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova united her fate with art critic Nikolai Nik Olaevich Punin.
Years of silence. "Requiem". In 1924, Akhmatova’s new poems were published for the last time before a multi-year break, after which an unspoken ban was imposed on her name. Only translations appeared in print, as well as an article about Pushkin’s “The Tale of the Golden Cockerel.” In 1935, her son L. Gumilyov and Punin were arrested, but after Akhmatova’s written appeal to Stalin they were released. In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities; in 1938, Anna Andreevna’s son was arrested again. The experiences of these painful years, expressed in poetry, made up the “Requiem” cycle, which the poetess did not dare to record on paper for two decades. In 1939, after a semi-interested remark from Stalin, publishing authorities offered Anna a number of publications. Her collection “From Six Books” was published, which included, along with old poems that had passed strict censorship selection, new works that arose after many years of silence. Soon, however, the collection was subjected to ideological criticism and removed from libraries.
War. Evacuation. In the first months of the Great Patriotic War, Anna Akhmatova wrote poster poems. By order of the authorities, she was evacuated from Leningrad before the first winter of the siege; she spent two and a half years in Tashkent. She wrote many poems and worked on “Poem without a Hero” (1940-1965), a baroque-complicated epic about the St. Petersburg 1910s.
Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. In 1945-1946, Anna Andreevna incurred the wrath of Stalin, who learned about the visit of the English historian Isaiah Berlin to her. The Kremlin authorities made her, along with Mikhail Mikhailovich Zoshchenko, the main object of party criticism; the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, “On the magazines “Zvezda” and “Leningrad” (1946), directed against them, tightened the ideological dictate and control over the Soviet intelligentsia, misled by the emancipating spirit national unity during the war. There was a publication ban again; an exception was made in 1950, when Akhmatova imitated loyal feelings in her poems written for Stalin's anniversary in a desperate attempt to soften the fate of her son, who was once again imprisoned.
last years of life. In the last decade of A. Akhmatova’s life, her poems gradually, overcoming the resistance of party bureaucrats and the timidity of editors, came to a new generation of readers. In 1965, the final collection “The Running of Time” was published. In her dying days, she was allowed to accept the Italian Etna-Taormina Literary Prize (1964) and an honorary doctorate from Oxford University (1965).

Creative activity
One of the most talented poets of the Silver Age, Anna Akhmatova, lived a long life, full of both bright moments and tragic events. She was married three times, but did not experience happiness in any marriage. She witnessed two world wars, during each of which she experienced an unprecedented creative surge. She had a difficult relationship with her son, who became a political repressant, and until the end of the poetess’s life he believed that she chose creativity over love for him.
Anna Andreeva Gorenko was born on June 11, 1889 in Odessa. Her father, Andrei Antonovich Gorenko, was a retired captain of the second rank, who, after finishing his naval service, received the rank of collegiate assessor. The poetess's mother, Inna Stogova, was an intelligent, well-read woman who made friends with representatives of the creative elite of Odessa. However, Akhmatova will have no childhood memories of the “pearl by the sea” - when she was one year old, the Gorenko family moved to Tsarskoe Selo near St. Petersburg. Since childhood, Anna was taught French language and social etiquette, which was familiar to any girl from an intelligent family. Anna received her education at the Tsarskoye Selo women's gymnasium, where she met her first husband Nikolai Gumilyov and wrote her first poems. Having met Anna at one of the gala evenings at the gymnasium, Gumilev was fascinated by her and since then the fragile dark-haired girl has become a constant muse of his work.
First verse Akhmatova composed it at the age of 11 and after that she began to actively improve in the art of versification. The poetess’s father considered this activity frivolous, so he forbade her to sign her creations with the surname Gorenko. Then Anna took her great-grandmother’s maiden name - Akhmatova. However, very soon her father completely ceased to influence her work - her parents divorced, and Anna and her mother moved first to Yevpatoria, then to Kiev, where from 1908 to 1910 the poetess studied at the Kiev Women's Gymnasium. In 1910, Akhmatova married her longtime admirer Gumilyov. Nikolai Stepanovich, who was already a fairly well-known personality in poetic circles, contributed to the publication of his wife’s poetic works. Akhmatova’s first poems began to be published in various publications in 1911, and in 1912 her first full-fledged poetry collection, “Evening,” was published. In 1912, Anna gave birth to a son, Lev, and in 1914 fame came to her - the collection “Rosary Beads” received good reviews from critics, Akhmatova began to be considered a fashionable poetess. By that time, Gumilyov’s patronage ceases to be necessary, and discord sets in between the spouses. In 1918, Akhmatova divorced Gumilev and married the poet and scientist Vladimir Shileiko. However, this marriage was short-lived - in 1922, the poetess divorced him, so that six months later she would marry art critic Nikolai Punin. Paradox: Punin will subsequently be arrested almost at the same time as Akhmatova’s son, Lev, but Punin will be released, and Lev will go to prison. Akhmatova’s first husband, Nikolai Gumilev, would already be dead by that time: he would be shot in August 1921.

Latest published collection Anna Andreevna dates back to 1924. After this, her poetry came to the attention of the NKVD as “provocative and anti-communist.” The poetess is having a hard time with the inability to publish, she writes a lot “on the table”, the motives of her poetry change from romantic to social. After the arrest of her husband and son, Akhmatova begins work on the poem “Requiem”. The “fuel” for creative frenzy was soul-exhausting worries about loved ones. The poetess understood perfectly well that under the current government this creation would never see the light of day, and in order to somehow remind readers of herself, Akhmatova writes a number of “sterile” poems from the point of view of ideology, which, together with censored old poems, make up the collection “Out of Six books", published in 1940.
Akhmatova spent the entire Second World War in the rear, in Tashkent. Almost immediately after the fall of Berlin, the poetess returned to Moscow. However, there she was no longer considered a “fashionable” poetess: in 1946, her work was criticized at a meeting of the Writers’ Union, and Akhmatova was soon expelled from the Union of Writers. Soon another blow falls on Anna Andreevna: the second arrest of Lev Gumilyov. For the second time, the poetess’s son was sentenced to ten years in the camps. All this time, Akhmatova tried to get him out, wrote requests to the Politburo, but no one listened to them. Lev Gumilyov himself, knowing nothing about his mother’s efforts, decided that she had not made enough efforts to help him, so after his release he moved away from her.
In 1951, Akhmatova was reinstated in the Union of Soviet Writers and she gradually returned to active creative work. In 1964, she was awarded the prestigious Italian literary prize "Etna-Torina" and she is allowed to receive it because the times of total repression have passed, and Akhmatova is no longer considered an anti-communist poet. In 1958 the collection “Poems” was published, in 1965 - “The Running of Time”. Then, in 1965, a year before her death, Akhmatova received a doctorate from Oxford University. Anna Andreevna Akhmatova died on March 5, 1966 in Domodedovo near Moscow.
Akhmatova's main achievements
1912 - collection of poems “Evening”
1914-1923 - a series of poetry collections “Rosary”, consisting of 9 editions.
1917 - collection “White Flock”.
1922 - collection “Anno Domini MCMXXI”.
1935-1940 - writing the poem “Requiem”; first publication - 1963, Tel Aviv.
1940 - collection “From Six Books”.
1961 - collection of selected poems, 1909-1960.
1965 - the last lifetime collection, “The Running of Time.”
Interesting facts from the life of Akhmatova
Throughout her life, Akhmatova kept a diary, excerpts from which were published in 1973. On the eve of her death, going to bed, the poetess wrote that she was sorry that her Bible was not here, in the cardiological sanatorium. Apparently, Anna Andreevna had a presentiment that the thread of her earthly life was about to break.
In Akhmatova’s “Poem without a Hero” there are the lines: “clear voice: I am ready for death.” These words sounded in life: they were spoken by Akhmatova’s friend and comrade-in-arms in the Silver Age, Osip Mandelstam, when he and the poetess were walking along Tverskoy Boulevard.
After the arrest of Lev Gumilyov, Akhmatova, along with hundreds of other mothers, went to the notorious Kresty prison. One day, one of the women, exhausted by anticipation, seeing the poetess and recognizing her, asked, “Can you describe this?” Akhmatova answered in the affirmative and it was after this incident that she began working on Requiem.
Before her death, Akhmatova nevertheless became close to her son Lev, who for many years harbored an undeserved grudge against her. After the death of the poetess, Lev Nikolaevich took part in the construction of the monument together with his students (Lev Gumilev was a doctor at Leningrad University). There was not enough material, and the gray-haired doctor, together with the students, wandered the streets in search of stones.