Love lyrics by A. Akhmatova

Anna Andreevna Akhmatova occupies an exceptional place in Russian poetry of the 20th century. Akhmatova's poetry is a kind of hymn to women. Its lyrical hero is a person with the deepest intuition, the ability to subtly feel and empathize with everything that happens around. Life path Akhmatova, who defined her work, was very complex. The revolution became a kind of test for many creators, and Akhmatova is no exception. The events of 1917 revealed new facets of her soul and talent.

Anna Andreevna worked in a very difficult time, a time of disasters and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom was, often had to choose between free creativity and life. But, despite all these circumstances, poets still continued to work miracles: wonderful lines and stanzas were created.

Akhmatova’s lyrics from the period of her first books (Evening, Rosary, The White Flock) are almost exclusively love lyrics. Novelty love lyrics Akhmatova caught the eye of her contemporaries almost from her first poems, published in Apollo. Akhmatova has always, especially in her early works, been a very subtle and sensitive lyricist. The poet's early poems breathe love, talk about the joy of meetings and the bitterness of separation, about secret dreams and unfulfilled hopes, but they are always simple and concrete.

“Music rang in the garden

Such unspeakable grief.

Fresh and sharp smell of the sea

Oysters on ice on a platter" Akhmatova poetry poetry

From the pages of Akhmatova's collections, the living and deeply sensitive soul of a real, earthly woman is revealed to us, who truly cries and laughs, is upset and delighted, hopes and is disappointed. This whole kaleidoscope of familiar feelings, with each new glance, highlights new patterns of the poet’s receptive and responsive soul.

“You can’t confuse real tenderness

With nothing, and she is quiet.

You are in vain carefully wrapping

My shoulders and chest are covered in fur.”

Her first published collections were a kind of anthology of love: devoted love, faithful and love betrayals, meetings and separations, joy and feelings of sadness, loneliness, despair - something that is close and understandable to everyone.

Akhmatova’s first collection, “Evening,” was published in 1912 and immediately attracted the attention of literary circles and brought her fame. This collection is a kind of lyrical diary of the poet.

"I see everything. I remember everything

I shore it lovingly and meekly in my heart.”

The poetess's second collection, The Rosary, published in 1914, was the most popular and, of course, remains Akhmatova's most famous book.

“I have one smile:

So, the movement of the lips is slightly visible.

I'm saving it for you -

After all, she was given to me by love.”

In 1917, A. Akhmatova’s third collection, “The White Flock,” was published, which reflected deep thoughts about the unstable and alarming pre-revolutionary reality. The poems of “The White Flock” are devoid of vanity, filled with dignity and purposeful concentration on invisible spiritual work.

"Under the frozen roof of an empty house

I don't count the dead days

I read the letters of the Apostles,

I read the words of the Psalmist"

Akhmatova herself grew up, and so did her lyrical heroine. And more and more often in the poetess’s poems the voice of an adult woman, wise with life experience, and internally ready for the most, began to be heard. cruel victims that history will require of her. Anna Akhmatova greeted the October Revolution of 1917 as if she had long been internally ready for it, and at first her attitude towards it was sharply negative. She understood that she was obliged to make her choice, and she made it calmly and consciously, outlining her position in the poem “I Had a Voice.” To the call to leave her homeland, Akhmatova’s heroine gives a direct and clear answer:

"But indifferently and calmly

I covered my ears with my hands,

So that with this speech unworthy

The sorrowful spirit was not defiled"

The experiences of the lyrical heroine Akhmatova in the 20s and 30s are also the experience of history as a test of fate. The main dramatic plot of the lyrics of these years is the collision with the tragic events of history, in which the woman behaved with amazing self-control. In 1935, Akhmatova’s husband and son, Nikolai Punin and Lev Gumilyov, were arrested. And yet she did not stop writing. This is how the prophecy made in 1915 (“Prayer”) partly came true: her son and husband were taken away from her. During the years of the Yezhovshchina, Akhmatova created the cycle "Requiem" (1935-1940), the lyrical heroine of which is a mother and wife, together with other contemporaries mourning their loved ones. During these years, the poetess's lyrics rise to the expression of a national tragedy.

“And if they shut my exhausted mouth,

To which a hundred million people shout,

May they remember me in the same way

On the eve of my memorial day"

Poems written by last years, Anna Akhmatova took her own special place in modern poetry, not purchased at the cost of any moral or creative compromises. The path to these verses was difficult and complicated. Akhmatova's courage as a poet is inseparable from the author's personal tragedy. The poetry of A. Akhmatova is not only the confession of a woman in love, it is the confession of a person living with all the troubles, pains and passions of his time and his land.

The world of deep and dramatic experiences, charm, wealth and uniqueness of personality are imprinted in the love lyrics of Anna Akhmatova.

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Municipal educational institution

"Gymnasium No. 26"

Research work

on Russian literature

Topic: “Love conquers deceitfully...”

(love lyrics by A.A. Akhmatova)

Performed:

10th grade student "G"

Mavlieva G.Z.

Checked:
teacher of Russian language

and literature

Krivileva S.N.

Naberezhnye Chelny

2014

Introduction 3-4

Chapter 1.1.1 “Great earthly love” 5-7

1.2. A. S. Pushkin and A. A. Akhmatova 8-10

Chapter 2. Love lyrics of the 20s and 30s 11-16

Conclusion 17

References 18

Appendix 19-21

Introduction

The theme of love has always been of interest to many Russian poets and occupied one of the main places in their work. A. S. Pushkin admired love, and the romantic M. Yu. Lermontov sang the greatness of love. Each artist had his own perception of this difficult feeling. Poems about love written by Anna Andreevna Akhmatova are marked by a special feeling of youthful life.

Akhmatova’s poetry is one of the most precious assets of Russian classical literature. I am sure that if we read Akhmatova now, we will enrich our intellect and, of course, our soul. We have forgotten what love and hate are, what spring and harsh winter are, what rain and clear blue skies mean, it seems to me that it is our duty to remember this and never forget. And it is Akhmatova who will teach us pure love, instill in us calmness and kindness. Akhmatova was loved then, and we need this poetess now.

I believe that Akhmatova's legacy influenced the poets of the 20th century, since Akhmatova's poems were covered in light shades. However, the events of the beginning of the 20th century could not help but leave a mark on the works of the Silver Age poets, and therefore many of the colors in their poems were condensed and darkened. In “Poem without a Hero” A.A. Akhmatova recreated the era of the “Silver Age” of Russian literature in relation to the time of its writing. The poem has outstanding significance as an example of modern poetry. It echoes the novel by M.A. Bulgakov "The Master and Margarita". As N. Struve wrote, “the last great representative of the great Russian noble culture, Akhmatova absorbed all this culture and transformed it into music.” The translator Ignatius Ivanovsky, who knew Akhmatova well, wrote about her: “... I involuntarily, with peripheral vision, observed with what conviction and subtle art Akhmatova created her own legend - as if she surrounded herself with a strong magnetic field. A potion of premonitions, coincidences, personal signs, fatal accidents, secret dates, non-meetings, three-hundred-year-old trifles was constantly boiling in the witch’s cauldron. The cauldron was hidden from the reader. But if it had not been boiling forever, could Akhmatova at any moment have drawn from it, put unexpected poetic power into the most insignificant detail? This is best said in her poems:

If only you knew what kind of rubbish

Poems grow without shame...

The theme of the work is “Love conquers deceptively...” (Love lyrics by A. A. Akhmatova.)

The topic I have chosen focuses attention on the complex and subtle relationships between people, in their inconsistency and unity.

Disclosure of this topic involves turning to the lyrical works of A. Akhmatova, reflecting the unique perception of love, its influence on the spiritual world, thoughts, feelings, and mood of the author.

Goal: to identify the role of the poetic image of love in A. Akhmatova’s lyrics.

The tasks I set in my work:

1. Based on the study of the poetess’s love lyrics, consider what place the poetic image of love occupies in her work.

2. Conduct a comparison of reference (research) sources indicated in the list of used literature.

3. Identify your own position regarding the issue under consideration.

The main methods used when writing the work were:

1. Analysis of lyrical works from A. Akhmatova’s love cycle.

2. Study of the lyric style and the main features of A. Akhmatova’s language.

3. Analysis of various kinds of critical articles and monographs on the chosen topic.

Chapter 1. “GREAT EARTHLY LOVE”

IN THE LYRICS A.A. AKHMATOVA

A. 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” the complex history of the female character of a turning point, its origins, breakdown, and 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. This is him - a lover, a brother, a friend, presented in an endless variety of situations: insidious and generous, killing and resurrecting, the first and the last.

But always, with all the diversity of life’s collisions and everyday incidents, with all the unusual, even exotic characters, Akhmatova’s heroine or heroines carry something important, primordially feminine, and it is to this that a verse makes its way in a story about some rope dancer, for example, walking through the usual definitions and learned provisions (“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. 1

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. Most of Akhmatova's poems of that time were dedicated to love. But in this topic, so traditional for poets of all times and peoples, she discovered so many shades and facets that for several generations of readers and especially female readers of these poems have found expression of their feelings in them. Akhmatova herself was sometimes surprised by their popularity, but many serious researchers and poets themselves tried to unravel the secret of their impact on readers - from Mikhail Kuzmin, a recognized “master” of those years (he also wrote the preface to Akhmatova’s first book), to Mikhail Dudin, and such famous scientists like B. Eikhenbaum, V. Vinogradov, K. Chukovsky. For decades, Korney Ivanovich closely observed the development of Akhmatova’s talent, he gave expressive characteristics of some of the features of her poetry, and provided a lot of evidence of the hypnotic power of the influence of Akhmatova’s poems on readers. He, in particular, wrote: “When her first books appeared, I... was most struck by the materiality, the objectivity of her poetic speech, the tangibility of all her keenly noticed and skillfully outlined images. Her images never lived a life of their own, but always invariably served to reveal the poet’s lyrical experiences, his joys, sorrows and anxieties. She expressed all these feelings in few words and with restraint. The noble laconicism of her style brings her closer to Boratynsky and Tyutchev. One barely noticeable microscopic image is so saturated with great emotions that it alone replaces dozens of pathetic lines.

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, by no means abstract character. The soul comes to life “Not for passion, not for fun, For great earthly love.”

This meeting is not sung by anyone,

And without songs the sadness subsided.

Cool summer has arrived

As if new life has begun.

The sky seems like a vault of stone,

Stung by yellow fire

And more necessary than our daily bread

I have one word about him.

You who sprinkle the grass with dew

Revive my soul with the news, -

Not for passion, not for fun,

For great earthly love.

“Great earthly love” is the driving principle of all Akhmatova’s lyrics. It was she who made us see the world 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 is love.

The sky flew high

The outlines of things are light,

And the body no longer celebrates

The anniversary of your sadness.

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

1.2 A. S. PUSHKIN

A. A. AKHMATOVA

Speaking about Akhmatova’s love lyrics, one cannot help but say a few words about the feelings of the poetess herself, about her idols, about the objects of her admiration.

And one of the endless sources of creative joy and inspiration for Akhmatova was Pushkin. She carried this love throughout her life, not being afraid even of the dark jungles of literary criticism, which she entered more than once to add a few new touches to the biography of her beloved poet. (A. Akhmatova owns the articles: “Pushkin’s last fairy tale (about the “Golden Cockerel”)”, “Adolphe” by Benjamin Constant in Pushkin’s work”, “About Pushkin’s “Stone Guest””, as well as works: “The Death of Pushkin”, “Pushkin and Nevskoe seaside”, “Pushkin in 1828”, etc.).

In "Evening" a poem of two stanzas is dedicated to Pushkin, very clear in design and reverently tender in intonation.

The love for Pushkin was further aggravated by the fact that, by coincidence, Anna Akhmatova was a resident of Tsarskoe Selo, her teenage, high school years were spent in Tsarskoe Selo, present-day Pushkin, where even now everyone involuntarily feels the non-disappearing Pushkin spirit, as if forever settled on this eternally sacred land of Russian poetry . The same lyceum, and the sky, and the same girl is sad over a broken jug, the park is rustling, the ponds are shimmering and, apparently, the Muse appears in the same way (or differently?) to countless pilgrim poets...

For Akhmatova, the Muse is always “dark.” It was as if she had appeared before her in the “gardens of the Lyceum” immediately in the adolescent form of Pushkin, a curly-haired lyceum student - a teenager who more than once flashed in the “sacred twilight” of Catherine Park - he was then her peer, her divine comrade, and she was almost looking for him meetings. In any case, her poems dedicated to Tsarskoye Selo and Pushkin, are imbued with that special color of feeling, which is best called love - not, however, that somewhat abstract, although exalted love that in a respectful distance accompanies the posthumous fame of celebrities, but a very lively, immediate one, in which there is also fear, and annoyance, and resentment, and even jealousy... Yes, even jealousy! For example, to that beauty with a jug, whom he admired, sang and glorified forever... and who is now sad so cheerfully, this elegantly naked pretender, this lucky woman who has settled in Pushkin’s immortal verse! 1

The maiden dropped the urn with water and broke it on the cliff.

The virgin sits sadly, idle holding a shard.

Miracle! The water will not dry up, pouring out from the broken urn;

The Virgin, above the eternal stream, sits forever sad.

Akhmatova, with feminine partiality, peers at both the famous statue that once captivated the poet and Pushkin’s verse. Her own poem, entitled (not without a secret jab!), like Pushkin’s, “The Tsarskoye Selo Statue,” breathes a feeling of woundedness and annoyance:

And how could I forgive her

The delight of your lover's praise...

Look, she has fun being sad

So elegantly naked.

It must be said that Akhmatova’s short poem is certainly one of the best in the now immense poetic Pushkinian literature, which apparently numbers many hundreds of excited appeals to the great genius of Russian literature. But Akhmatova turned to him in a way that only she could turn to - like a woman in love who suddenly felt an instant pang of unexpected jealousy. In essence, she, not without vindictiveness, proves to Pushkin with her poem that he was mistaken in seeing in this dazzling, slender beauty with bare shoulders some kind of eternally sad maiden. Her eternal sadness has long passed, and for about a century now she has been secretly rejoicing and having fun at her truly rare, chosen, enviable and immensely happy female destiny, bestowed upon her by Pushkin’s word and name...

Be that as it may, but love for Pushkin, and with him for other diverse and ever expanding cultural traditions in to a large extent determined a realistic path of development for Akhmatova. In this regard, she was and remains a traditionalist. In an atmosphere of rapid development of various post-symbolist movements and groups, marked by certain phenomena of bourgeois modernism, Akhmatova’s poetry of the 10s could even look archaic if her love lyrics, seemingly so intimate and narrow, intended for HER and HIM, were not acquired in its best examples that universally significant sound that is characteristic only of true art.

Chapter 2. AKHMATOVA’S LOVE LYRICS

IN THE 20'S AND 30'S

The tonality of that love story, which before the revolution at times covered almost the entire content of Akhmatova’s lyrics and which many wrote about as the main discovery and achievement of the poetess, changed noticeably in the 20-30s in comparison with the early books.

Because Akhmatova’s lyrics constantly expanded throughout the post-revolutionary twenty years, absorbing more and more new areas that were previously unfamiliar to her, the love story, without ceasing to be dominant, now occupied only one of the poetic territories in it. However, the inertia of reader perception was so great that Akhmatova, even in these years, marked by her turn to civil, philosophical and journalistic lyrics, still appeared to the eyes of the majority as exclusively an artist of love. We understand that this was far from the case.

Of course, the expansion of the range of poetry, which was a consequence of changes in the worldview and attitude of the poetess, could not, in turn, not affect the tonality and character of the love lyrics themselves. True, some of its characteristic features remained the same. The love episode, for example, as before, appears before us in a peculiar Akhmatovian guise: it, in particular, is never consistently developed, it usually has neither an end nor a beginning; the declaration of love, despair or prayer that makes up a poem always seems to the reader as if it were a snippet of an overheard conversation, which did not begin in front of us and the end of which we will not hear either:

Oh, you thought I was like that too

That you can forget me.

And that I will throw myself, begging and sobbing,

Under the hooves of a bay horse.

Or I’ll ask the healers

There's a root in the slander water

And I'll send you a terrible gift

My treasured fragrant scarf.

Damn you.

Not a groan, not a glance

I will not touch the damned soul,

But I swear to you by the garden of angels,

I swear by the miraculous icon

And our nights are a fiery child

I will never return to you.

This feature of Akhmatova’s love lyrics, full of innuendos, hints, going into the distant, I would like to say Hemingway-esque, depth of subtext, gives it true originality. The heroine of Akhmatova’s poems, most often speaking as if to herself in a state of impulse, semi-delirium or ecstasy, naturally does not consider it necessary, and indeed cannot, further explain and explain to us everything that is happening. Only the basic signals of feelings are transmitted, without decoding, without comments, hastily - according to the hasty alphabet of love. The implication is that the degree of spiritual intimacy will miraculously help us understand how missing links, and the general meaning of the drama that just happened. Hence the impression of extreme intimacy, extreme frankness and heartfelt openness of these lyrics, which seems unexpected and paradoxical if we remember its simultaneous codedness and subjectivity. 1

Somehow we managed to separate

And put out the hateful fire.

My eternal enemy, it's time to learn

You really need someone to love.

I'm free. Everything is fun for me

At night the Muse will fly down to console,

And in the morning glory will come

A rattle crackles over your ear.

There's no point in praying for me.

And when you leave, look back...

The black wind will calm me down.

The golden leaf fall makes me happy.

I will accept separation as a gift

And oblivion is like grace.

But tell me, on the cross

Do you dare to send another?

Tsvetaeva once wrote that real poetry usually “grinds” everyday life, just as a flower, which delights us with beauty and grace, harmony and purity, also “grinds” the black earth. She vehemently protested against the attempts of other critics or literary scholars, as well as readers, to get to the bottom of the earth, to that humus of life that served as “food” for the emergence of the beauty of a flower. From this point of view, she passionately protested against obligatory and literalist commentary. To a certain extent, she is, of course, right. Is it really so important to us what served as the everyday root cause for the emergence of the poem “Somehow we managed to separate...”? Perhaps Akhmatova had in mind a break in relations with her second husband V. Shileiko, a poet, translator and Assyrian scholar, whom she married after her divorce from N. Gumilyov? Or maybe she had in mind her affair with the famous composer Arthur Lurie?.. There could be other specific reasons, knowledge of which, of course, can satisfy our curiosity. Akhmatova, as we see, does not give us the slightest opportunity to guess and judge the specific life situation that dictated this poem to her. But, perhaps, precisely for this reason - because of its encrypted and unclear nature - it acquires a meaning that is immediately applicable to many other initial, and sometimes completely dissimilar situations. The main thing in the poem that captivates us is the passionate intensity of feeling, its hurricane force, as well as that unquestioningness of decisions that reveals an extraordinary and strong personality before our eyes.

Another poem, dating to the same year as the one just quoted, speaks about the same thing and almost in the same way:

Like the first spring thunderstorm;

They'll look over your bride's shoulder

My eyes are half closed.

Goodbye, goodbye, be happy, beautiful friend,

I will return to you your joyful vow,

But beware of your passionate friend

Tell me my unique nonsense,

Then, that he will pierce with burning poison

Your blessed, your joyful union...

And I'm going to own a wonderful garden,

Where are the rustling of grass and the exclamations of muses.

A. Blok in his " Notebooks" quotes a statement by J. Ruskin, which partly sheds light on this feature of Akhmatova’s lyrics. “The beneficial effect of art,” wrote J. Ruskin, “is due (also, in addition to didacticism) to its special gift of concealing the unknown truth, which you will only reach through patient digging; This truth is hidden and locked on purpose so that you cannot get it out until you first forge a suitable key in your crucible.” 1

Akhmatova is not afraid to be frank in her intimate confessions and pleas, since she is sure that only those who have the same code of love will understand her. Therefore, she does not consider it necessary to explain or describe anything further. The form of randomly and instantly bursting speech, which can be overheard by everyone passing by or standing nearby, but not everyone can understand, allows it to be lapidary, undistributed and meaningful.

This feature, as we see, is fully preserved in the lyrics of the 20-30s. The extreme concentration of the content of the episode itself, which lies at the heart of the poem, is also preserved. Akhmatova never wrote limp, amorphous or descriptive love poems. They are always dramatic and extremely tense. She has rare poems describing the joy of established, stormless and cloudless love; The muse comes to her only at the most climactic moments experienced by the feeling, when it is either betrayed or dries up:

I wasn't nice to you

You hate me. And the torture lasted

And how the criminal languished

Love full of evil.

It's like a brother. You are silent, angry.

But if we meet eyes

I swear to you by heaven,

Granite will melt in the fire.

In a word, we are always present, as it were, at a bright, lightning flash, at the self-combustion and charring of a pathetically huge, incinerating passion that pierces the entire being of a person and echoes through the great silent spaces that surround him with biblical, solemn silence in this sacred timeless hour.

Akhmatova herself more than once associated the excitement of her love with the great and imperishable “Song of Songs” from the Bible.

And in the Bible there is a red wedge leaf

Laid down on the Song of Songs...

Akhmatova's poems about love - that's it! - pathetic. But the poems of early Akhmatova - in "Evening" and in "Rosary" - are less spiritual, they contain more restless sensuality, vain grievances, weakness; one feels that they come out of the everyday sphere, from the habits of the environment, from upbringing skills, from inherited ideas... In this regard, they recalled the words of A. Blok, allegedly said about some of Akhmatova’s poems, that she writes in front of a man, but she should before God...

Beginning with “The White Flock,” but especially in “Plantain,” “Anno Domini,” and in later cycles, her love feeling takes on a broader and more spiritual character. This did not make it any less powerful. On the contrary, the poems of the 20s and 30s, dedicated to love, go to the very heights of the human spirit. They do not subjugate all life, all existence, as it was before, but all existence, all life bring into love experiences the whole mass of shades inherent in them. Filled with this enormous content, love became not only incomparably richer and more colorful, but also truly tragic. The biblical, solemn elation of Akhmatova's love poems of this period is explained by the genuine height, solemnity and pathosity of the feeling contained in them. Here is at least one of these poems:

An unprecedented autumn built a high dome,

There was an order for the clouds not to darken this dome.

And people marveled: the September deadlines were passing,

Where did the cold, humid days go?

The water of the muddy canals became emerald,

And the nettles smelled like roses, but only stronger.

It was stuffy from the dawns, unbearable, demonic and scarlet,

We all remembered them until the end of our days.

The sun was like a rebel entering the capital,

And the spring autumn caressed him so greedily,

It seemed like the transparent snowdrop was about to turn white...

That's when you came, calm, to my porch.

It is difficult to name in world poetry a more triumphant and pathetic image of how a beloved approaches. This is truly a phenomenon of “Love in the eyes of an enthusiastic World!”

Conclusion

Akhmatova in her work illuminates an eternal theme - the theme of love in human life. And I agree that it is impossible to live in this world without love, but you can and should learn this feeling by studying Akhmatova’s lyrics. According to the poetess, love is the “fifth season of the year.” Speaking about such a complex feeling, Akhmatova is not afraid to be frank in her intimate confessions. I found that the innovation of Akhmatova’s artistic method lies in the novelism of the lyrics. I paid attention to the artistic detail and identified its role in the poetess’s poems. Her so-called details of things, sparingly presented, are reminiscent of Russian classics, not only novels, but also short stories, not only prosaic, but also poetic (Pushkin, Lermontov, Tyutchev).

I was able to trace the connection early lyrics about love with the work of Akhmatova of the 20-30s and establish that the poems of this period are more psychological, truly tragic.

Akhmatova entered the ranks of the first poets with her poems about love. As Osip Mandelstam put it, Akhmatova’s name becomes “a symbol of the greatness of Russia.”

Bibliography

1. Anna Akhmatova. Works: In 2 vols. M., 1996. Anna Akhmatova. Lyrics: Collection in two books. Kursk, 1992.
2. A. Gurova A. Akhmatova M. Tsvetaeva //Moscow Ast Olympus 1997.
3. Oberkhnikhina G. A. Literature in the 11th grade. From 53., 2009
4. Zhirmuensky V. M. The work of Anna Akhmatova. L., 2008
5. History of Russian literature: In t.L., 2007. T.
6. Literature. School Student's Handbook. M., 2005
7. Russian writers 1800-1917: Biographical dictionary. M., 2009
8. Skatov's book of the female soul (to the 100th anniversary of the birth of A. Akhmatova) // Literature at school. 1989. No. 3.
9. Romanenko N. A manual on literature. 2003.P.8-15.
10. Eikhenbaum B.M. Anna Akhmatova: Experience of analysis of poetry. L., 2006.

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Brief biographical information

On June 11 (23), 1889, under the modest name of Anna Gorenko, the future great Russian poetess Anna Akhmatova was born into the family of a retired railway engineer. As a one-year-old child, she was transported to Tsarskoye Selo, where she lived until she was 16, coming every summer to the Black Sea, which she fell in love with. She fell in love with the city of Sevastopol, ancient Chersonesos. Anna Andreevna studied at the Tsarskoe Selo women's gymnasium, “took the course of the penultimate class of the gymnasium in Yevpatoria,” and completed the last class at the Fundukleevskaya gymnasium in Kiev in 1907. She studied at the Faculty of Law of the Higher Women's Courses in Kyiv, to which, however, she lost interest.

In April 1910, she became the wife of Nikolai Gumilyov. After marriage, she studied at the Raev Higher Historical and Literary Courses in St. Petersburg. 1912 was a happy year for her: the first collection of poems “Evening” (300 copies) was published and on October 1 her only son Lev was born.

In subsequent years, the following collections of poems by the poetess were published: “Rosary”, “White Flock”, “Plantain”, “Anno Domini”, “Reed”, “Odd”, “God of Time”, as well as the cycle “Requiem” (1936-1940 ), “Poem without a Hero” and many poems not included in the collections.

After October revolution worked in the library of the agronomic institute. During the Great Patriotic War lived in Leningrad, Moscow, Tashkent, often performed in hospitals, read poetry to various fighters.

For the high artistry of her poetry, Anna Andreevna Akhmatova was awarded the International Literary Prize “Etna-Taormina” in Italy in 1964, and the poetess was honored in London and Paris in 1965. She was a Doctor of Literature from the University of Oxford in England. On March 5, 1966, Anna Andreevna died.

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“LOVE LYRICS BY A. AKHMATOVA”

Gold rusts and steel decays,

Marble is crumbling. Everything is ready for death.

The most durable thing on earth is sadness

And more durable is the royal word.

A. Akhmatova

Anna Akhmatova's first poems appeared in Russia in 1911 in the magazine Apollo. Almost immediately, Akhmatova was ranked by critics among the greatest Russian poets.

A. A. Akhmatova lived and worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom was, often had to choose between free creativity and life.
But despite all these circumstances, poets still continued to work miracles: wonderful lines and stanzas were created.
The source of inspiration for Akhmatova was her Motherland, Russia, which was desecrated, but this made it even closer and dearer to her. Anna Akhmatova could not emigrate; she knew that only in Russia could she create, that it was in Russia that her poetry was needed.

I'm not with those who abandoned the earth
To be torn to pieces by enemies.
I don't listen to their rude flattery,
I won’t give them my songs.

IN famous work“Everything is stolen, betrayed, sold...” (1921), the first line of which was quoted many times to prove the idea of ​​​​the poetess’s hostile attitude towards Soviet society and the revolution, even in it one could hear her benevolent curiosity and undoubted interest in a new life:

Everything is stolen, betrayed, sold,

The wing of the black death flashed,

Everything is devoured by hungry melancholy,

Why did we feel light?

During the day the breath of cherry blossoms blows

An unprecedented forest under the city,

At night it shines with new constellations

The depth of the transparent July skies, -

And the wonderful comes so close

To the crumbling dirty houses...

Unknown to anyone,

But from the ages we have desired.

This is 1921, devastation, famine, the very end civil war, from which the country emerged with incredible strain. The old world was destroyed, the new one was just beginning to live. For Akhmatova and those whom she unites with herself in this poem, the destroyed past was a well-lived and familiar home. But still inner strength life forced her, in the midst of the ruins of the old world, to utter words blessing the eternal in its charm and wise newness of life. The poem is essentially optimistic, it radiates light and joy, anticipation of life, which seems to be starting over.

The lyrics of Anna Akhmatova in her first books “Evening”, “The Rosary” and “The White Flock” are almost exclusively lyrics of love.

The romance between Anna Akhmatova and Lev Gumilyov lasted for seven years. Confused, broken, on the verge of breaking down, the relationship with Gumilyov forever determined for Anna Akhmatova the model of her relationships with men. She will always fall in love only when she sees a riddle on top of the earthly, real essence. It excited her, she sought to unravel it, she sang its praises. She spoke about love as a higher concept, almost religious. And she herself - with the rarest exceptions - abruptly ended the romance if it threatened to turn into an everyday, familiar existence...

Even if I don’t have a flight

From a flock of swan,

Alas, lyric poet

Must be a man!

Otherwise everything will go upside down

Until the hour of parting:

And the garden is not a garden, and the house is not a house,

A date is not a date!

Her heart seemed to be looking for death, looking for torment. On April 25, 1910, Anna Gorenko and Nikolai Gumilev were married in the St. Nicholas Church near Kiev, and in May they left for a honeymoon to Paris. And already on next year Anna Akhmatova's first poems appear in print. In 1911, the poetry collection “Evening” was published - the first-born of the poetess. A collection permeated with the pain of a loving and deceived woman

I'm not asking for your love -

She is now in a safe place.

Believe that I am your bride

I don’t write jealous letters….

Akhmatova wrote about unhappy love. She was created for happiness, but did not find it. Probably because she herself understood: “Being a poet for a woman is absurd.”

A woman is a poet with her thirst for love... After all, to quench this thirst, it is not enough for a man to love: a woman-poet suffers from the scarcity of simple love. To quench such an “immortal passion,” Akhmatova sought equivalence, equal value in love.

From your mysterious love

I scream out loud in pain,

Became yellow and fitful,

I can barely drag my feet...

In August 1914, Gumilyov volunteered to go to the front. Anna Akhmatova was disappointed in the love of Nikolai Gumilyov. And Gumilyov suffered a lot for the happiness of being Akhmatova’s husband.

And the heart will no longer respond

Everything is over…

And my song rushes

On an empty night where you are no longer there

Akhmatova in her poems appears in an infinite variety of women's destinies: lovers and wives, widows and mothers, cheating and abandoned.
There is a center that, as it were, brings the rest of the world of poetry to itself; it turns out to be the main nerve, idea and principle. This is Love. In one of her poems, Akhmatova called love the “fifth season of the year.” The feeling, in itself acute and extraordinary, receives additional acuteness, manifesting itself in extreme crisis expression - rise or fall, first meeting or complete breakup, mortal danger or mortal melancholy. That is why Akhmatova is so drawn to a lyrical short story with an unexpected end to a psychological plot, eerie and mysterious (“The City Has Disappeared,” “New Year’s Ballad”).
Usually her poems are the beginning of a drama, or only its culmination, and more often the finale and ending. She relied on the rich experience of Russian not only poetry, but also prose:

Glory to you, hopeless pain,
The gray-eyed king died yesterday.
And outside the window the poplars rustle:
Your king is not on earth...

Akhmatova’s poems carry a special element of love-pity:

Oh no, I didn't love you
Burned with sweet fire,
So explain what power
In your sad name.

In the complex music of Akhmatova’s lyrics, in its barely flickering depths, a special, frightening disharmony constantly lived and made itself felt in the subconscious, which embarrassed Akhmatova herself. She later wrote in “Poem Without a Hero” that she constantly heard an incomprehensible hum, as if some kind of underground bubbling, shifting and friction of those original solid rocks on which life had been eternally and reliably based, but which began to lose stability and balance. The very first harbinger of such an unsettling sensation was the poem "The First Return" with its images of a mortal sleep, a shroud and a death knell, and with a general feeling of a sharp and irrevocable change that had occurred in the very air of time.
Over time, Akhmatova’s lyrics conquered more and more reading circles and generations and, while never ceasing to be the object of admiring attention from discerning connoisseurs, clearly came out of the seemingly destined narrow circle of readers.
Soviet poetry of the first years of October and civil
war, occupied with the grandiose tasks of overthrowing the old world, preferring to talk not so much about a person as about humanity, or in any case about the masses, was initially insufficiently attentive to the microcosm of intimate feelings, classifying them in a fit of revolutionary puritanism as socially unsafe bourgeois prejudices. Akhmatova’s lyrics, by all laws of logic, should have gotten lost and disappeared without a trace. But that did not happen.

Young readers of the new, proletarian Soviet Russia, which was embarking on the socialist path, workers and workers' faculty members, Red Army women and Red Army men - all these people, so distant and hostile to the world itself, mourned in Akhmatova's poems, nevertheless noticed and read the elegantly published volumes of her poems.

Anna Akhmatova's lyrics change in the 20s and 30s compared to earlier books. These years were marked by exceptional creative intensity. Akhmatova, as before, remained unknown to the reader and therefore seemed to have disappeared from the reading and literary world.

Akhmatova's lyrics throughout the post-revolutionary period
twenty years has constantly expanded, absorbing more and more new,
areas previously uncharacteristic of her, the love story, without ceasing to be dominant, nevertheless now occupied only one of the poetic territories in her. However, the inertia of reader perception was so great that Akhmatova, even in these years, marked by her turn to civil, philosophical and journalistic lyrics, still appeared to the eyes of the majority as solely and exclusively an artist of love.

The expansion of the range of poetry resulting from changes in
the worldview and attitude of the poetess, could not, in turn, not affect the tonality and character of the love lyrics themselves. True, some of its characteristic features remained the same.

The love episode, as before, appears before us in a peculiar Akhmatovian guise: it is never consistently developed, it usually has neither end nor beginning; the declaration of love, despair or prayer that makes up the poem seems like a fragment of a accidentally overheard conversation that did not begin in front of us and the end of which we will not hear either:
"Oh, you thought I was like that too,

That you can forget me.

And that I will throw myself, begging and sobbing,

Under the hooves of a bay horse.
Or I’ll ask the healers

There's a root in the slander water
And I'll send you a terrible gift

My treasured fragrant scarf.
Damn you.

Not a groan, not a glance

I will not touch the damned soul,

But I swear to you by the garden of angels,

I swear by the miraculous icon

And our nights are a fiery child

I will never return to you."

This feature of Akhmatova’s love lyrics, full of innuendos, hints, going into the distant depths of subtext, gives it true originality. The heroine of Akhmatov’s poems, most often speaking as if to herself in a state of impulse, semi-delirium or ecstasy, naturally does not consider it necessary to explain and explain to us everything that is happening. Only the basic signals of feelings are transmitted, without decoding, without comments, hastily - according to the hasty alphabet of love. The implication is that the degree of spiritual intimacy will miraculously help us understand both the missing links and the overall meaning of the drama that has just occurred. Hence the impression of extreme intimacy, extreme frankness and heartfelt openness of these lyrics...

(327 words) Anna Andreevna Akhmatova is one of the great poetesses of Russia. Love in her poems is the most exciting topic. But for her, the feeling is not only happiness; rather, on the contrary, it is more suffering, painful misunderstanding and separation.

The poetess understands love as a “selfish” passion, “love is fun.” But most often her works feature “great earthly love” for people and to people. And it is expressed, like many poets silver age, in a craving for home country. As you know, the author was repeatedly offered to leave Russia, especially in difficult times for her, but Akhmatova flatly refused. Thus, the motives of self-sacrifice and love for Russia were heard in her work.

Of course, the revolutionary events worried her greatly, and the persecution of the authorities affected her family: her first husband and son. The poem “Prayer” colorfully tells about Akhmatova’s feelings for the fatherland.

The love that the poetess describes in her works never brings with it a happy ending. It is usually filled with sadness. For example, in her poem “Muse,” Anna Andreevna wrote about unfulfilled love and a man’s misunderstanding of a woman poet. He believed that a lady had no need for such a calling. Then the lyrical heroine abandoned this relationship for the sake of creativity. Thus, the author dedicated some of his poems to his love of art, vocation, and poetry.

Of course, gender relations are the most common love theme in Akhmatova’s lyrics. For example, everyone is well aware of the poem “Clenched hands under a dark veil.” In it, the heroine shares her strong impressions of a meeting with a man, as a result of which they came to the conclusion that separation is inevitable. And although this is clear to both of them, the woman experiences the separation very acutely, repenting and trying to fix everything. This gesture conveys the fanatical force of attraction between hearts. When the taut connecting thread between them snapped, the once close people were thrown aside and painfully wounded by the shock.

The great poetess knew true love and through her work tried to convey to the reader that this feeling is multifaceted and contradictory, but in order to feel all its depths, it is necessary to understand that mutual attraction is not only happiness and joy, but also pain, disappointment, melancholy. People can be confident in the strength of their emotions only if they have been able to survive all the difficult moments.

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Anna Akhmatova's creative path began in 1912 with the collection “Evening”, and the vast majority of early poems were dedicated to love. But in this eternal, repeatedly played out theme, the poetess of the “Silver Age” proved herself to be an innovator. Almost every work of hers is a novel in miniature. It’s as if the poetess takes out a small episode from the whole story, shows love in a state of crisis, and the feeling becomes extremely acute.

Akhmatova's poems about love are most often poems about breakup.

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They contain tense silence, a cry of pain, the torment of a broken heart, and emotions abandoned woman. However, in her poems there is no weakness or brokenness; on the contrary, the lyrical heroine shows incredible fortitude. She is both feminine and masculine at the same time.

This deep and complex image requires great skill from the poet. But Akhmatova seems to cope with this easily. In just a few short quatrains, she manages to convey the psychologism of the lyrical heroine in the smallest detail. And the main means of creating a character’s image are things. Little things, such as, for example, a glove put on the other hand, green copper on a washstand, a forgotten whip, are remembered by the reader immediately and for a long time. Description of items shows internal state lyrical hero, therefore, not a single thing in Akhmatova’s poems is accidental: “So helplessly my chest grew cold, // But my steps were light.// I put on my right hand// The glove from my left hand.” This is an excerpt from their poem “Song last meeting“, but how surprisingly this imagery of Akhmatova’s poetic speech is manifested here. It’s as if the author says one word, and the reader finishes the sentence himself. The heroine put the glove on the wrong hand, and this gesture showed the unfortunate woman’s confusion, helplessness, and detachment from outside world. All this is difficult to convey in ordinary words, you just need to imagine and feel it.

Love in Akhmatova's lyrics never appears in its calm state. Very often, along with despair, pain, hopelessness, thoughts about death awaken in the lyrical heroine. Then Akhmatova conveys the inner state of her character through the landscape. In the same “Song of the Last Meeting”, the lyrical heroine feels unity with nature, she sees a kindred soul in the “autumn whisper”. The wind quietly whispers: “I am deceived by my sad, // Changeable, evil fate...”, and she understandably replies, “Dear, dear, - and so am I.” I will die with you! The death of the human soul occurs in parallel with the death of nature, so the image of autumn is often found in Akhmatova’s poems. In the work “Tearful Autumn, Like a Widow...” the season is personified, appears before us “in black robes” and sobs continuously, “going over her husband’s words.” The merging of the lyrical heroine with autumn also speaks of the inner dying of an offended woman.

With her poems, Akhmatova proves that autumn can also come in the soul with its piercing cold and endless rains. Love in the poetess's lyrics is always disharmonious; it is filled with the deepest drama, a feeling of hopelessness and a premonition of an approaching catastrophe. But this shows strong-willed and brave woman's face. In one of her poems, Akhmatova writes: “I taught women to speak.” Indeed, her work openly and truthfully shows the depth of the inner world of a simple woman.

Updated: 2018-03-02

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