Life and career of A.A. Akhmatova. Anna Akhmatova's life path

Anna Andreevna Akhmatova (in marriage she took the names of Gorenko-Gumilyov and Akhmatova-Shileiko, she bore the name Gorenko as a girl) is a Russian poetess and translator of the 20th century. Akhmatova was born on June 23, 1889 in Odessa. The future significant figure of Russian literature was born in the family of a retired mechanical engineer Andrei Gorenko and Inna Stogova, who was related to the Russian Sappho Anna Bunina. Anna Akhmatova died on March 5, 1966 at the age of 76, after spending the last days in a sanatorium in the Moscow region.

Biography

The family of the outstanding poetess of the Silver Age was revered: the head of the family was a hereditary nobleman, the mother belonged to the creative elite of Odessa. Anna was not the only child, besides her, Gorenko had five more children.

When her daughter was one year old, her parents decided to move to St. Petersburg, where her father got a good position in the State Control. The family settled in Tsarskoye Selo, the little poetess spent a lot of time in the Tsarskoye Selo Palace, visiting places where Alexander Sergeevich Pushkin had previously visited. The nanny often took the baby for walks around St. Petersburg, so Akhmatova's early memories are thoroughly saturated with the northern capital of Russia. Gorenko's children were taught from an early age, Anna learned to read the alphabet of Leo Tolstoy at the age of five, and even earlier she learned French, attending lessons for older brothers.

(Young Anna Gorenko, 1905)

Akhmatova received her education in a women's gymnasium. It was there, at the age of 11, that she began to write her first poems. Moreover, the main impetus for the creativity of the young person was not Pushkin and Lermontov, but the odes of Gabriel Derzhavin and the funny works of Nekrasov, which she heard from her mother.

When Anna was 16 years old, her parents decided to divorce. The girl was painfully worried about moving with her mother to another city - Evpatoria. Later, she admitted that she fell in love with St. Petersburg with all her heart and considered it her homeland, although she was born in another place.

After completing her studies at the gymnasium, the aspiring poetess decides to study at the Faculty of Law, but she did not stay long as a student of the Higher Women's Courses. The creative personality quickly got tired of jurisprudence and the girl moved back to St. Petersburg, continuing her studies at the Faculty of History and Literature.

In 1910, Akhmatova married Nikolai Gumilyov, whom she met in Evpatoria and corresponded for a long time during her studies. The couple got married quietly, choosing a small church in a village near Kiev for the ceremony. The husband and wife spent their honeymoon in romantic Paris, and after returning to Russia, Gumilyov, already a famous poet, introduced his wife to the literary circles of the northern capital, acquaintances with writers, poets and writers of that time.

Just two years after marriage, Anna gives birth to a son - Lev Gumilyov. However, family happiness did not last long - after six years, in 1918, the couple filed for divorce. In the life of an extravagant and beautiful woman, new applicants for a hand and heart immediately appear - the revered Count Zubkov, the pathologist Garshin, and the art critic Punin. Akhmatova marries the poet Valentin Shileiko for the second time, but this marriage did not last long either. Three years later, she breaks off all relations with Valentine. In the same year, the first husband of the poetess, Gumilyov, was shot. Although they were divorced, Anna was greatly shocked by the news of the death of her ex-husband, she was very upset by the loss of a once close person.

Akhmatova spends her last days in a sanatorium near Moscow, suffering from severe pain. Anna was seriously ill for a long time, but her death still shook the whole country. The body of the great woman was transported from the capital to St. Petersburg, where they were buried in the local cemetery, modestly and simply: without special honors, with a wooden cross and a small stone slab.

creative path

The first publication of poems took place in 1911, a year later the first collection “Evening” was published, released in a small edition of 300 copies. The first potential of the poetess was seen in the literary and art club, where Gumilev brought his wife. The collection found its audience, so in 1914 Akhmatova published her second work, Rosary. This work brings not only satisfaction, but also fame. Critics praise the woman, raising her to the rank of a fashionable poetess, ordinary people are increasingly quoting poems, willingly buying collections. During the revolution, Anna Andreevna publishes the third book - "The White Flock", now the circulation is one thousand copies.

(Nathan Altman "Anna Akhmatova", 1914)

In the 1920s, a difficult period begins for a woman: the NKVD carefully monitors her work, poems are written “on the table”, works do not get into print. The authorities, dissatisfied with Akhmatova's free-thinking, call her creations "anti-communist" and "provocative", which literally blocks the way for a woman to freely publish books.

Only in the 30s Akhmatova began to appear more often in literary circles. Then her poem “Requiem” is published, which took more than five years, Anna is accepted into the Union of Soviet Writers. In 1940, a new collection was published - “From Six Books”. After that, several more collections appear, including "Poems" and "The Run of Time", published a year before his death.

Anna Akhmatova, whose life and work we will present to you, is a literary pseudonym with which she signed her poems. This poetess was born in 1889, on June 11 (23), near Odessa. Her family soon moved to Tsarskoye Selo, where Akhmatova lived until the age of 16. Creativity (briefly) of this poetess will be presented after her biography. Let's get acquainted first with the life of Anna Gorenko.

Young years

The young years were not cloudless for Anna Andreevna. Her parents separated in 1905. The mother took her daughters with tuberculosis to Evpatoria. Here, for the first time, the "wild girl" encountered the life of rude foreign and dirty cities. She also experienced a love drama, made an attempt to commit suicide.

Education in Kyiv and Tsarskoye Selo gymnasiums

The early youth of this poetess was marked by her studies at the Kyiv and Tsarskoye Selo gymnasiums. She took her last class in Kyiv. After that, the future poetess studied law in Kyiv, as well as philology in St. Petersburg, at the Higher Women's Courses. In Kyiv, she learned Latin, which subsequently allowed her to become fluent in Italian, to read Dante in the original. However, Akhmatova soon lost interest in legal disciplines, so she went to St. Petersburg, continuing her studies at historical and literary courses.

First poems and publications

The first poems, in which the influence of Derzhavin is still noticeable, were written by the young schoolgirl Gorenko when she was only 11 years old. In 1907, the first publications appeared.

In the 1910s, from the very beginning, Akhmatova began to publish regularly in Moscow and St. Petersburg publications. After the "Shop of Poets" (in 1911), a literary association, is created, she acts as secretary in it.

Marriage, trip to Europe

Anna Andreevna in the period from 1910 to 1918 was married to N.S. Gumilyov, also a famous Russian poet. She met him while studying at the Tsarskoye Selo gymnasium. After that, Akhmatova did in 1910-1912, where she became friends with the Italian artist who created her portrait. Also at the same time she visited Italy.

Appearance of Akhmatova

Nikolai Gumilyov introduced his wife to the literary and artistic environment, where her name acquired early significance. Not only the poetic manner of Anna Andreevna became popular, but also her appearance. Akhmatova impressed her contemporaries with her majesty and royalty. She was treated like a queen. The appearance of this poetess inspired not only A. Modigliani, but also such artists as K. Petrov-Vodkin, A. Altman, Z. Serebryakova, A. Tyshler, N. Tyrsa, A. Danko (below is the work of Petrov-Vodkin) .

The first collection of poems and the birth of a son

In 1912, a significant year for the poetess, two important events took place in her life. The first collection of Anna Andreevna's poems is published under the title "Evening", which marked her work. Akhmatova also gave birth to a son, a future historian, Nikolaevich - an important event in her personal life.

The poems included in the first collection are plastic in terms of the images used in them, clear in composition. They forced Russian criticism to say that a new talent had arisen in poetry. Although Akhmatova's "teachers" are such symbolist masters as A. A. Blok and I. F. Annensky, her poetry was perceived from the very beginning as acmeistic. In fact, together with O. E. Mandelstam and N. S. Gumilyov, the poetess in the early 1910s formed the core of this new trend in poetry that appeared at that time.

The next two compilations, the decision to stay in Russia

The first collection was followed by the second book entitled "Rosary" (in 1914), and three years later, in September 1917, the collection "White Flock" was published, the third in a row in her work. The October Revolution did not force the poetess to emigrate, although mass emigration began at that time. Russia was left one by one by people close to Akhmatova: A. Lurie, B. Antrep, as well as O. Glebova-Studeikina, her friend of her youth. However, the poetess decided to stay in "sinful" and "deaf" Russia. A sense of responsibility to her country, connection with the Russian land and language prompted Anna Andreevna to enter into a dialogue with those who decided to leave her. For many years, those who left Russia continued to justify their emigration to Akhmatova. R. Gul argues with her, in particular, V. Frank and G. Adamovich turn to Anna Andreevna.

Difficult times for Anna Andreevna Akhmatova

At this time, her life changed dramatically, which reflected her work. Akhmatova worked in the library at the Agronomic Institute, in the early 1920s she managed to publish two more poetry collections. These were "Plantain", released in 1921, as well as "Anno Domini" (in translation - "In the summer of the Lord", released in 1922). For 18 years after that, her works did not appear in print. There were various reasons for this: on the one hand, it was the execution of N.S. Gumilyov, ex-husband, who was accused of participating in a conspiracy against the revolution; on the other - the rejection of the work of the poetess by Soviet criticism. During the years of this forced silence, Anna Andreevna was engaged in the work of Alexander Sergeevich Pushkin for a long time.

Visit to Optina Hermitage

Akhmatova associated the change in her "voice" and "handwriting" with the mid-1920s, with a visit in 1922, in May, to Optina Pustyn and a conversation with Elder Nektary. Probably, this conversation had a strong influence on the poetess. Akhmatova was maternally related to A. Motovilov, who was a lay novice of Seraphim of Sarov. She took over the generations of the idea of ​​redemption, sacrifice.

Second marriage

In the fate of Akhmatova, the turning point was also associated with the personality of V. Shileiko, who became her second husband. He was an orientalist who studied the culture of such ancient countries as Babylon, Assyria, and Egypt. Personal life with this helpless and despotic person did not work out, however, the poetess attributed the increase in philosophical restrained notes to his influence in her work.

Life and work in the 1940s

A collection entitled "From Six Books" appears in 1940. He returned for a short time to the modern literature of that time such a poetess as Anna Akhmatova. Her life and work at this time are quite dramatic. Akhmatova was caught in Leningrad by the Great Patriotic War. She was evacuated from there to Tashkent. However, in 1944 the poetess returned to Leningrad. In 1946, subjected to unfair and cruel criticism, she was expelled from the Writers' Union.

Return to Russian literature

After this event, the next decade in the work of the poetess was marked only by the fact that at that time Anna Akhmatova was engaged in literary translation. Creativity of her Soviet power was not interested. LN Gumilyov, her son, was at that time serving his sentence in labor camps as a political criminal. Akhmatova's poetry returned to Russian literature only in the second half of the 1950s. Since 1958, collections of lyrics by this poetess have begun to be published again. Was completed in 1962 "Poem without a hero", created for as many as 22 years. Anna Akhmatova died on March 5, 1966. The poetess was buried near St. Petersburg, in Komarov. Her grave is shown below.

Acmeism in the work of Akhmatova

Akhmatova, whose work today is one of the pinnacles of Russian poetry, later treated her first book of poems rather coolly, highlighting only a single line in it: "... drunk with the sound of a voice similar to yours." Mikhail Kuzmin, however, ended his preface to this collection with the words that a young, new poet is coming to us, who has all the data to become a real one. In many ways, the poetics of "Evening" predetermined the theoretical program of acmeism - a new trend in literature, to which such a poetess as Anna Akhmatova is often attributed. Her work reflects many of the characteristic features of this trend.

The photo below was taken in 1925.

Acmeism arose as a reaction to the extremes of the Symbolist style. So, for example, an article by V. M. Zhirmunsky, a well-known literary critic and critic, about the work of representatives of this trend was called as follows: "Overcoming symbolism." Mystical distances and "lilac worlds" were opposed to life in this world, "here and now." Moral relativism and various forms of the new Christianity were replaced by "an unshakable rock of values".

The theme of love in the work of the poetess

Akhmatova came to the literature of the 20th century, its first quarter, with the most traditional theme for world lyrics - the theme of love. However, its solution in the work of this poetess is fundamentally new. Akhmatova's poems are far from the sentimental female lyrics presented in the 19th century by such names as Karolina Pavlova, Yulia Zhadovskaya, Mirra Lokhvitskaya. They are also far from the "ideal", abstract lyrics characteristic of the love poetry of the Symbolists. In this sense, she relied mainly not on Russian lyrics, but on the prose of the 19th century Akhmatov. Her work was innovative. O. E. Mandelstam, for example, wrote that the complexity of the Russian novel of the 19th century Akhmatova brought to the lyrics. An essay on her work could begin with this thesis.

In the "Evening" love feelings appeared in different guises, but the heroine invariably appeared rejected, deceived, suffering. K. Chukovsky wrote about her that it was Akhmatova who was the first to discover that being unloved is poetic (an essay based on her work, "Akhmatova and Mayakovsky", created by the same author, largely contributed to her persecution, when the poems of this poetess not published). Unhappy love was seen as a source of creativity, not a curse. Three parts of the collection are named respectively "Love", "Deceit" and "Muse". Fragile femininity and grace were combined in Akhmatova's lyrics with the courageous acceptance of her suffering. Of the 46 poems included in this collection, almost half was devoted to parting and death. This is no coincidence. In the period from 1910 to 1912, the poetess was possessed by a sense of shortness of the day, she foresaw death. By 1912, two of her sisters had died of tuberculosis, so Anna Gorenko (Akhmatova, whose life and work we are considering) believed that the same fate would befall her. However, unlike the Symbolists, she did not associate separation and death with feelings of hopelessness and melancholy. These moods gave rise to the experience of the beauty of the world.

The distinctive features of the style of this poetess were outlined in the collection "Evening" and finally took shape, first in "The Rosary", then in the "White Flock".

Motives of conscience and memory

Anna Andreevna's intimate lyrics are deeply historical. Already in The Rosary and Evening, along with the theme of love, two other main motives arise - conscience and memory.

The "fatal minutes" that marked the national history (the First World War that began in 1914) coincided with a difficult period in the life of the poetess. In 1915, tuberculosis was discovered in her, her hereditary disease in the family.

"Pushkinism" Akhmatova

The motives of conscience and memory are even more intensified in the White Pack, after which they become dominant in her work. The poetic style of this poetess evolved in 1915-1917. Increasingly, Akhmatova's peculiar "Pushkinism" is mentioned in criticism. Its essence is artistic completeness, accuracy of expression. The presence of a "quotation layer" is also noted with numerous roll calls and allusions both with contemporaries and predecessors: O. E. Mandelstam, B. L. Pasternak, A. A. Blok. All the spiritual richness of the culture of our country stood behind Akhmatova, and she rightly felt herself his heir.

The theme of the motherland in the work of Akhmatova, attitude to the revolution

The dramatic events of the lifetime of the poetess could not but be reflected in her work. Akhmatova, whose life and work took place in a difficult period for our country, perceived the years as a disaster. The former country, in her opinion, is no more. The theme of the motherland in the work of Akhmatova is presented, for example, in the collection "Anno Domini". The section that opens this collection, published in 1922, is called "After Everything." The line "in those fabulous years ..." by F. I. Tyutchev was taken as an epigraph to the entire book. There is no more homeland for the poetess...

However, for Akhmatova, the revolution is also a retribution for the sinful life of the past, retribution. Even though the lyrical heroine did not do evil herself, she feels that she is involved in the common guilt, so Anna Andreevna is ready to share the difficult lot of her people. The homeland in the work of Akhmatova is obliged to atone for its guilt.

Even the title of the book, which in translation means "In the summer of the Lord," suggests that the poetess perceives her era as God's will. The use of historical parallels and biblical motifs becomes one of the ways to comprehend artistically what is happening in Russia. Akhmatova resorts to them more often (for example, the poems "Cleopatra", "Dante", "Bible verses").

In the lyrics of this great poetess, "I" at this time turns into "we". Anna Andreevna speaks on behalf of "many". Every hour, not only of this poetess, but also of her contemporaries, will be justified precisely by the word of the poet.

These are the main themes of Akhmatova's work, both eternal and characteristic precisely for the era of the life of this poetess. She is often compared with another - with Marina Tsvetaeva. Both of them are today the canons of women's lyrics. However, it has not only much in common, but also the work of Akhmatova and Tsvetaeva differs in many respects. An essay on this topic is often asked to write to schoolchildren. In fact, it is interesting to speculate about why it is almost impossible to confuse a poem written by Akhmatova with a work created by Tsvetaeva. However, that's another topic...

Anna Andreevna Akhmatova (real name - Gorenko) (June 23, 1889 - March 5, 1966) - the great Russian poetess of the XX century, in whose work elements of classical and modernist styles were combined. She was called "Nymph Egeria of the Acmeists", "Queen of the Neva", "soul silver age».

Anna Akhmatova. Life and art. Lecture

Akhmatova created extremely diverse works - from small lyrical poems to complex cycles, like the famous "Requiem" (1935-40), a tragic masterpiece about the era Stalinist terror. Her style, characterized by brevity and emotional restraint, is strikingly original and distinguishes her from all her contemporaries. The strong and clear voice of the poetess sounded like a new chord of Russian poetry.

Portrait of Anna Akhmatova. Artist K. Petrov-Vodkin.

Akhmatova's success was due precisely to the personal and autobiographical nature of her poems: they are frankly sensual, and these feelings are expressed not in symbolic or mystical terms, but in simple and intelligible human language. Their main theme is love. Her poems are realistic, vividly concrete; they are easy to visualize. They always have a specific place of action - St. Petersburg, Tsarskoye Selo, a village in the Tver province. Many can be described as lyrical dramas. The main feature of her short poems (they are rarely longer than twelve lines, and never more than twenty) is their greatest conciseness.

You can't confuse real tenderness
Nothing, and she's quiet.
You vainly carefully wrap
I have fur on my shoulders and chest.

And in vain the words are submissive
You talk about first love.
How do I know these stubborn
Your unsatisfied glances.

This poem is written in her first manner, which made her famous and which dominates the collection Beads and, for the most part, white flock. But in this latest book, a new style is already emerging. It begins with poignant and prophetic verses under the meaningful title July 1914. This is a more strict, more severe style, and its material is tragic - the ordeals that began for her homeland with the outbreak of war. The light and graceful meter of the early poems is replaced by a harsh and solemn heroic stanza and other similar measures of the new rhythm. At times, her voice reaches a rough and macabre grandeur that brings to mind Dante. Without ceasing to be feminine in feeling, he becomes "masculine" and "masculine." This new style gradually supplanted her earlier style, and in the collection Anno Domini mastered even her love lyrics, became the dominant feature of her work. Her "civilian" poetry cannot be called political. She is supra-partisan; rather it is religious and prophetic. In her voice one can hear the authority of someone who has the right to judge, and a heart that feels with unusual strength. Here are the characteristic verses of 1916:

Why is this century worse than the previous ones? Is
Those that are in a daze of sadness and anxiety
He touched the blackest ulcer,
But he couldn't heal her.

Still in the west the earthly sun shines
And the roofs of cities glisten in its rays,
And here the white house is marking crosses
And the ravens call, and the ravens fly.

Everything written by her can be conditionally divided into two periods: early (1912-25) and later (approximately from 1936 until her death). Between them lies a decade when she created very little. During the Stalin period, the poetry of Anna Akhmatova was subjected to condemnation and censorship attacks - up to special resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. Many of her works were published only more than twenty years after her death. However, Anna Andreevna deliberately refused to emigrate in order to remain in Russia as a close witness to the then great and terrible events. Akhmatova turned to the eternal themes of the passage of time, the undying memory of the past. She vividly expressed the burden of living and writing in the shadow of brutal communism.

Information about the life of Akhmatova is relatively scarce, since wars, revolution and Soviet totalitarianism destroyed many written sources. Anna Andreevna was subjected to official disfavor for a long time, many of her relatives died after the Bolshevik coup. Akhmatova's first husband, poet Nikolai Gumilyov, was executed Chekists in 1921. Her son Lev Gumilyov and her third husband Nikolai Punin spent many years in Gulag. Punin died there, and Lev survived only by a miracle.

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I see everything. I remember everything, Lovingly meekly in my heart I keep. A. A. Akhmatova Anna Andreevna Akhmatova (1889-1966)

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Contents 1. Biography Brief biography. Childhood and youth. Love in the life of A. A. Akhmatova 2. The life and work of the poetess. First publications. First success. World War I; "White Flock". Post-revolutionary years Years of silence. "Requiem". The Great Patriotic War. Evacuation. Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. Last years of life. "Running time" 3. Analysis of poems by A. A. Akhmatova. "White Night" "Twenty-first. Night. Monday…” “Native Land” 4. Anna Akhmatova in the memoirs of her contemporaries.

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Brief biography of A.A. Akhmatova Anna Andreevna Gorenko (Akhmatova) is one of the most famous Russian poets of the 20th century, literary critic and translator. She was born on June 11 (23), 1889 in a noble family in Odessa. When the girl was 1 year old, the family moved to Tsarskoe Selo, where Akhmatova was able to attend the Mariinsky Gymnasium. She was so talented that she managed to master the French language by listening to how the teacher deals with older children. While living in St. Petersburg, Akhmatova caught a piece of the era in which Pushkin lived and this left an imprint on her work. Her first poem appeared in 1911. A year before, she married the famous acmeist poet N. S. Gumilyov. In 1912, the writer's couple had a son, Leo. In the same year, her first collection of poems entitled "Evening" was published. The next collection, The Rosary, appeared in 1914 and was sold out in an impressive number of copies. The main features of the poetess's work combined an excellent understanding of the psychology of feelings and personal experiences about the nationwide tragedies of the 20th century.

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Akhmatova had a rather tragic fate. Despite the fact that she herself was not imprisoned or exiled, many people close to her were subjected to severe repression. So, for example, the first husband of the writer, N. S. Gumilyov, was executed in 1921. The third civil husband N. N. Punin was arrested three times, died in the camp. And, finally, the son of the writer, Lev Gumilyov, spent more than 10 years in prison. All the pain and bitterness of loss was reflected in the "Requiem" (1935-1940) - one of the most famous works of the poetess. Being recognized by the classics of the 20th century, Akhmatova was silenced and persecuted for a long time. Many of her works were not published due to censorship and were banned for decades even after her death. Akhmatova's poems have been translated into many languages. The poetess went through difficult years during the blockade in St. Petersburg, after which she was forced to leave for Moscow, and then emigrate to Tashkent. Despite all the difficulties that occurred in the country, she did not leave it and even wrote a number of patriotic poems. In 1946, Akhmatov, along with Zoshchenko, was expelled from the Writers' Union on the orders of I.V. Stalin. After that, the poetess was mainly engaged in translations. At the same time, her son was serving a sentence as a political criminal. Soon, the writer's work gradually began to be accepted by fearful editors. In 1965, her final collection, The Run of Time, was published. Also, she was awarded the Italian Literary Prize and an honorary doctorate from the University of Oxford. In the fall of that year, the poetess suffered a fourth heart attack. As a result, on March 5, 1966, A. A. Akhmatova died in a cardiological sanatorium in the Moscow region.

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The childhood and youth of the poetess Anna Andreevna Akhmatova (real name - Gorenko) was born on June 11 (23 new style) June 1889 in a dacha village at the Bolshoi Fontan station near Odessa in the family of Andrei Antonovich and Inna Erazmovna Gorenko. Her father was a naval engineer. Soon the family moved to Tsarskoye Selo near St. Petersburg. “My first memories,” Akhmatova wrote in her autobiography, “are those of Tsarskoye Selo: the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where little motley horses galloped, the old railway station and something else that later became part of the Tsarskoye Selo Ode. In Tsarskoye Selo, she loved not only the huge wet parks, statues of ancient gods and heroes, palaces, the Camelon Gallery, the Pushkin Lyceum, but she knew, clearly remembered and stereoscopically convexly reproduced many years later its "inside out": barracks, petty-bourgeois houses, gray fences, dusty suburban streets ... ... There a soldier's joke Flows, bile does not melt ... Striped booth And shag jet. They thrashed their throats with songs And swore by their priests, They drank vodka until late, They ate kutya. The crow glorified this phantom world with a cry... And on the sledge the Giant-cuirassier ruled. Royal and rural ode. But the deity of Tsarskoe Selo, its sun was for the young schoolgirl Anya Gorenko, of course, Pushkin. They were then brought together even by the similarity of age: he was a lyceum student, she was a high school student, and it seemed to her that his shadow flickered on the far paths of the park.

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In one of her autobiographical notes, she wrote that Tsarskoye Selo, where the gymnasium school year was held, that is, autumn, winter and spring, alternated with fabulous summer months in the south - "near the blue sea", mainly near Streletskaya Bay near Sevastopol . And the year 1905 completely passed in Evpatoria; that winter she mastered the gymnasium course at home because of an illness: tuberculosis, this scourge of the whole family, became aggravated. But the beloved sea was noisy all the time nearby, it calmed, healed and inspired. She then especially closely learned and fell in love with ancient Chersonese, its white ruins. Love for poetry passed through Akhmatova's whole life. She began to write poetry, by her own admission, quite early, at the age of eleven: “At home, no one encouraged my first attempts, but rather everyone was perplexed why I needed this.” And yet, Petersburg, of course, occupied the most important and even decisive place in the life, work and fate of Akhmatova. In 1903, the young Anya Gorenko met the high school student Nikolai Gumilyov. A few years later she became his wife. In 1905, Anna Andreevna's parents divorced, and she and her mother moved south, to Evpatoria, then to Kyiv, where in 1907 she graduated from the Kiev-Fundukleevsky gymnasium. Then Anna Gorenko entered the law faculty of the Higher Women's Courses, but she had no desire to study “dry” disciplines, so she left school two years later. Even then, poetry was more important to her. The first published poem - "There are many brilliant rings on his hand ..." - appeared in 1907 in the second issue of the Parisian magazine Sirius, which was published by Gumilyov. April 25, 1910 N.S. Gumilyov and A.A. Gorenko got married in the Nicholas Church in the village of Nikolskaya Slobidka and left for Paris a week later. In June they returned to Tsarskoe Selo, and then moved to St. Petersburg. The Workshop of Poets was organized here, and Akhmatova became its secretary.

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Love in the life of A. A. Akhmatova Marchenko unconditionally gives the central place in Akhmatova's “quite a rich personal life” to Nikolai Gumilyov. How, after all, they knew each other from their youth, he became her first husband and father of her only son, opened her way to poetry ... Kolya Gumilyov, only three years older than Ani, already then realized himself as a poet, was an ardent admirer of the French symbolists. He hid self-doubt behind arrogance, tried to compensate for external ugliness with mystery, did not like to yield to anyone in anything. Gumilyov asserted himself, consciously building his life according to a certain pattern, and fatal, unrequited love for an extraordinary, impregnable beauty was one of the necessary attributes of his chosen life scenario. He bombarded Anya with poems, tried to strike her imagination with various spectacular follies - for example, on her birthday he brought her a bouquet of flowers plucked under the windows of the imperial palace. On Easter 1905, he tried to commit suicide - and Anya was so shocked and frightened by this that she stopped seeing him. In Paris, Gumilyov took part in the publication of a small literary almanac "Sirius", where he published one poem by Anya. Her father, having learned about his daughter's poetic experiences, asked not to shame his name. “I don’t need your name,” she replied and took the name of her great-grandmother, Praskovya Fedoseevna, whose family descended from the Tatar Khan Akhmat. So the name of Anna Akhmatova appeared in Russian literature. Anya herself took her first publication completely lightly, believing that an eclipse had "found an eclipse" on Gumilyov. Gumilyov also did not take the poetry of his beloved seriously - he appreciated her poems only a few years later. When he heard her poems for the first time, Gumilyov said: “Maybe you would dance better? home to be closer to them.

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In April of the following year, Gumilev, having stopped in Kyiv on his way from Paris, again unsuccessfully makes her an offer. The next meeting was in the summer of 1908, when Anya arrived in Tsarskoe Selo, and then when Gumilyov, on his way to Egypt, stopped in Kyiv. In Cairo, in the garden of Ezbekiye, he made one more, last, suicide attempt. After this incident, the thought of suicide became hateful to him. In May 1909, Gumilyov came to Anya in Lustdorf, where she then lived, caring for her sick mother, and was again refused. But in November, she suddenly - unexpectedly - gave in to his persuasion. They met in Kyiv at the artistic evening "Island of Arts". Until the end of the evening, Gumilyov did not leave Ani for a single step - and she finally agreed to become his wife. Nevertheless, as Valeria Sreznevskaya notes in her memoirs, at that time Gumilyov was far from the first role assigned in the heart of Akhmatova. Anya was still in love with that same tutor, St. Petersburg student Vladimir Golenishchev-Kutuzov - although he had not made himself felt for a long time. But agreeing to marry Gumilyov, she accepted him not as love - but as her Destiny. They got married on April 25, 1910 in Nikolskaya Slobodka near Kiev. Akhmatova's relatives considered the marriage obviously doomed to failure - and none of them came to the wedding, which deeply offended her. Returning to Paris, Gumilyov first goes to Normandy - he was even arrested for vagrancy, and in December he again tries to commit suicide. A day later, he was found unconscious in the Bois de Boulogne... In the autumn of 1907, Anna entered the law faculty of the Higher Women's Courses in Kyiv - she was attracted by the history of law and Latin.

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After the wedding, the Gumilevs left for Paris. Here she meets Amedeo Modigliani, then an unknown artist who makes many portraits of her. Only one of them survived - the rest died in the blockade. Something similar to an affair even begins between them - but as Akhmatova herself recalls, they had too little time for anything serious to happen. At the end of June 1910, the Gumilyovs returned to Russia and settled in Tsarskoye Selo. Gumilyov introduced Anna to his poet friends. As one of them recalls, when it became known about Gumilev's marriage, at first no one knew who the bride was. Then they found out: an ordinary woman ... That is, not a black woman, not an Arab, not even a Frenchwoman, as one might expect, knowing Gumilyov's exotic preferences. Having met Anna, they realized that she was extraordinary ... No matter how strong the feelings were, no matter how stubborn the courtship was, but soon after the wedding, Gumilyov began to be weary of family ties. On September 25, he again leaves for Abyssinia. Akhmatova, left to herself, plunged headlong into poetry. When Gumilyov returned to Russia at the end of March 1911, he asked his wife, who met him at the station: "Did you write?" she nodded. "Then read!" - and Anya showed him what she had written. He said, "Good." And since that time began to treat her work with great respect. In the spring of 1911, the Gumilyovs again went to Paris, then spent the summer at the estate of Gumilyov's mother, Slepnevo, near Bezhetsk in the Tver province. In the spring of 1912, when the Gumilyovs went on a trip to Italy and Switzerland, Anna was already pregnant. She spends the summer with her mother, and Gumilyov in Slepnev. The son of Akhmatova and Gumilyov, Lev, was born on October 1, 1912. Almost immediately, Nikolai's mother, Anna Ivanovna, took him to her place, and Anya did not resist too much. As a result, Leva lived with his grandmother for almost sixteen years, seeing his parents only occasionally ... Already a few months after the birth of his son, in the early spring of 1913, Gumilyov set off on his last trip to Africa - as head of an expedition organized by the Academy of Sciences. One of the people closest to her then was Nikolai Nedobrovo, who wrote an article about her work in 1915, which Akhmatova herself considered the best of what had been written about her in her entire life. Nedobrovo was desperately in love with Akhmatova.

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In 1914, Nedobrovo introduced Akhmatova to his best friend, poet and artist Boris Anrep. Anrep, who lived and studied in Europe, returned to his homeland to participate in the war. A stormy romance began between them, and soon Boris ousted Nedobrovo both from her heart and from her poems. Nedobrovo took this very hard and broke up with Anrep forever. Although Anna and Boris rarely managed to meet, this love was one of the strongest in Akhmatova's life. Before the final departure to the front, Boris presented her with a throne cross, which he found in a destroyed church in Galicia. Most of the poems from the collection The White Flock, published in 1917, are dedicated to Boris Anrep. Meanwhile, Gumilyov, although he is at the front - for his valor he was awarded the St. George Cross - leads an active literary life. He publishes a lot, constantly delivers critical articles. In the summer of the 17th, he ended up in London, and then in Paris. Gumilyov returned to Russia in April 1918. The next day, Akhmatova asked him for a divorce, saying that she was marrying Vladimir Shileiko. Vladimir Kazimirovich Shileiko was a well-known Assyrologist and also a poet. The fact that Akhmatova would marry this ugly, completely unsuitable for life, insanely jealous person was a complete surprise to everyone who knew her. As she later said, she was attracted by the opportunity to be useful to a great man, and also by the fact that there would be no rivalry with Shileiko that she had with Gumilyov. Akhmatova, having moved to him in the Fountain House, completely subordinated herself to his will: for hours she wrote his translations of Assyrian texts under his dictation, cooked for him, chopped firewood, made translations for him. He literally kept her under lock and key, not allowing her to go anywhere, forced her to burn all the letters received unopened, and did not allow her to write poetry.

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When the war began, Akhmatova felt a new surge of strength. In September, during the heaviest bombings, she speaks on the radio with an appeal to the women of Leningrad. Together with everyone, she is on duty on the roofs, digging trenches around the city. At the end of September, by decision of the city committee of the party, she was evacuated from Leningrad by plane - ironically, now she was recognized as an important enough person to save ... Through Moscow, Kazan and Chistopol, Akhmatova ended up in Tashkent. In Tashkent, she settled with Nadezhda Mandelstam, constantly communicated with Lydia Korneevna Chukovskaya, made friends with Faina Ranevskaya, who lived nearby - they carried this friendship through their whole lives. Almost all Tashkent poems were about Leningrad - Akhmatova was very worried about her city, for everyone who stayed there. It was especially hard for her without her friend, Vladimir Georgievich Garshin. After parting with Punin, he began to play a big role in the life of Akhmatova. By profession, a pathologist, Garshin was very concerned about her health, which Akhmatova, according to him, criminally neglected. In 1945, to the great joy of Akhmatova, Lev Gumilyov returned. From the exile, which he had been serving since 1939, he managed to get to the front. Mother and son lived together. It seemed that life was getting better. In the autumn of 1945, Akhmatova was introduced to the literary critic Isaiah Berlin, then an employee of the British Embassy. During their conversation, Berlin was horrified to hear someone in the courtyard calling his name. As it turned out, it was Randolph Churchill, son of Winston Churchill, a journalist. The moment was a nightmare for both Berlin and Akhmatova. Contacts with foreigners at that time, to put it mildly, were not welcome. A face-to-face meeting might not yet be seen - but when the prime minister's son yells in the yard, it is unlikely to go unnoticed. Nevertheless, Berlin visited Akhmatova several more times. Berlin was the last of those who left a mark on Akhmatova's heart. When Berlin himself was asked about whether they had something with Akhmatova, he said: “I can’t decide how best to answer ...”

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First publications. First success. Anna Andreevna Akhmatova - Russian poetess, writer, literary critic, literary critic, translator; one of the largest representatives of Russian poetry of the XX century. Born near Odessa. Her father A. A. Gorenko was a hereditary nobleman and retired naval engineer-mechanic. On the maternal side (I. S. Stogova), Anna Akhmatova was a distant relative of Anna Bunina, the first Russian poetess. She formed her pseudonym on behalf of the Horde Khan Akhmat, whom she considered her ancestor on her mother's side. In 1912, "Evening" was released - the first collection of Anna Akhmatova, which was immediately noticed by critics. The name itself is associated with the end of life before the eternal "night". It includes several "Tsarskoye Selo" poems. Among them is "Horses are being led along the alley ...", which was included in the cycle "In Tsarskoye Selo" in 1911. In this poem, Akhmatova recalls her childhood, associates the experience with the present state - pain, sadness, longing ... In the same year she became a mother, naming her son Leo. The second collection of Anna Akhmatova, entitled "Rosary", was published before the start of the First World War, in 1914, which the poetess herself considered a turning point in the fate of Russia. In the period from 1914 to 1923, this collection of works was reprinted as many as 9 times, which was a huge success for the "beginning author".

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World War I; "White Flock". With the outbreak of the First World War, 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. An in-depth reading of the classics (A. S. Pushkin, E. A. Baratynsky, Jean Racine, etc.) affects her poetic manner, the sharply paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism guesses in her collection The White Flock (1917) the growing "sense of personal life as a national, historical life" (Boris Mikhailovich Eikhenbaum). Inspiring in her early poems the atmosphere of a “mystery”, the aura of an autobiographical context, Anna Andreevna introduced free “self-expression” as a stylistic principle into high poetry. The apparent fragmentation, spontaneity of lyrical experience is more and more clearly subject to a strong integrating principle, which gave rise to Vladimir Vladimirovich Mayakovsky to remark: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.

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post-revolutionary years. The first post-revolutionary years in the life of Anna Akhmatova were marked by hardships and complete estrangement from the literary environment, but in the fall of 1921, after the death of Blok, the execution of Gumilyov, she, having parted with Shileiko, returned to active work - she participated in literary evenings, in the work of writers' organizations, published in periodicals . In the same year, two of her collections were released - "Plantain" and "Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova joined her fate with the art historian Nikolai Nikolaevich Punin (Since 1918, one of the organizers of the system of art education and museum work in the USSR. Works on the history of Russian art, on the work of contemporary artists. Repressed; rehabilitated posthumously). Unfortunately, the Soviet authorities did not leave him alone: ​​Punin was arrested in the 1930s, but after the war they were still repressed, and he died in Vorkuta. At the same time, her son Leo was imprisoned for 10 years - but, fortunately, he managed to survive the imprisonment, later Leo was rehabilitated.

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Years of silence. "Requiem". In 1924, Akhmatova's new poems were published for the last time before a long break, after which an unspoken ban was imposed on her name. Only translations appeared in the press (letters from Peter Paul Rubens, Armenian poetry), 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 again arrested. The experiences of these painful years clothed in verses made up the Requiem cycle, which the poetess did not dare to fix on paper for two decades. In 1939, after a half-interested remark by Stalin, publishing authorities offered Anna a number of publications. Her collection "From Six Books" (1940) was published, which included, along with the old poems that had undergone strict censorship selection, and new works that arose after many years of silence. Soon, however, the collection was subjected to ideological scrutiny and withdrawn from libraries.

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The Great Patriotic War. Evacuation. The war found Akhmatova in Leningrad. Together with her neighbors, she dug cracks in the Sheremetyevsky Garden, was on duty at the gates of the Fountain House, painted beams in the attic of the palace with refractory lime, and saw the “burial” of statues in the Summer Garden. The impressions of the first days of the war and the blockade were reflected in the poems The first long-range in Leningrad, Birds of death at the zenith standing ... At the end of September 1941, by order of Stalin Akhmatov, she was evacuated outside the blockade ring. Turning in fateful days to the people tortured by him with the words "Brothers and sisters ...", the tyrant understood that patriotism, deep spirituality and courage of Akhmatova would be useful to Russia in the war against fascism. Akhmatova's poem Courage was published in Pravda and then reprinted many times, becoming a symbol of resistance and fearlessness. In 1943 Akhmatova received the medal "For the Defense of Leningrad". Akhmatova's poems of the war period are devoid of pictures of front-line heroism, written on behalf of a woman who remained in the rear. Compassion, great sorrow were combined in them with a call for courage, a civic note: pain was melted into strength. “It would be strange to call Akhmatova a military poet,” B. Pasternak wrote. “But the predominance of thunderstorms in the atmosphere of the century gave her work a touch of civic significance.” During the war years, a collection of poems by Akhmatova was published in Tashkent, the lyric-philosophical tragedy Enuma Elish (When at the top ...), which tells about the faint-hearted and mediocre arbiters of human destinies, the beginning and end of the world, was written.

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Decree 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 decree of the Central Committee of the All-Union Communist Party of Bolsheviks directed against them “On the magazines Zvezda and Leningrad” (1946) tightened the ideological dictate and control over the Soviet intelligentsia, misled by the liberating spirit national unity during the war. Again there was a ban on publications; an exception was made in 1950, when Akhmatova feigned loyal feelings in her poems, written for the anniversary of Stalin in a desperate attempt to alleviate the fate of her son, once again subjected to imprisonment. And the Leader, with eagle eyes, Saw from the height of the Kremlin, How magnificently the Transformed earth is flooded with rays. And from the very middle of the age, To which he gave the name, He sees the heart of man, What became bright, like a crystal. His labors, his deeds He sees the ripe fruit, Masses of majestic buildings, Bridges, factories and gardens. He breathed his spirit into this city, He averted misfortune from us, - That is why the irresistible spirit of Moscow is so firm and young. And the leader of the grateful people hears the voice: "We came to say - where Stalin is, there is freedom, Peace and greatness of the earth!" December 1949

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Last years of life. "The Run of Time". In the later works of A. Akhmatova, those motifs that have always been characteristic of her poetry have been preserved. Thinking about the collection "The Run of Time", the last poem in it, she wanted to see the poem of 1945 "Whom people once called ..." - about Christ and those who executed him. (During the life of Akhmatova, only his final quatrain was published (in 1963).) This quatrain was indeed the final and very important for understanding her poetry: Gold rusts, and steel decays, Marble crumbles - everything is ready for death. Sorrow is the strongest thing on earth, And the royal Word is the most durable. In the last years of Akhmatova's life, international interest in her poetry began to appear more and more often. At the Sorbonne, S. Laffite begins to read a special course on the study of her work. In 1964, in Italy, A. Akhmatova was awarded the prestigious international prize "Etia-Taormina": "... for the fiftieth anniversary of poetic activity and in connection with the recent publication of a collection of ... poems." In her 1965 autobiography, she noted: “Last spring, on the eve of the Dante year, I again heard the sounds of Italian speech - I visited Rome and Sicily. In the spring of 1965, I went to Shakespeare's homeland, saw the British sky and the Atlantic, saw old friends and made new ones, visited Paris again. In June 1965, she was awarded an honorary doctorate in philology from the University of Oxford. March 5, 1966 Anna Andreevna Akhmatova died in Domodedovo, near Moscow. She was buried in Komarov, near St. Petersburg, where she lived in recent years. Akhmatova ended her autobiography, written shortly before her death, with the words: “I did not stop writing poetry. For me, they are my connection with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.

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"White Night" Incredibly emotional, sincere, not ashamed of tears and late repentance - a truly "Akhmatov" poem, saturated with the spirit of the author, which cannot be confused with any other - "White Night". These 12 lines were written on February 6, 1911 in Tsarskoye Selo, during one of the numerous, small and large, disagreements between the spouses: Anna Andreevna and Nikolai Stepanovich (Gumilyov, her first husband). Having married in 1910, they separated in 1918, having a common son, Leo (born 1912). Interestingly, the vast majority of A.A. Akhmatova, starting from the very first, published just in 1911 in the Sirius magazine, which was not successful with the public, is filled with pain and bitterness of loss. It is as if this young woman, barely in her twenties, has already experienced an endless series of breakups, breakups and losses. Was no exception to the general "Akhmatov" rule and "White Night". Although there is absolutely nothing "white" and light in the text. The action takes place outside of time, outside of space. In tsarist Russia - and with the same success - in the USSR, in the Moscow region - and in Paris, for example. After all, pine trees also grow there, and the sun sets in the "sunset darkness of needles." The life of the lyrical heroine "hell" can be everywhere. And always. Because the beloved left her and did not come "back". The relationship of the characters can be clearly traced if we connect this particular poem with others, at least the most famous, those that every schoolchild hears: “A prisoner of a stranger, I don’t need someone else’s”, “Heart to heart is not riveted”, “She squeezed her hands under the dark veil”, “I’m having fun drunk with you” ... The lyrical heroine is emotional, eccentric, proud and mocking. She is passionately and recklessly in love, faithful and ready to be submissive, but she cannot show this to a man, for fear of his dominance, contempt, loss of interest in her (the moment is controversial and discussed). Therefore, in the heat of a quarrel, she insults him, unwittingly, brings him to a break - temporary or

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final - she herself does not know this at the time of writing the poem (outpouring momentary emotions). An attentive reader can also guess about the hero, who is invisibly present in every line of the text, with which every word is full, like the soul of the heroine. He may not be too confident in himself, overly emotional and touchy, he probably cannot stand criticism. Most likely, he is not as strong in spirit and will as our heroine requires ... Once he left and does not return. Or does he not love her enough? Or fell out of love at all? Fortunately, poetic texts cannot have an unambiguous straightforward interpretation, if this is not a children's rhyme. Verse size: iambic tetrameter. The rhyme is masculine (the emphasis falls on the last syllable of the line), according to the arrangement of the rhyming lines - cross (abab). All 3 verses rhyme the same way - there are no failures and intra-text conflicts. Genre of the work: love poetry. If we consider the emotional component, this is, to some extent, a message. And even an appeal, the call of a woman in love. Recognition of mistakes, repentance and a promise ... But - what? Change? Apologize? Be in love? A few words about trails. There are few epithets, there is no excess of definitions: the darkness of the needles is sunset, hell is damned. And that's all. Expressiveness and emotional intensity are achieved in this text by other means. The only comparison: "life is a damned hell." Or is it hyperbole? And is it possible to call “intoxication” coming from “the sound of a voice” a hyperbole? The question is moot. A.A. Akhmatova did not try at all to “flower” her poems with allegories and personifications, metaphors and euphemisms. She was rather stingy with the use of floridity and coquettish affectation. If the texts were accused of some kind of "aristocratism", "old regime" and "artificiality", then in vain. Her poems can be understood by the "ordinary people". It is enough to be sincere and be able to love.

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"Twenty first. Night. Monday…” Poem “Twenty-first. Night. Monday ”was written by Anna Akhmatova in 1917, a year that was turbulent for all of Russia. And the personal life of the poetess was also shaken: more and more difficulties arose in relations with her husband, and, despite the success of the first collections, there were doubts about her own talent. The poem begins with short, chopped phrases, like a telegram. Just a statement of time and place. And then - a long and softer line: "the outlines of the capital in the mist." It was as if Akhmatova, in a conversation with someone (or at the beginning of a letter), named the date, caught the poetic rhythm with her sensitive ear, went to the window - and further words began to splash out by themselves. It is this impression that arises after reading the first quatrain, and even a vague reflection of the poetess in the dark window pane dawns. "Something slacker wrote, That there is love on earth." This is a woman's conversation with herself, still young (Anna Andreevna was only twenty-eight), but already faced with drama. And the second stanza is full of disappointment. To the idler who invented love, "everyone believed, and they live like that." And this faith, and the actions associated with it, are a meaningless fairy tale, according to the lyrical heroine. Like the one that people believed in several centuries ago, about three whales and a turtle. And so the next stanza, in addition to sadness, is also imbued with triumph. “But the secret is revealed to others, And silence rests on them” - the word “other” could well have been originally “chosen”, if the size allowed. At least that is the meaning. “And silence will rest on them” - as a blessing,

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as freedom from illusions. At this point, the voice of the lyrical heroine sounds most firmly and confidently. But the last two lines give rise to a different feeling: as if they are spoken by a very young girl who has lost some kind of landmark, having forgotten something important. "I stumbled upon this by accident, and since then everything seems to be sick." What is this if not regret? If not the understanding that the lost illusion, that very revealed "secret" took away the main joy of life? It is not for nothing that these last words are separated from the calm, confident lines by ellipsis. And the triumphant righteousness is replaced by quiet sadness. The poem is written in three-foot anapaest - the size most suitable for reflection and lyrics. The whole work is permeated with lyricism, despite the emphasized absence of visual and expressive means. The grandiloquent metaphor “and silence rests on them” seems to be an alien element, words belonging not to the lyrical heroine, but to the cold and disappointed woman she appears to be. But the true, soft and sad voice that sounds in the last words at once overturns bulky constructions to the glory of disappointment and leaves the reader with the impression of loss and thirst for love.

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"Native Land" A. Akhmatova's poem "Native Land" reflects the theme of the Motherland, which very keenly worried the poetess. In this work, she created the image of her native land not as an exalted, holy concept, but as something ordinary, self-evident, something that is used as a kind of object for life. The poem is philosophical. The name goes against the content, and only the ending calls for thinking about what the word "native" means. "We lie down in it and become it," the author writes. "Becoming" means to merge with her into one whole, as people were, not yet born, one with their own mother in her womb. But until this merging with the earth comes, humanity does not see itself as a part of it. A person lives without noticing what should be dear to the heart. And Akhmatova does not judge a person for this. She writes "we", she does not elevate herself above everyone, as if the thought of her native land for the first time made her write a poem, call on everyone else to stop the course of her everyday thoughts and think that the Motherland is the same as her mother . And if so, then why “We don’t wear it on our chests in treasured amulets”, i.e. land is not accepted as sacred, valuable? With pain in her heart, A. Akhmatova describes the human attitude to the earth: "for us it is dirt on galoshes." How is it considered mud that with which humanity will merge at the end of life? Does that mean that a person will also become dirt? The earth is not only dirt underfoot, the earth is something that should be dear, and everyone should find a place for it in their hearts!

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Sculptor Vasily Astapov, who created the bronze bust of Akhmatova in the 1960s, notes: “The more significant the personality of a person, the more difficult and responsible is the creation of his portrait - whether on canvas, in bronze or marble, or in words on paper. The artist needs to be worthy of his model. Indeed, a true creator always has a portrait of a person somewhat more than a documentary fixation of appearance - it is also a transfer of the inner world. Let's try to look a little into this world, comparing picturesque portraits and photographs of Akhmatova, and also providing all this with vivid memories of the poet. The beginning of the 1910s was especially full of important events in the life of Akhmatova: at this time she marries the poet Nikolai Gumilyov, is friends with the artist Amedeo Modigliani, publishes her first collection of poems "Evening", in the preface to which the critic Mikhail Kuzmin writes: " Suppose she does not belong to the poets who are especially cheerful, but always stinging. This collection brought her instant fame, followed by The Rosary (1914) and The White Flock (1917). Akhmatova found herself at the very epicenter of the then raging St. Petersburg "silver" culture, becoming not only a famous poet, but also a real muse for many other poets and artists. In 1912, Nikolai Gumilev said of her: Inaudible and unhurried, Her step is so strangely smooth, You can’t call her beautiful, But all my happiness is in her.

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It is surprising that different poets sing almost the same feature of Akhmatova's behavior: her unhurried, smooth and even slightly lazy movements, and the shawl, in general, becomes the most striking and recognizable attribute of Anna Andreevna. Nikolai Nikolaevich Punin, who for some time was Akhmatova’s friend and then lover, back in 1914, says in his diary about her most expressive features: “... She is strange and slender, thin, pale, immortal and mystical. ... She has strongly developed cheekbones and a special nose with a hump, as if broken, like Michelangelo's ... She is smart, she has gone through a deep poetic culture, she is stable in her worldview, she is magnificent ... ". Nevertheless, after 1914, life begins to take on a real tragic shade, not only for the poet, but for the whole country ... Literary critic A.A. Gozenpud, in his memoirs of the 1980s, shares some of his discoveries regarding the personality of Akhmatova and her perception of time: “I realized that for Anna Andreevna there is no distance of time, the past is transformed into reality by the power of ingenious intuition and imagination. She simultaneously lived in two time dimensions - the present and the past. For her, Pushkin, Dante, Shakespeare were contemporaries. She had an unceasing conversation with them... But she did not forget (could not forget!) about those who, having spilled someone else's blood, tried in vain to wash its splashes from their palms... Anna Andreevna knew that people would not forget the name of the executioner, because they reverently remember the name of his victim. Irina Malyarova's poems, written in March 1966, speak of the same ability to feel the era and live in parallel in various time dimensions: There are happy hearts on earth, Drop by drop, by spark, by breath Into themselves they moved the era, Faithful to it to the very end . When such a person leaves, the clocks that live by him are compared. And time for a second freezes And only then levels the run.

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Having survived several heart attacks and being on the verge of her death, Akhmatova continues to count down the time in each of her lines as steadily, measuredly and slowly: The disease torments - three months in bed. And I don't seem to be afraid of death. As an accidental guest in this terrible body, I, as if through a dream, seem to myself. We, in turn, are left with a very important, but not at all difficult mission: to remember, preserve and pass on the poetic work of Akhmatova. Just as it was done by people who knew her and recorded their living testimonies about the poet for posterity. And then, perhaps, in the soul of a modern person there will be a small place for real and sincere lyrics, at all times making the palette of our feelings much richer.

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Anna Akhmatova 1 was born in the village of Bolshoi Fontan near Odessa on June 11, 1889. Father is a mechanical engineer in the Navy. Soon her family moved to Tsarskoe Selo, where the future poetess lived until she was 16 years old. She studied at Tsarskoye Selo and Kyiv gymnasiums. Then she studied law in Kyiv and philology at the Higher Courses for Women in St. Petersburg. The first publications of poems appeared in 1907. She was a member of the literary association "Workshop of Poets" (since 1911, she was elected secretary). In 1912, together with N. Gumilyov and O. Mandelstam, she formed the core of a new - acmeist movement. From 1910 to 1918 she was married to the poet N. Gumilyov, whom she met back in the Tsarskoye Selo gymnasium in 1903. In 1910-1912 she made a trip to Paris (where she met the Italian artist Modigliani) and to Italy. In 1912, the son Lev Nikolaevich Gumilyov was born and the first collection of poems "Evening" was published.

After the revolution, Akhmatova did not emigrate, she remained in her country, with her people, probably knowing that the future would not be serene. Subsequently, in one of her poems, she says:

Her creative destiny in the post-revolutionary period was dramatic. Everything in Akhmatova irritated the authorities: the fact that she was the wife of the executed N. Gumilyov, and the fact that she behaved independently, and the fact that she was part of the old aristocratic culture, and the fact that she did not write propaganda poems, the rough language of the poster was organically alien And I must say that the contemporary poetess critics were very insightful, timely warning the authorities about the "danger" that "lurked" in Akhmatov's poems.

One of the clearest examples of this is Akhmatova's 1924 poem "Lot's Wife" from the cycle "Bible Verses":

The righteous Lot, Lot's wife and his two daughters were taken out by an angel from Sodom, which was mired in sins. However, Lot's wife, frightened by the noise, forgot about the prohibition of the angel, fell into curiosity and looked back at her native city, for which she was punished the same hour. "Her crime ... was not so much a view of Sodom as a disobedience to God's commandment and addiction to a dwelling of debauchery," the "Biblical Encyclopedia" 2 comments on this event in the biblical history. The parable nature of this biblical episode is transparent: the parable is addressed to those who, having embarked on the path of piety, weak-heartedly turn their eyes to the former life they have left behind.

Akhmatova rethinks the well-known story: Lot's wife looked back not out of simple curiosity, and even more so not out of commitment to a sinful life, but driven by a feeling of love and anxiety for her home, hearth. According to Akhmatova, Lot's wife was punished for her natural feeling of attachment to the House.

How could the official criticism of the 1920s have interpreted this poem by Akhmatova? One of the critics - G. Lelevich - wrote: "Can one wish for even more clear evidence of Akhmatova's profound anti-revolutionary nature?" 3, because "Lot's wife, as you know, paid dearly for this attachment to a rotten world." Even Akhmatova cannot refrain from looking into the past dear to her, and this seems unforgivable to critics.

In the second half of the 1920s and in the 1930s, practically nothing was published by the poetess. The era of silence has come. Akhmatova worked in the library of the Agronomic Institute. She was engaged in the work of A.S. Pushkin ("The Word about Pushkin", "Pushkin's Stone Guest").

In 1939, Stalin's daughter Svetlana, after reading some of Akhmatov's poems of past years, awakened the wayward leader's curiosity for her. Suddenly, Akhmatova began to be published again in magazines. In the summer of 1940, the collection "From Six Books" was published. During the war years, Akhmatova was evacuated from Leningrad to Tashkent and returned at the end of the war.

The year 1946 became memorable for Akhmatova and for all Soviet literature: it was then that the infamous resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the journals Zvezda and Leningrad” was adopted, in which A. Akhmatova and M. Zoshchenko were subjected to harsh and unfair criticism. An expulsion from the Writers' Union followed.

In the next decade, the poetess was mainly engaged in translations. Son, L.N. Gumilyov, served his sentence as a political criminal in forced labor camps, in 1949 he was arrested for the third time.

In the second half of the 1950s, Akhmatova began to return to literature. In 1962, "Poem Without a Hero" was completed, which had been in the making for 22 years. In the early 1960s, the poem "Requiem" was completed and published abroad in 1963 (published in the USSR in 1988). In 1964, Akhmatova was awarded the international prize "Etna-Taormina" in Italy "for the 50th anniversary of her poetic activity and in connection with the recent publication of a collection of poems in Italy." In 1965 he was awarded an honorary doctorate from the University of Oxford.

A. Akhmatova died in 1966 on May 5 in Domodedovo near Moscow. She was buried in Komarov near St. Petersburg.

In the early 1910s, Akhmatova came to Russian poetry with a theme that is traditional in world lyrics - the theme of love. After the release of the first collections, contemporaries called her Russian Sappho. The poetess became so famous that even critics sympathized with her: "Poor woman, crushed by fame," K.I. wrote about her. Chukovsky. Her "Song of the Last Meeting", "Don't you love, don't you want to watch?", "The Gray-eyed King", "The last time we met then..." But we cannot imagine Akhmatova without civil, patriotic poems (" I had a voice...", "Courage", "Native Land", "Requiem") and poems in which she reflects on the fate of the poetic word, the fate of the poet ("A dark-skinned youth wandered along the alleys..." cycle " Secrets of the Craft", "Seaside Sonnet", "Who was once jokingly called by people..."). These three themes are the leading ones in her poetry.