Akhmatova's creativity. "The Lyrical World of Anna Akhmatova

Municipal educational institution "Boldyrevskaya secondary school"

on literature on the topic

« Lyrical world Anna Akhmatova"

I've done the work:

11th grade student

Serov Evgeniy

Supervisor:

Akhmedeeva M.V.

With. Boldyrevo, 2007

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

Chapter I. Akhmatova’s first steps………………………………………………………6

Chapter II. Lyrics by Akhmatova……………………………………………..7

2.1. The theme of the homeland in the poetess’s lyrics………………………………….10

2.2. War lyrics by A.A. Akhmatova…………………………………12

2.3. “Great earthly love” in Akhmatova’s lyrics……………….13 Conclusion…………………………………………………………………………………..15

Literature……………………………………………………………......16

INTRODUCTION

Having become acquainted with Akhmatova’s work, my interest in poetry in general awoke, and Akhmatova became my most favorite poet. Only one thing was surprising: how could such a poet go unpublished for so long and not be studied at school for so long! After all, Akhmatova, in terms of the strength of her talent, skill and talent, stands next to the brilliant Pushkin, whom she so jealously loved, understood and felt.

Akhmatova herself long years lived in Tsarskoe Selo, which became for her one of the most expensive places on earth for her entire life. And because “here lay his cocked hat and a disheveled volume of “The Boyfriend,” and because for her, seventeen years old, it was there that “the dawn was at its finest, in April the smell of prey and earth, and the first kiss...”, and because there, in the park, there were meetings with Nikolai Gumilyov, another tragic poet of the era, who became Akhmatova’s fate, about whom she would later write in lines that were terrible in their tragic sound:

Husband in the grave, son in prison,

Pray for me...

Perhaps the fact that Akhmatova spent her childhood years in Tsarskoye Selo, where the very air was saturated with poetry, had a great influence on her poetic development.

A dark-skinned boy wandered through the alleys,

The lake shores were sad,

And we cherish the century

A barely audible rustle of footsteps.

“Barely audible” for us. And although it is also not loud for Akhmatova, it leads her along the right path, helping to penetrate the human soul, especially the female one. Her poetry is the poetry of the female soul. Can we separate: “female” poetry from “male” poetry? After all, literature is universal to humanity. But Akhmatova could rightfully say about her poems:

Could Biche create the word Dante,

Or will Laura glorify the heat of love?

I taught women to speak...

Akhmatova's first poems are love lyrics. In them, love is not always bright; it often brings grief. More often than not, Akhmatova’s poems are psychological dramas with poignant plots based on tragic experiences. The lyrical heroine of the early Akhmatova is rejected, fell out of love, but experiences this with dignity, with proud humility, without humiliating either herself or her lover.

In the fluffy muff, my hands were cold.

I felt scared, I felt somehow vague.

Oh how to get you back, quick weeks

His love, airy and momentary!

The hero of Akhmatov's poetry is complex and multifaceted. He is a lover, a brother, a friend, appearing in various situations.

Each of her poems is a small novel:

I accompanied my friend to the front hall,

Stood in the golden dust

From the nearby bell tower

Important sounds flowed.

Abandoned! Made up word -

Am I a flower or a letter?

And the eyes are already looking sternly

Into the darkened dressing table.

But the most important love in A. Akhmatova’s life was the love for her native land, about which she would write later that “we lie down in it and become it, that’s why we call it ours so freely.”

During the difficult years of the revolution, many poets emigrated from Russia abroad. No matter how hard it was for Akhmatova, she did not leave her country because she could not imagine her life without Russia.

Akhmatova’s love for the Motherland is not a subject of analysis or reflection. There will be a Motherland - there will be life, children, poetry.

Without her, there is nothing. Akhmatova was an honest spokesman for the troubles and misfortunes of her century, which she was ten years older than. Her fate is tragic:

And I go - trouble follows me,

Not straight and not oblique,

And to nowhere and never,

Like trains falling off a slope.

These poems were written during Stalinism. And although Akhmatova was not subjected to repression, it was a difficult time for her. Her only son was arrested, and she decided to leave a monument to him and all the people who suffered at this time. This is how the famous “Requiem” was born. In it, Akhmatova talks about the difficult years, the misfortunes and suffering of people:

The death stars stood above us

And innocent Rus' writhed

Under bloody boots

And under the black tires there is Marussia.

But in none of her books, despite all the hard and tragic life, all the horror and humiliation she experienced, was there any despair and confusion. No one had ever seen her with her head down. Always direct and strict, she was a person of great courage. In her life, Akhmatova knew fame, infamy and glory again.

I am the reflection of your face.

The war found Akhmatova in Leningrad. In July 1941, she wrote a poem that spread throughout the country:

And she, today says goodbye to her beloved, -

Let her transform her pain into strength.

We swear to the children, we swear to the graves,

That no one will force us to submit.

The national grief is the poet’s personal grief.

The feeling of belonging to the native land becomes almost physical: the Motherland is the “soul and body” of the poet. Great lines were born, which were uttered in the famous poem “Courage” in February 1942.

Such is Akhmatova’s lyrical world: from the confession of a woman’s heart, insulted, indignant, but loving, to the soul-shaking “Requiem”, which shouts “A people of a hundred million...”

I would erect more than one monument to Akhmatova: to a barefoot seaside girl in Kherson, to a lovely Tsarskoye Selo schoolgirl, to a sophisticated, beautiful woman with a thread of black agate around her neck in summer garden, “where statues remember her young.”

Or maybe there is no need for marble statues, because there is a miraculous monument that she erected for herself following her great Tsarskoye Selo predecessor - these are her poems...

Chapter I. ANNA AKHMATOVA'S FIRST STEPS

At the turn of the last and present centuries, although not literally chronologically, on the eve of the revolution, in an era shaken by two world wars, perhaps the most significant “female” poetry in all world literature of modern times arose in Russia - the poetry of Anna Akhmatova. The closest analogy, which arose among her first critics, was the ancient Greek love singer Sappho: the Russian Sappho was often called the young Akhmatova. Anna Andreevna Gorenko was born on June 11 (23), 1889 near Odessa. As a one-year-old child, she was transported to Tsarskoye Selo, where she lived until she was sixteen years old. Akhmatova’s first memories were of Tsarskoye Selo: “... the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where little colorful horses galloped, the old train station...” Anna studied at the Tsarskoye Selo girls’ gymnasium. He writes about it this way: “I studied poorly at first, then much better, but always reluctantly.” In 1907, Akhmatova graduated from the Fundukleevsky gymnasium in Kyiv, then entered the law faculty of the Higher Women's Courses. The beginning of the 10s was marked by important events in Akhmatova’s life: she married Nikolai Gumilev, found friendship with the artist Amadeo Modigliani, and in the spring of 1912 her first collection of poems, “Evening,” was published, which brought Akhmatova instant fame. Immediately she was unanimously ranked by critics among the greatest Russian poets. Her books became a literary event. Chukovsky wrote that Akhmatova was greeted with “extraordinary, unexpectedly noisy triumphs.” Her poems were not only heard, they were widely accepted, quoted in conversations, copied into albums, and even explained to lovers. “All of Russia,” noted Chukovsky, “remembered the glove that Akhmatova’s rejected woman talks about when leaving the one who pushed her away”:

My chest was so helplessly cold,

But my steps were light.

I put it on my right hand

The glove from the left hand."

Chapter II. AKHMATOVA'S LYRICS

Akhmatova forever linked her fate with the fate of her native land, and when, after the revolution, the time came to choose, she did not hesitate to home country, with the people, announcing this decisively, loudly in the poem “I had a voice. He called comfortingly...” But Akhmatova did not intend to become a singer of the winning class.

Her poems, generated by a time when in the name of high ideals, many human destinies were senselessly destroyed and lives were trampled, are filled with inescapable bitterness:

You weren't alive

You can't get up from the snow.

Twenty-eight bayonets,

Five gunshots.

Bitter update

I sewed another one.

Loves, loves blood

Russian land.

Akhmatova’s poems clearly did not correspond to ideas about the meaning of existence and the purpose of poetry, which were increasingly asserted in the post-revolutionary era: her poetry is declared to be a property of the past, hostile to revolutionary reality. And soon her poems stopped being published altogether, and even her name appeared occasionally only in a sharply critical context.

Time treated Akhmatova extremely cruelly.

At the end of August 1921 Nikolai Gumilyov was shot on a monstrously unfair charge of involvement in a counter-revolutionary conspiracy. Their life paths By that time they had separated, but he was never erased from her heart: too much connected them. The grief she experienced then and remained with her for the rest of her life will be echoed in her poems again and again:

On the threshold of white paradise,

Looking around, he shouted:

I called death to my dear ones,

And they died one after another.

Akhmatova, according to her own testimony, learned about Gumilyov’s death from newspapers. A widow's cry, grief for the untimely and innocent death of a person who continues to remain dear, is cast in a poem that belongs to the masterpieces of Akhmatov's lyric poetry:

Tear-stained autumn, like a widow

Dressed in black, all hearts are clouded...

Going through my husband's words,

She won't stop crying.

And it will be so until the quietest snow

He will not take pity on the mournful and tired...

Oblivion of pain and oblivion of negligence

To give a lot of life for this.

There are many beautiful descriptions of autumn in Russian poetry. Akhmatova does not describe, she recreates the internal, mental state, which in everyday life is often characterized by the word autumn: here bitterness and melancholy merge together, developing into a feeling of hopelessness, which, with the regularity embodied in the change of seasons, also passes and is replaced by an all-consuming unconsciousness. The entire system is subordinated to the expression of this state artistic means. Words with great emotional intensity are abundantly presented here: widow, pain, oblivion, bliss, weep, take pity, fog. This is especially noticeable when referring to epithets: tear-stained, black, quiet, mournful and tired. Each of them has an extremely broad content and at the same time is specific, serving to characterize what is happening in the human soul, in the heart.

The allegorical figure of autumn, associated with an inconsolable widow, acquires features characteristic simultaneously of both a natural phenomenon (season) and a person (everyday life): tear-stained autumn, in black clothes. Poetic allegory is combined with the prose of life, always solemn a natural phenomenon- with mournful everydayness. Already with the first line and the comparison it contains (“Tear-stained autumn, like a widow”), a majestic picture of one of the seasons is combined with a genre picture. But there is no feeling of diminished, groundedness in the poem: what happens in a person’s life reveals involvement in what is happening in the world.

Akhmatova retained the amazing freshness of her perception of life until the end of her days, being able to see how “linden and maple trees burst into the room, the green camp is buzzing and rioting,” how “...Again autumn is falling like Tamerlane, There is silence in the Arbat alleys, Behind the stop or behind the fog The impassable road is black,” to feel that “The song is weak, the music is mute, But the air is burning with their fragrance...”. And every time what is acutely perceived now is coupled with what has already happened and will be, - look, thrown against the fence of the house in Komarovo, where Akhmatova lived for a long time in her last years, makes you shudder:

In the thickets of strong raspberries

Dark fresh elderberry branch...

This is a letter from Marina.

The reminder of Marina Tsvetaeva with her tragic fate expands the time frame of the poem, unpretentiously titled “Komarov’s Sketches” and reminding that “We are all a little guests of life, Living is just a habit.”

Akhmatova’s habit of living did not weaken over the years, and the ever-increasing sense of the transience of life caused not only sadness, but also a feeling of joyful amazement at her (life’s) ageless beauty. This is expressed with great force in the “Seaside Sonnet”:

And it seems so easy

Whitening in the emerald thicket,

The road, I won’t tell you where...

Everything here will outlive me,

Everything, even dilapidated birdhouses

And this air, spring air,

A seafarer who has completed a flight.

It's even brighter there among the trunks

And everything looks like an alley

With an unearthly irresistibility,

And over the cherry blossoms

The radiance of the light month is pouring.

The “voice of eternity” in the poem is by no means an allegory: the time comes for a person when he hears it more and more clearly. And in the uncertain light of the “light month,” the world, while remaining real, loses something in this reality, becomes illusory, like the road that leads from Komarov’s house (Akhmatova called it a “booth”), “I won’t say where.”

The image in the verse balances on the precarious edge of the real and what lies beyond the world perceived by a living person. The road that awaits a person at the end of his life suddenly connects the inevitable tomorrow with the poetess’s native Tsarskoe Selo yesterday: that is why it, the road, seems “not at all difficult.”

The feeling of eternity arises here surprisingly naturally - by a simple comparison of the terms allotted to a person and such, in general, a short-lived object as a “dilapidated birdhouse.” And the sorrowful road ahead of a person turns out to be bright here, not only because he is internally ready to walk along it with dignity to the end, but also because of the radiance of the trunks, evoking the thought of the original Russian tree, the birch.

The thought of the inevitability of parting with everything that is so dear to the heart evokes a bright sorrow, and this feeling is generated not only by faith (Akhmatova was always a deeply religious person), but by the feeling of her blood involvement in an eternally living life. The realization that “everything here will outlive me” does not generate bitterness, but, on the contrary, a state of peace.

Let us pay attention to one more point. Night is associated with ideas about completion, about the end, with spring - about the beginning, about wonderful time primrose. Here, in Akhmatova’s poem, these two points, two states, two representations are combined: “ blooming cherry"is bathed in the radiance of the "light month".

Is this a poem about facing death? Yes. And about the triumph of life that goes into eternity.

Thoroughly earthly, Akhmatova’s poetry does not look down-to-earth anywhere, not in any of the poems she wrote. This is due to the high spirit of the soul, the conviction in the high destiny of man that has always lived in verse. The small things in human relationships, the details of everyday life remain outside the scope of lyrical poetry or turn out to be the soil on which the miracle of verse grows - “to the joy of you and me.” Akhmatova’s verse is by no means ethereal, but the particulars, details Everyday life are here the basis for the rise of human thought, they arise in an indispensable - although not always open - correlation with the ethical (and aesthetic) ideals persistently affirmed by Akhmatova.
2.1. THE THEME OF THE MOTHERLAND IN THE LYRICS OF THE POETESS
In Akhmatova’s lyrics one cannot encounter a state of mental calm and relaxation: the level of demands remains extremely high even in poems about love, where the feeling that connects two people breaks out into the wide expanses of human existence: “And we live solemnly and difficultly, And we honor the rituals of our bitter meetings " That is why in Akhmatova’s poems there is always such a great intensity of feelings, in the atmosphere of which it is not at all easy to live. But just living is not for her, who said: “What it is. I wish you another - Better." It’s not pride that’s showing here, although Akhmatova always had a lot of pride, there’s something else here - a feeling of spiritual freedom.

The native land has always remained the fulcrum for Akhmatova. It is worth repeating that throughout her life she was connected with St. Petersburg, with Tsarskoe Selo. Her heart was forever attached to the majestic city on the Neva, about which she once said:

Was my blessed cradle

Dark city by the menacing river

And the solemn wedding bed,

Over which they held wreaths

Your young seraphim, -

A city loved with bitter love.

The homeland has never been an abstract concept for Akhmatova. Over the years, when turning to the theme of the homeland, the scale of the poet’s thoughts becomes different and more significant. One of the proofs of this is the poem “Native Land”.

Love for her is tested throughout life, but death, Akhmatova is convinced, is not capable of breaking the connection between a person and his native land:

She doesn't wake up our bitter dreams,

Doesn't seem like the promised paradise.

We don’t do it in our souls

Subject of purchase and sale,

sick, in poverty, speechless on it,

We don't even remember her.

Yes, for us it’s dirt on our galoshes,

Yes, for us it's a crunch in the teeth.

And we grind, and knead, and crumble

Those unmixed ashes.

But we lie down in it and become it,

That's why we call it so freely - ours.

Here - and this is typical of Akhmatova’s poetry - two semantic planes intersect, reinforcing two meanings of the word, two ideas about the earth. The simplest meaning is literally realized: a pinch of native land sewn into the amulet, the crunch of dust on the teeth, dirt on the galoshes. And the attitude towards the earth that lies under our feet is quite prosaic: they grind it, knead it, crumble it. A different, sublime attitude towards it, when it is perceived as the Fatherland, is demonstratively rejected:

We don’t carry them on our chests in our treasured amulet,

We don’t write poems about her sobbingly,

it does not seem like a “promised paradise.” But this series of denials, openly addressed to those who left the earth (they carried her away in amulet, they wrote poems about her to the point of sobbing), when continued, suddenly introduces the movement of thought in the opposite direction: “We don’t do it.”<...>subject to purchase and sale." And the more persistently the words are repeated, seemingly demonstrating indifference to the native land, the more obvious it becomes that a negative attitude towards external - feigned, effect-oriented - manifestations of feelings is revealed here. In the final couplet, the idea of ​​the unity of man and earth is amazingly simply reflected, the sublime and the earthly appear as a whole. The word “dust” that ends the previous line now applies equally to both the earth and man: born on earth, he goes into it, and both of these acts are the most significant thing that happens in life.

2.2. WAR LYRICS by A.A. AKHMATOVA
Akhmatova’s love for the Motherland is not a subject of analysis, reflection or calculating calculations. There will be life, children, poetry. If she doesn't exist, there's nothing. This is why Akhmatova wrote during the war, already the Great Patriotic War:

It's not scary to lie dead under bullets,

It's not bitter to be left homeless, -

And we will save you, Russian speech,

Great Russian word.

And Akhmatova’s “military” poems began the way any soldier’s service begins - with an oath:

And the one who today says goodbye to her beloved, -

Let her pain melt into strength,

We swear to the children, we swear to the graves,

That nothing will force us to submit.

July 1941 Leningrad .

In the “military” poems, she is struck by the amazing organicity, the absence of a shadow of reflection, uncertainty, doubt, seemingly so natural in such difficult conditions in the mouth of the creator, as many believed, only refined “ladies’” poems. But this is also because the character of Akhmatova’s heroine or heroines is based on another principle, also directly related to the people’s perception of the world. This is an awareness of the share, but the readiness to accept here does not at all mean what could be called fatalistic passivity and humility, if not indifference. For Akhmatova, the consciousness of fate and fate gives birth, first of all, to the readiness to endure and persevere; It does not come from a loss of strength, but from their awakening.

There is a truly remarkable quality in the sense of fate that already appeared in the early Akhmatova and which became one of the main guarantees of Akhmatova becoming mature. It is based on the original national peculiarities- a sense of belonging to the world, empathy with the world and responsibility to it, - which in new social conditions receives a sharp moral meaning: my fate is the fate of the country, the fate of the people is history. In an autobiographical passage in the third person, already as if looking at herself as an outsider and thinking about herself in history, Akhmatova said: “... the late A[khmatova] comes out of the genre of the “love diary” (“Rosary”) -: the genre, in which she knows no rivals and which she left, perhaps, even with some apprehension and caution, and turns to thinking about the role and fate of the poet, about the craft, on easily sketched wide canvases. There is a keen sense of history." It is this feeling that permeates Akhmatova’s “late” books, “books of the female soul,” books of the human soul.
2.3. “GREAT EARTHLY LOVE” IN AKHMATOVA’S LYRICS
Akhmatova is, indeed, the most characteristic heroine of her time, revealed in the endless variety of women's destinies: lover and wife, widow and mother, cheating and abandoned. According to A. Kollontai, Akhmatova gave “a whole book of the female soul.” Akhmatova “poured into art” a complex story feminine character a turning point, its origins, breaking, new formation.

The hero of Akhmatov's lyrics (not the heroine) is complex and multifaceted. In fact, it is even difficult to define him in the same sense as, say, the hero of Lermontov’s lyrics is defined. He is a lover, brother, friend, presented in an endless variety of situations: insidious and generous, killing and resurrecting, first and last.

But always, with all the variety of life’s collisions and everyday incidents, with all the unusual, even exotic characters, the heroine or heroines of Akhmatova carry something important, primordially feminine, and a poem makes its way to it in a story about some rope dancer, for example, going through the usual definitions and learned statements (“My beloved friend left me on the new moon. Well, so what!”) to the fact that “the heart knows, the heart knows”: the deep melancholy of an abandoned woman. This ability to reach what “the heart knows” is the main thing in Akhmatova’s poems. "I see everything, I remember everything." But this “everything” is illuminated in her poetry by one source of light.

There is a center that, as it were, brings the rest of the world of her poetry to itself, turns out to be its main nerve, its idea and principle. This is Love. The element of the female soul inevitably had to begin with such a declaration of itself in love. Herzen once said that a woman is “driven into love” as a great injustice in the history of mankind. In a certain sense, all the lyrics (especially the early ones) of Anna Akhmatova are “driven into love.” But here, first of all, the possibility of exit opened up. It was here that truly poetic discoveries were born, such a view of the world that allows us to speak of Akhmatova’s poetry as a new phenomenon in the development of Russian poetry of the twentieth century. There is both “divinity” and “inspiration” in her poetry. While maintaining the high significance of the idea of ​​love associated with symbolism, Akhmatova returns it to a living and real, not at all abstract, character. The soul comes to life "Not for passion, not for fun, For great earthly love."

“Great earthly love” is the driving principle of all Akhmatova’s lyrics. It was she who made us see the world differently - no longer symbolist and not Acmeist, but, to use the usual definition, realistically.

"That fifth time of the year,

Just praise him.

Breathe the last freedom

Because it's love.

The sky flew high

The outlines of things are light,

And the body no longer celebrates

The anniversary of your sadness.

In this poem, Akhmatova called love the “fifth season of the year.” From this unusual, fifth time, she saw the other four, ordinary ones. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold force, truly reaching the heights of his sense of life. The world opens in additional reality:

After all, the stars were larger

After all, the herbs smelled different.

That’s why Akhmatova’s verse is so objective: it returns things to their original meaning, it draws attention to what we are normally able to pass by indifferently, not appreciate, not feel. “A bee floats softly over a dried dodder” - this is seen for the first time.

Therefore, the opportunity opens up to experience the world in a childish way. Poems such as “Murka, don’t go, there’s an owl” are not thematically defined poems for children, but they have a feeling of completely childish spontaneity.

And one more feature related to the same. In Akhmatova’s love poems there are many epithets, which the famous Russian philologist A. N. Veselovsky once called syncretic and which are born from a holistic, inseparable, fused perception of the world, when the eye sees the world inseparably from what the ear hears in it; when feelings are materialized, objectified, and objects are spiritualized. “In white-hot passion,” Akhmatova will say. And she sees the sky, “wounded by yellow fire” - the sun, and “the lifeless heat of the chandeliers.”
CONCLUSION
If you arrange Akhmatova’s poems in a certain order, you can build a whole story with many mise-en-scenes, twists and turns, characters, random and non-random incidents. Meetings and separations, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, selflessness, pride, sadness - in which facets and kinks we do not see love on the pages of Akhmatov’s books.

In the lyrical heroine of Akhmatova’s poems, in the soul of the poetess herself, there constantly lived a burning, demanding dream of truly high love, undistorted in any way.

Akhmatova’s love is a formidable, commanding, morally pure, all-consuming feeling that makes one remember the biblical line: “Love is strong as death - and its arrows are fiery arrows.”

Anna Akhmatova lived a long and happy life. How happy? Isn’t it blasphemous to say this about a woman whose husband was shot and whose son was shot, went from prison to exile and back, who was persecuted and persecuted and on whose head a bit of blasphemy and punishment fell, who almost always lived in poverty and died in poverty, knowing , perhaps, all the deprivations, except the deprivation of the Motherland - exile.

And yet - happy. She was a poet: “I never stopped 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.”

Throughout her life, Akhmatova never ceases to worry and suffer for Russia. She accepts everything that happens to Russia with Christian humility, not regretting that she did not leave the country. Akhmatova believes that you can only be a poet and create in your homeland.

Literature.

1. A. Naiman “Stories about Anna Akhmatova” M., “ Fiction" 1989
2. Anna Akhmatova. “They will recognize my voice” M., 1989
3. Anna Akhmatova. Works in two volumes. M., "Pravda" 1990
4. Pavlovsky A.I. Anna Akhmatova: Essay on creativity. – L.: Lenizdat, 1982.
5. Urban A. The image of Anna Akhmatova // Star. - No. 6. – 1989.
6. Height A. Anna Akhmatova. Poetic journey. M.: Raduga, 1991.

Essay on the topic “Akhmatova’s lyrics” 5.00 /5 (100.00%) 1 vote

The main theme of Anna Akhmatova's lyrics was love. Anna began her work in 1912, her first poems were quickly sold out and had enormous popularity. At that time, everyone had already noticed the peculiarity of this poetess, her unusual and unique “Akhmatovian stanza”. The first collections of poems by Anna Andreevna Akhmatova began to be published by N. Gumilyov in the Sirius magazine.
After the creation of the well-known “Workshop of Poets”, he became its secretary, and then a follower of a new movement - Acmeism.

Anna in her early lyrics was distinguished by precisely the features of Acmeism. In Acmeism, poets sought to free poetry from frameworks, polysemy, to free images from false meaning and return them to their exact meaning.
Anna Andreevna's artistic skill grew rapidly. In the 1914 collection “Rosary” there is a difference compared to the first collection “Evening”. The live transmission of each plot helped create an emotional and spiritual work.
Also in Akhmatova’s works there is intimacy, silence, pain, and emotions. That is why K. Chukovsky compared her works with the works of Maupassant.
The same condensed colors and tense atmosphere made it possible to compose a poem into a song. The poetess did not comment or explain her feelings and experiences. She wrote everything as it was and did not try to please anyone or explain anything.
Symbolism was present in the works of Anna Andreevna Akhmatova, this can be seen in every poem: a glove on the wrong hand, green copper on a washstand, a forgotten whip on the table. Anna Andreevna gives all this great value. The poetess pays special attention to the description of objects; through them she shows the internal state of the lyrical hero; each object described in her poems is not accidental and plays an important role in the development of the plot.
Akhmatova’s poems have a conversational style, so when reading them, you get the impression that the heroine is talking to you heart to heart, revealing her experiences, and this gives the poems a deeper meaning.
Many other poets and poetesses were forced to immigrate from Russia. For them, in the 20s, Anna Andreevna remained the author of early love lyrics. After her work, her works were significantly improved, her artistic skills were honed and coordinated. Through the lyrical heroine, the poetess showed herself, her experiences, feelings. In later poems we see a significant change in the heroine; this happened in connection with the change in Akhmatova herself and the changes in her life.

POINTING LYRICS BY ANNA AKHMATOVA

The theme of love, of course, occupies a central place in Anna Akhmatova’s poetry. The genuine sincerity of Akhmatova’s love lyrics, combined with strict harmony, allowed her contemporaries to call her the Russian Sappho immediately after the release of her first poetry collections.
Anna Akhmatova's early love lyrics were perceived as a kind of lyrical diary. However, the depiction of romantically exaggerated feelings is not typical of her poetry. Akhmatova speaks about simple human happiness and about earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone is able to experience and understand.
Love in A. Akhmatova’s lyrics appears as a “fatal duel”; it is almost never depicted serenely, idyllically, but, on the contrary, in an extremely crisis expression: at the moment of breakup, separation, loss of feeling or the first violent blindness of passion.
Usually her poems are the beginning of a drama or its climax. Her lyrical heroine pays for love with “torment of a living soul.” The combination of lyricism and epicness brings A. Akhmatova’s poems closer to the genres of the novel, short story, drama, and lyrical diary.
One of the secrets of her poetic gift lies in her ability to fully express the most intimate things in herself and the world around her. In her poems, one is struck by the string tension of experiences and the unmistakable accuracy of their sharp expression. This is Akhmatova’s strength.
The theme of love and the theme of creativity are closely intertwined in Anna Akhmatova’s poems. In the spiritual appearance of the heroine of her love lyrics one can discern “wingedness” creative personality. The tragic rivalry between Love and the Muse was reflected in many works, starting from the early years of 1911. However, Akhmatova foresees that poetic glory cannot replace love and earthly happiness.
A-Akhmatova’s intimate lyrics are not limited to just depicting loving relationships. It always shows the poet’s inexhaustible interest in the inner world of man. The originality of Akhmatova's poems about love, the originality of the poetic voice, conveying the most intimate thoughts and feelings of the lyrical heroine, the filling of the poems with the deepest psychologism cannot but arouse admiration.
Like no one else, Akhmatova knows how to reveal the most hidden depths inner world a person, his experiences, states, moods. Amazing psychological persuasiveness is achieved by using a very succinct and laconic technique of eloquent detail (glove, ring, tulip in a buttonhole...).
“Earthly love” in A. Akhmatova also implies love for the “earthly world” around a person. The depiction of human relations is inseparable from love for the native land, for the people, for the fate of the country. The idea of ​​a spiritual connection with the Motherland that permeates the poetry of A. Akhmatova is expressed in the readiness to sacrifice for it even happiness and closeness with the most dear people(“Prayer”), which later came true so tragically in her life.
It rises to biblical heights in the description mother's love. The suffering of a mother doomed to see her son suffer on the cross is simply shocking in the Requiem: The choir of angels glorified the great hour, And the heavens melted in fire. He said to his father: “Why did you leave me!” And to the Mother: “Oh, don’t cry for Me...” Magdalene struggled and sobbed, The beloved disciple turned to stone, And where the Mother stood silently, No one dared to look. Thus, the poetry of A. Akhmatova is not only the confession of a woman in love, it is
confession of a man living with all his troubles,
pains and passions of his time and his
land. . .
Anna Akhmatova, as it were, combined “women’s” poetry with the poetry of the mainstream. But this unification is only apparent - Akhmatova is very smart: while retaining the themes and many techniques of women's poetry, she radically reworked both in the spirit of not women's, but universal poetics.
The world of deep and dramatic experiences, charm, wealth and uniqueness of personality are imprinted in the love lyrics of Anna Akhmatova.
“I AM NOT PRAYING FOR MYSELF ALONE”
(poem by A. Akhmatova “Requiem”)
The fate of Anna Akhmatova, even for our cruel century, is tragic. In 1921, her husband, the poet Nikolai Gumilyov, was shot, allegedly for complicity in a counter-revolutionary conspiracy. So what if they were divorced by this time? They were still connected by their son Lev.
The father's fate was repeated in his son. In the thirties, he was arrested on false charges. “During the terrible years of the Yezhovshchina, I spent seventeen months in prison lines in Leningrad,” Akhmatova recalls in the preface to Requiem.
With a terrible blow, a “stone word,” the death sentence was sounded, which was later replaced by camps. Then almost twenty years of waiting for my son. In 1946, the “famous” Zhdanov resolution was issued, which slandered Akhmatova and Zoshchenko and closed the doors of magazine editorial offices to them.
Fortunately, the poetess was able to withstand all these blows, live a fairly long life and give people wonderful poems. It is quite possible to agree with Paustovsky that “Anna Akhmatova is a whole era in the poetry of our country.”
It is difficult to analyze such a complex work as the poem “Requiem”. And, of course, I can only do this superficially.
The lyrical hero is the double of the author-poet. This is a way of expressing the author's feelings and thoughts. The relationship between the lyrical hero and the poet is approximately the same as between a fictional literary hero and a real prototype.
Anna Akhmatova often uses epithets. Epithet is an artistic definition. It expresses the author’s attitude to the subject by highlighting some of the most important features for him. For example, Akhmatova has “bloody boots”. The usual - “leather” in combination with the word more than a simple definition of “boots” - will not be an epithet.
Metaphor - the use of words in figuratively and the transfer of actions and characteristics of one object to another, somewhat similar. Akhmatova: “And hope still sings in the distance”, “Lungs fly by weeks.” A metaphor is like a hidden comparison when the object being compared is not named. For example, “the yellow moon enters the house” is a metaphor. And if: “the yellow month enters” as a guest, then this is already a comparison.
Antithesis is a opposition that combines sharply opposed concepts and ideas. “...And now I can’t tell who’s the beast and who’s the man.” Anna Akhmatova masterfully uses all these poetic techniques and possibilities to formulate the main idea.
The main idea of ​​the poem “Requiem” is an expression of the people’s grief, boundless grief. The suffering of the people and the lyrical heroine merge. The reader's empathy, anger and melancholy, which overcome him when reading the poem, are achieved by a combination of many artistic means.
Interestingly, there is practically no hyperbole among them. Apparently, this is because grief and suffering are so great that there is neither need nor opportunity to exaggerate them. All epithets are chosen in such a way as to evoke horror and disgust at violence, to show the desolation of the city and country, and to emphasize the torment.
Anna Akhmatova’s melancholy is “deadly”, the steps of the soldiers are “heavy”, Rus' is “innocent”, the prisoner’s cars are “black ma-Russ”... The epithet “stone” is often used - “ stone word", "petrified suffering", etc.
Many epithets are close to folk concepts - “hot tear”, “great river”, etc. In general, folk motifs are very strong in the poem, where the connection between the lyrical heroine and the people is special:
And I pray not for myself alone, but for everyone who stood there with me, both in the bitter cold and in the July heat, under the red, blinding wall.
The last line is noteworthy. The epithets “red” and “blind” in relation to the wall create the image of a wall red with blood and blinded by the tears shed by the victims and their loved ones.
There are few comparisons in the poem. But everyone, one way or another, emphasizes the depth of grief, the extent of suffering. Some relate to religious symbolism, which Akhmatova often uses. The poem contains an image that is close to all mothers, the image of the mother of Christ, silently enduring her great grief. Some comparisons will never be erased from memory:
The verdict... And immediately the tears will flow,
Already distant from everyone,
As if with pain the life was taken out of the heart...
And again, Akhmatova’s beloved folk motifs - “And the old woman howled like a wounded beast,” “I will howl, like the Streltsy women, under the Kremlin towers.”
We must remember the story when Peter I executed hundreds of rebel archers. Akhmatova, as it were, personifies herself in the image of a Russian woman from the time of barbarism (17th century), which again returned to long-suffering Russia.
Most of all, it seems to me, metaphors are used in the poem.
“The mountains bend before this grief...” The poem begins with this metaphor. Metaphor allows you to achieve amazing expressiveness. “And the locomotive whistles sang a short song of parting,” “the stars of death stood above us,” “innocent Rus' writhed.”
And here’s another: “And burn through the New Year’s ice with your hot tears.” And here is another motive, very symbolic: “But the prison gates are strong, and behind them the convict holes...” There are also detailed metaphors that represent whole pictures:
I learned how faces fall, How fear peeks out from under eyelids, Like hard cuneiform pages. Suffering appears on the cheeks.
The world in the poem is, as it were, divided into good and evil, into executioners and victims, into joy and suffering:
For someone the wind is blowing fresh,
For someone the sunset is basking -
We don't know, we're the same everywhere
We only hear the hateful grinding of keys
Yes, the soldiers' steps are heavy.
Here even the dash emphasizes the antithesis, which is used very widely. “And in the bitter cold, and in the July heat,” “And a stone word fell on my still living chest,” “You are my son and my horror,” and so on.
The poem has many other artistic means: allegories, symbols, personifications, amazing combinations and combinations of them. All together this creates a powerful symphony of feelings and experiences.
To create the desired effect, Akhmatova uses almost all the main poetic meters, as well as different rhythms and the number of feet in the lines.
All these means once again prove that Anna Akhmatova’s poetry is indeed “free and winged.”

There are many poets whose work can make the strongest possible impression on each of us, and there is very little surprise in this. However, all of us have one such poet, whose creations simply cannot be perceived indifferently. In my case, such a poet, or rather, poetess, is Anna Akhmatova. If I try to single out one single word to describe my perception of her work, I can come to the conclusion that this word is concern.
Why does her work evoke so many emotions in me? How does her work manage to achieve such a high result? This is precisely what I consider necessary to understand in this work.
It seems to me that the key aspect here is that Anna Akhmatova was able to easily show all the deepest aspirations of the soul of every person, all the most diverse emotional manifestations of human feelings and emotions. I would like to note that the poetess’s talent is already visible in her early works, because she easily conveys her mood and what she lives by day by day.
If we talk about Akhmatova’s love lyrics, we can notice that in her works every detail is very important, so the reader must pay attention to literally everything. An interesting factor that I noticed while reading her works is that her poetry is surprisingly chaste. She describes all her love feelings so highly and beautifully that I can’t even believe that all this is written by an ordinary person who once had his own everyday affairs and problems. In her poems, every reader can see and be convinced of how strong love is, how much it can do, and what people can do for the sake of this strongest and most important feeling.
We can say that in Akhmatova’s work, love is directly related to human suffering, but this does not mean that feelings lose their high meaning. I perceived love lyrics by Akhmatova only the best way, because thanks to her I was able to really think about love, about the sublime feelings that reign in human life.
Thoughts about love after reading Akhmatova’s works made me think about lofty things and somewhat forget about the gray everyday life that surrounds each of us day by day.
As I already wrote, the most important thing that determined my perception of Anna Akhmatova’s work is indifference. It seems that her creativity and poetry were able to climb into the most hidden corners of my soul to give me new and strong sensations that simply cannot be obtained from other sources.

Among the brilliant names of poets of the Silver Age, two stand out: female names: Marina Tsvetaeva and Anna Akhmatova. In the entire centuries-old history of Russian literature, these are, perhaps, only two cases when a woman poet, in terms of the strength of her talent, was in no way inferior to male poets. It is no coincidence that both of them did not favor the word “poetess” (and were even offended if they were called that). They did not want any discounts for their “feminine weakness”, presenting the most high requirements to the title of Poet. Anna Akhmatova wrote directly:

Alas! lyric poet

Must be a man

Previously, when I was studying in middle school, studying the work and life of the above-mentioned poetesses responded to me only with hostility and indifference. But some time passed, I became older. And it seems that the age I have reached has influenced and changed my perception of the world around me. Almost everything has changed: character, tastes, preferences, etc. My point is that my attitude towards women's poetry has also changed. It can be said to have occupied a special place in my literary interests relating to the period of the twentieth century, relegating to the background the works of a number of the greatest lyricists of that time: S. A. Yesenin, V. V. Mayakovsky, E. E. Mandelstam, A. Bely and etc.

The work of Marina Tsvetaeva and Anna Akhmatova became the basis in the emergence of Russia, one might say, the most significant female lyric poetry in all world literature of modern times. It has managed to achieve recognition from countless readers and continues to win the hearts of readers one after another. I hope that the works of these unique poetesses will influence in the same way in the future, accumulating more and more fans from each subsequent generation.

What allowed Marina Tsvetaeva and Anna Akhmatova to achieve such enormous success? First of all, this is utmost sincerity, an attitude towards creativity as a “sacred craft”, a close connection with the native land, its history, culture, masterly command of words, an impeccable sense of native speech.

All of the above seemed to me reflected in the poems of Anna Akhmatova to a much greater extent than in the works of Marina Tsvetaeva. Perhaps this explains my great interest and sympathy for her work. Anna Akhmatova's lyrics attracted my attention because they contain deep psychologism, a variety of feelings, emotions, thoughts, etc. But the primary reason is that Anna Akhmatova, thanks to her gift, embodied all the incarnations of a woman in poetry. She touched on all facets of a woman’s lot: sisters, wives, mothers (“Magdalene fought and sobbed,” “Requiem”). The poetess managed to capture and express through poetic lines almost the entire sphere of women's experiences. And Gumilyov is right when he expressed the following thought in November 1918: “To find yourself, you need to go through her work.” It was these words that prompted me to study her work in order to find the Self in this world.

The most unique poems of her work are works dedicated to the infinitely great feeling of love. In other words, these are Akhmatova’s love lyrics, which will be discussed in my work.

Features of Akhmatova's lyrics.

“Reading poetic works is not only an emotional perception of them, it is serious, thoughtful work, the result of which is comprehension of the secrets of the mastery of word artists.”

It is indisputable that in the poems of every true poet there is something that is unique to only one, which is his own “zest”. The most striking example confirming the words just expressed is the work of Anna Akhmatova. I confess that it is difficult to talk about her poems (especially those that touch on the theme of love). The reason is that they are built on a synthesis of external simplicity and deep psychologism. Akhmatova's poems are characterized by charming intimacy, exquisite melodiousness, and the fragile subtlety of their seemingly careless form. They are very simple, laconic, in them the poetess is silent about many things, which is their main charm. But the content of poems is always wider and deeper than the words in which it is enclosed. This comes from Anna Akhmatova’s ability to put into words and their phrases something more than what expresses their external meaning. That is why every poem of the poetess, despite the apparent lack of clarity, is meaningful and interesting. Here is that part of the “highlights” of Anna Akhmatova’s love lyrics, noted and viewed by me in a superficial form. But I think it’s worth approaching these features in more detail. Since, in my opinion, Akhmatova’s poetry, dedicated to the great feeling of love, is a world of most interesting and unique works. And some analysis will only help the understanding of Akhmatova’s works.

Life will burn, this is only for me, but it seems to me that it is very difficult to isolate from Akhmatova’s work, especially from her early work, something that could be called, in contrast to her other poems, “ love lyrics" Because everything she writes is written either about love, or in the presence of love, or in the memory of departed love.

I pray to the window ray -

He is pale, thin, straight.

Today I have been silent since the morning,

And the heart is in half.

On my washstand

The copper has turned green

But this is how the ray plays on him,

What fun to watch.

So innocent and simple

In the evening silence,

But this temple is empty

It's like a golden holiday

And consolation to me.

It would seem that there is not a word about love in this poem. But it is only said: “Today I have been silent since the morning, And my heart is in half,” and already one gets the impression of a secret, hidden from prying eyes love drama, maybe played alone, love longing, and maybe about a person who is not suspects what is happening.

In general, even the most frank “love” poems by Akhmatova are secret about secret things, this is not a cry, not even a word addressed to a beloved, it is rather a thought, feelings that arose when meeting a loved one, when looking (perhaps secretly) at a loved one, and expressed in the verse:

The same look

The same flaxen hair.

Everything is the same as a year ago.

Through the glass the rays of daylight

Lime white walls are mottled

Fresh lily scent.

And your words are simple.

The mental storm, the confusion of feelings, when the heart sinks and the chest grows cold, when every small distance stretches for miles, when you wait and wish only for death, Akhmatova conveys the meager detail of barely noticeable details hidden from someone else’s, prying eyes, what always stands out in her poems is, what would not be noticed without poetry:

My chest was so helplessly cold,

But my steps were light.

I put it on my right hand

Glove from the left hand.

It seemed like there were a lot of steps,

And I knew - there are only three of them!

Autumn whispers between the maples

Requested:

“Die with me!”

The following lines create the impression of an explosion:

And when they cursed each other

In white-hot passion,

Both of us still did not understand

How small the earth is.

This is an explosion – an internal one, an explosion of consciousness, not emotions. For Akhmatova, it is furious - not pain, but memory, fiery torture - this is precisely the torture of silence, of hiding a call and complaint within oneself:

And that furious memory torments,

Torture of the strong is a fiery disease! –

And in the bottomless night the heart teaches

Asking: oh, where is the departed friend?

In the poem “Love,” love appears in imperceptible and not immediately recognizable, hidden images, and it acts “secretly and faithfully,” shooting as if from an ambush:

Then like a snake, curled up in a ball,

He casts a spell right at the heart,

That's all day long like a dove

Coos on the white window,

It will shine in the bright frost,

It seems like a lefty in the slumber

But it leads faithfully and secretly

From joy and from peace.

He can cry so sweetly

In the prayer of a yearning violin,

And it’s scary to guess it

In a still unfamiliar smile.

In this constant secrecy, enchantment of feelings, there seems to be some kind of secret wound, a flaw, an inability to open up, and from this - a tendency to torment, not even a tendency, but this is what happens when one speaks with passion about his love, and the other just remains silent and watches mysterious eyes.

Akhmatova’s love is like a secret illness, persistent and hidden, exhausting and neither bringing nor finding satisfaction. Sometimes it seems to me that in the later poem “Not weeks, not months - years” she says goodbye not to her beloved, but to love, the litigation with which lasted for so long, and now the possibility of liberation has appeared:

Not weeks, not months - years

We parted.

And finally

The chill of true freedom

And a gray crown above the temples.

There are no more betrayals, no more betrayals,

And you don’t listen to the light,

How the flow of evidence flows

My incomparable rightness.

Let's now move on to external features Akhmatova's works.

The main attention of critics was attracted by the “romanticism” of Anna Akhmatova’s poems. Among such people was Eikhenbaum. Based on his opinion, he put forward an important and rather interesting idea that each collection of poems by the poetess is, as it were, a lyrical novel. Proving this idea, he wrote in one of his reviews: “Akhmatova’s poetry is a complex lyrical novel. We can trace the development of the narrative lines that form it, we can talk about its composition, right down to the relationship of individual characters. When moving from one collection to another, we experienced a characteristic feeling of interest in the plot - in how this novel would develop.”

The need for a novel is obviously an urgent need. The novel has become a necessary element of life, as best juice, extracted, in Lermontov’s words, from each of her joys. In other words, a novel helps you live. But in its previous form, in the form of a smooth and high-water river, it began to occur less and less often, and began to be replaced first by swift “streams” (novels), and then by instant “geysers”. Examples can be found, perhaps, in all poets: for example, Lermontov’s “novel” is especially close to Akhmatov’s modernity - “To a Child, with its riddles, miniatures, in the poetry of “geysers” Anna Akhmatova achieved great mastery. Here is one such novel:

As simple courtesy dictates,

He came up to me and smiled.

Half-affectionate, half-lazy

He touched his hand with a kiss.

And mysterious ancient faces

The eyes looked at me.

Ten years of freezing and screaming.

All my sleepless nights

I put it in a quiet word

And she said it in vain.

You left. And it started again

My soul is both empty and clear.

The romance is over. The tragedy of ten years is told in one brief event, one gesture, look, word.

Anna Akhmatova's miniatures, in accordance with her favorite style, are fundamentally unfinished. They resemble not so much a small novel in its, so to speak, traditional form, but rather a randomly torn page from a novel, or even part of a page that has neither beginning nor end and forces the reader to figure out what happened between the characters before.

It struck three in the dining room,

And saying goodbye, holding the railing,

She seemed to have difficulty speaking:

“That's all Oh, no, I forgot,

I love you, I loved you

Already then! Yes".

Do you want to know how it all happened?

The above poem demonstrates how feelings instantly burst forth, breaking through the captivity of silence, patience, hopelessness and despair, which justifies the name “geysers”.

Akhmatova always preferred the “fragment” to a coherent, consistent and narrative story. It provided an excellent opportunity to saturate the poem with sharp and intense psychologism. In addition, oddly enough, the fragment imparted a kind of documentary quality to what was being depicted: after all, what we are looking at is really either an excerpt from an accidentally overheard conversation or a dropped note that was not intended for prying eyes. We, thus, look into someone else's drama as if inadvertently, as if contrary to the intentions of the author, who did not anticipate our involuntary immodesty.

Often Akhmatova’s poems are based on a cursory and even seemingly unprocessed entry in her diary:

He loved three things in the world:

Behind the evening singing, white peacocks

And erased maps of America.

I didn't like it when children cried

Didn't like raspberry tea

And female hysteria.

And I was his wife.

Sometimes such love “diary” entries were more common, they included not two, as usual, but three or even four persons, as well as some features of the interior or landscape, but the internal fragmentation, the resemblance to a “novel page” invariably remained and in these miniatures:

There my shadow remains and yearns,

Everyone lives in the same blue room,

Waiting for guests from the city after midnight

And kisses the enamel icon.

And things are not entirely safe in the house:

The fire is lit, but it’s still dark

Isn’t that why the new owner is bored?

Isn't that why the owner drinks wine?

And he hears, as if behind a thin wall

The arriving guest is talking to me.

There my shadow remains and yearns

Particularly interesting are the poems about love, where Akhmatova - which, by the way, is rare for her - goes to the “third person”, that is, it would seem that she uses a purely narrative genre, suggesting both consistency and lyrical fragmentation, blurriness and reticence. Here is one such poem, written from a man’s point of view:

Came up. I didn't show my excitement

Looking indifferently out the window.

She sat down like a porcelain idol,

In the pose she had chosen long ago.

Being cheerful is a common thing,

It's more difficult to be attentive.

Or languid laziness has overcome

After the spicy March nights?

The tedious hum of conversation

Yellow chandelier lifeless heat

And the flickering of skillful partings

Above a raised light hand.

The interlocutor smiled again

And looks at her with hope

My happy rich heir,

Read my will.

Came up. I didn't show my excitement

“Great earthly love” in Akhmatova’s lyrics.

There is a center that, as it were, brings the whole world of Akhmatova’s poetry to itself, turns out to be its main nerve, its idea and principle. This is Love. The element of the female soul must inevitably begin with such a declaration of love. Herzen once said that a woman is “driven into love” as a great injustice in the history of mankind. In a certain sense, all of Akhmatova’s lyrics (especially the early ones) are “driven into love.” But here, first of all, the possibility of exit opened up. It was here that truly poetic discoveries were born, such a view of the world that allows us to speak of Akhmatova’s poetry as a new phenomenon in the development of Russian lyric poetry of the twentieth century. There is both “divinity” and “inspiration” in her poetry. While maintaining the high significance of the idea of ​​love associated with symbolism, Akhmatova returns it to a living and real, not at all abstract, character. The soul comes to life “not for passion, not for fun, // For great earthly love.”

This meeting is not sung by anyone,

And without songs the sadness subsided.

Cool summer has arrived

As if new life has begun.

The sky seems like a vault of stone,

Stung by yellow fire

And more necessary than our daily bread

I have one word about him.

You, who sprinkle the grass with dew,

Revive my soul with the news, -

Not for passion, not for fun,

For great love.

“Great earthly love” is the driving principle of all Akhmatova’s lyrics. It was she who made us see the world differently - no longer symbolistically and acmeistically, but, to use the usual definition, realistically.

That fifth time of the year,

Just praise him.

Breathe the last freedom

Because it's love.

The sky flew high

The outlines of things are light,

And the body no longer celebrates

The anniversary of your sadness.

In this poem, Akhmatova called love the “fifth season of the year.” From this unusual fifth time she saw the other four ordinary ones. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold force, truly reaching the heights of his sense of life. The world opens in additional reality: “After all, the stars were larger, // After all, the herbs smelled different.” That’s why Akhmatova’s verse is so objective: it returns things to their original meaning, it draws attention to what we are normally able to pass by indifferently, not appreciate, not feel. “Over the dried dodder // A bee floats softly” - this is seen for the first time.

Therefore, the opportunity opens up to experience the world in a childish way. Poems such as “Murka, don’t go, there’s an owl” are not thematically defined poems for children, but they have a feeling of completely childish spontaneity.

The role of details in Akhmatova’s poems about love.

Akhmatova has poems that are literally “made” from everyday life, from simple everyday life - right down to the green washstand on which a pale evening ray plays. One involuntarily recalls the words spoken by Akhmatova in her old age, that poems “grow from rubbish”, that even a spot of mold on a damp wall, and burdocks, and nettles, and a damp fence, and a dandelion. The most important thing in her craft is vitality and realism, the ability to see poetry in ordinary life. All this was already established in her talent by nature itself.

All her subsequent lyrics are characterized by this early line:

Today I have been silent since the morning,

And the heart is in half

It is not for nothing that, speaking about Akhmatova, about her love lyrics, critics subsequently noticed that her love dramas, unfolding in poetry, take place as if in silence: nothing is explained, nothing is commented on, there are so few words that each of them carries a huge psychological load. It is assumed that the reader will either have to guess or, most likely, will try to refer to own experience, and then it turns out that the poem is very broad in its meaning: its secret drama, its hidden plot applies to many, many people.

So it is in this early poem. Is it really important to us what exactly happened in the heroine’s life? After all, the most important thing is pain, confusion and the desire to calm down at least when looking at a ray of sunshine - all this is clear, understandable and familiar to almost everyone. A specific transcript would only harm the power of the poem, as it would instantly narrow and localize its plot, depriving it of its universality and depth. The wisdom of Akhmatova’s miniature, which is somewhat vaguely similar to Japanese haiku, lies in the fact that it speaks of the healing power of nature for the soul. A ray of sunshine, “so innocent and simple,” illuminating with equal affection both the greenery of the washstand and the human soul, is truly the semantic center, focus and result of this entire amazing Akhmatova poem.

Afterword. The usefulness of Akhmatov's lyrics.

By arranging Akhmatova's love poems in a certain order, we can build a whole story with many characters, random and non-random incidents, where we will encounter a variety of facets and kinks: meetings and separations, tenderness, guilt, disappointment, jealousy, bitterness, languor, singing in the heart there is joy, unfulfilled expectations, dedication, pride, sadness.

In the lyrical heroine of Akhmatova’s poems, in the soul of the poetess herself (as in each of the representatives of the female half of humanity), a burning, demanding dream of truly high love, undistorted in any way, constantly lived. Akhmatova’s love is a formidable, commanding, morally pure, all-consuming feeling, forcing one to remember the biblical line: “Love is strong as death - and its arrows are fiery.” In other words, the poetry of Anna Akhmatova is a world of poems that has absorbed a deep life experience, from which everyone can take something important and necessary for themselves.