1. Lyrical heroine of poetry.
2. Early period life and work of Akhmatova.
3. Features of the poet's love lyrics, the evolution of its sound.
4. Creative "handwriting" of Akhmatova.
5. The theme of personal tragedy as a reflection of the tragedy of the whole country in later works.
6. Akhmatova's poems are a mirror of her soul.

No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people
Where my people, unfortunately, were.
A. A. Akhmatova

In this epigraph to the poem "Requiem" the life and creative position of A. A. Akhmatova receives a strict and concise expression. It was the impossibility to exist anywhere except Russia, love for the motherland that did not allow Akhmatova to leave the country in 1917. And the wisdom and intuition inherent in a woman served as the saving means that gave strength to survive, together with the country and its people, the most difficult years. Akhmatova lived and worked in an era of great social upheavals, revolutions and wars. Any artist in this difficult time often has to choose between free creativity and life. In the years of the most difficult trials and losses, creativity will be her only salvation.

Akhmatova never left the muse. Akhmatova's poetry is often called "feminine", and she is the ancestor of a new, hitherto unknown style. In the poems, the lyrical heroine appears at the same time as incredibly feminine, subtle, soulful, and at the same time surprisingly real, earthly, rooted in being. Akhmatova herself did not like the word "poetess", she always called herself only a "poet". The ironic lines - "I taught women to speak, but, God, how to silence them" - speak of the rejection of the "glued" label.

She really was a real, great poet - a poet with capital letter and with great talent. At the same time, she always remained a person with courageous character, a personality of cosmic scale.

A. A. Akhmatova (real name - Gorenko), 1889-1966, was born in the family of a marine engineer near Odessa. A year later, the family moved to Tsarskoye Selo, where Akhmatova became a student at the Mariinsky Gymnasium. She spent every summer near Sevastopol. In her autobiography, entitled “Briefly About Myself,” A. A. Akhmatova, in fact, described the moments of her childhood memories, which later left an imprint on her lyrics: “My first memories are Tsarskoe Selo: the green, damp splendor of the parks, the pasture where my nanny took me , a hippodrome where small colorful horses galloped, an old railway station and something else that later became part of the Tsarskoye Selo Ode ... I wrote my first poem when I was eleven years old.

After her parents divorced in 1905, Akhmatova and her mother moved to Evpatoria. From 1906 to 1910 she studied first at senior class Kiev-Fundukley gymnasium, then - at the legal department of the Kyiv Higher Women's Courses. After the wedding in 1910 with the poet N. S. Gumilev and honeymoon in Paris, she moved to St. Petersburg. From 1910 to 1916 she lives in Tsarskoye Selo, familiar to her from childhood and imbued with the spirit of Pushkin's time, as if forever settled in this legendary area. It is no coincidence that one of the "eternal" sources of creative inspiration for Akhmatova was the great Russian poet, the love for which she carried through her whole life. Even the muse of this period is “dark”, as if she appeared before her in the adolescent form of A. S. Pushkin, a curly-haired teenage lyceum student.

In the early poetry of Akhmatova, the influence of symbolism and acmeism is clearly visible. The lyrics of this period, embodied in the books "Evening", "Rosary", " white flock”, almost exclusively the poetry of love. By fullness and sensuality early lyrics Akhmatova was often compared to the ancient Greek "singer of love" Sappho, she was called that - "Russian Sappho".

B. M. Eikhenbaum was one of the first to talk about the "romance" of Akhmatov's lyrics as inherent in it art style: “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. As we moved from one collection to another, we experienced a characteristic sense of interest in the plot - in how this novel will develop. In the lyrical miniature novel, Akhmatova achieved great skill:

As simple courtesy dictates,
Came up to me
Smiled half affectionately, half lazily
He touched his hand with a kiss.
And mysterious ancient faces
Eyes looked at me.
Ten years of fading and screaming.
All my sleepless nights
I put in a quiet word
And she said it in vain.
You left. And it became again
My heart is empty and clear...

The tragedy of ten years is conveyed in one seemingly insignificant event, one gesture, look, word.

Akhmatova's poems are sometimes a short diary entry or a fragment internal monologue conveying fluidity and unintentionality mental life, which was brought to perfection in his psychological prose by L. N. Tolstoy:

Today I am silent in the morning
And the heart - in half ...

What was called “Akhmatova’s mystery” is her style, which organically combines femininity and fragility with the hardness and distinctness of an artistic drawing, passion is clearly and succinctly expressed in two or three words. All this speaks of the imperiousness and hidden will of the character of the poet himself. According to contemporaries, in the complex music of Akhmatov's lyrics, in its shimmering depths, in the subconscious, a special, frightening disharmony constantly made itself felt. In "A Poem Without a Hero" she would later write that she heard "an incomprehensible rumble, as if some kind of underground bubbling, shifts and friction of those original solid rocks on which life was eternally and reliably based, but which began to lose stability and balance."

So in " love story» Akhmatova enters an era that introduces shades of anxiety and sadness into her poems. love lyrics Akhmatova is “all-encompassing”, “all-understandable”, both in the pre-revolutionary and in the first post-revolutionary years, she won more and more readership. Her poetry remained in demand by young readers of the new, proletarian Soviet Russia- commissars, rabfakovtsy, Red Army soldiers, people distant and hostile to the very world of Akhmatov's lyrics, unusually complex. She managed to reveal the story incredibly truthfully female soul the turning point of the era, its breakdown, new formation and development. One of the notable women and figures Soviet era A. M. Kollontai noted that Akhmatova’s poems are “ whole book female soul."

O. E. Mandelstam wrote back in the 1920s: “... Akhmatova brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the 20th century. There would be no Akhmatova if there weren't Tolstoy and Anna Karenina, Turgenev with The Nest of Nobles, all Dostoevsky and partly even Leskov. The genesis of Akhmatova lies entirely in Russian prose, not poetry. My poetic form, sharp and original, she developed with an eye on psychological prose. Recall the famous: "If only you knew what rubbish poems grow from, knowing no shame ...". There are many examples of such sources of inspiration in her poetry. Poems are born from everyday life, from everyday life: a green washstand on which a pale evening beam plays, mold spots on a damp wall, burdocks, nettles, a damp fence, dandelions. Vitality and realism, the ability to see poetry in itself ordinary life- predetermined in her talent by nature itself. Even Akhmatova's contemporaries noticed what a big role a strict, deliberately localized everyday detail played in the poems of the young poetess - everything is expressed visibly, precisely, succinctly. M. I. Tsvetaeva, in one of her poems dedicated to Akhmatova, calls her “Chrysostom Anna - All Russia”.

Love for Akhmatova is often suffering, torture, a painful, agonizing fracture of the soul to the point of destruction. The image is tragic love in the early poems of Akhmatova, it is also a symbol of the “troubled” pre-revolutionary time of the 10s and a symbol of the sick old world. It is no coincidence that in the "Poem without a Hero" the poet administers a severe judgment on him, moral and historical. In the poem “I had a voice. He called consolingly ... ”it is said about rejection revolutionary events, but at the same time about the impossibility of leaving the Motherland, being away from it in the days of trials:

I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.

The tone and direction of Akhmatova's lyrics changed markedly in the 1920s and 1930s. She increasingly turns to civil, philosophical and journalistic lyrics, although she remains in the eyes of the majority an artist of love feelings. Later, Akhmatova wrote in her memoirs: “... no one knows what era he lives in. At the beginning of the 1910s, our people did not know that they were living on the eve of the first European war and the October Revolution. This profound remark reveals in the author an artist and a historian at the same time, which will then be completed in the poem "Requiem".

In the fierce literary disputes of the 1920s, the criteria for the revolutionary nature of literature were schematized, simplified, more and more often poisoned people fly towards Akhmatova's arrow, contemptuous epithets are strung - poetry is chamber, alcove, not needed by the revolution, decadent.

In the 1930s, the world of Akhmatova's poetry was a tragic world. In 1921, his ex-husband, the poet N. S. Gumilyov, was shot for “counter-revolutionary” activities, his son, a university student, and then his husband, N. N. Punin, was arrested and exiled. Akhmatova herself lived these years in constant expectation of arrest. The main work of Akhmatova in the 30s was the "Requiem" created by her, dedicated to the years " great terror”, the suffering of the repressed people. "Requiem", published only half a century later, in 1987, and reflecting the personal tragedy of A. A. Akhmatova and her son L. N. Gumilyov, was created between 1935 and 1940. Today the poem is one of the literary memorials to all the victims of Stalin's tyranny: "In terrible years Yezhovshchina, I spent seventeen months in prison queues”:

And the stone word fell

On my still living chest.
Nothing, because I was ready
I'll deal with it somehow.
I have a lot to do today:
We must kill the memory to the end,
It is necessary that the soul turned to stone,
We must learn to live again.

It was dangerous to write such lines. The author and several close friends memorized the text. Without "Requiem" it is impossible to understand the life and work of A. A. Akhmatova, it is impossible to understand our literature and the socio-political processes that took place in society. This is a stunning document of the era, based on the facts of his own biography, evidence of the trials Russians went through during the war years. This poem has taken on a universal character:

Again the hour of the funeral approached.
I see, I hear, I feel you...
I would like to name everyone
Yes, the list was taken away, and there is nowhere to find out ...
I remember them always and everywhere,
I will not forget about them even in a new trouble ...

Critic A. Urban believes that after the publication of "Requiem" the myth of Akhmatova "as an exclusively chamber poet" was debunked.

Representative Silver Age Russian culture, she went through a difficult tragic path, but even becoming the successor to the traditions of great Russian literature, she retained faith in historical justice. It is in the "Requiem" that the poet's laconicism is especially felt, which has acquired a completely different sound in a tragic context.

The beginning of the Great Patriotic War is considered the most important frontier of Akhmatova's creative path. Akhmatova met the war in Leningrad. Like all residents, she survived 900 days of the blockade courageously and steadfastly. In the poems “Oath”, “Courage”, “Victory”, “To the Winners”, “I meet the third spring in the distance ...”, “I have not been here for seven hundred years ...”, “From the plane”, we see the image of a man, shocked and deeply worried about the fate of the motherland, pain.

as a natural continuation patriotic lyrics during the war years, in the 50s she wrote poems “Children Speak”, “Song of Peace”, “Primorsky Victory Park”.

In works last period: “A poem without a hero”, “The path of all the earth”, “Northern elegies”, - Akhmatova, as it were, sums up life path, but often echoes of the past break through in them, a feeling of loneliness.

In her life and work, she experienced both glory, and oblivion, and despair, and unfair cruel accusations that the image of her muse did not correspond to the mood of the revolution. “Each poet,” Akhmatova emphasized, “has his own tragedy, otherwise he is not a poet. Without tragedy, there is no poet - poetry lives and breathes over the very abyss of the tragic, "the dark abyss on the edge ...".

It was not easy for Akhmatova to remain devoted to her Motherland, Russia, lost and found, because it was here that she had to experience incomparable torment. Nevertheless, nowhere in Akhmatova's poetry do we find reproach to the Motherland. “I never stopped writing poetry. For me, they are my connection with time, with new life my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these days and saw events that had no equal ”- these words, written in the preface to a collection of poems in 1961, sound like a summing up of a woman who lived hard, lost a lot, but overcame many trials of a woman’s life.

May 12th, 2017

Everyone knows Anna Andreevna Akhmatova educated people. This is an outstanding Russian poetess of the first half of the twentieth century. However, few people know how much this truly great woman had to endure.

We bring to your attention short biography of Anna Akhmatova. We will try not only to focus on the most milestones life of the poetess, but also to tell interesting facts from her biography.

Biography of Akhmatova

Anna Akhmatova is a famous world-class poetess, writer, translator, literary critic and critic. Born in 1889, Anna Gorenko (this is her real name), spent her childhood in hometown Odessa.

Young Akhmatova. Odessa.

The future classicist studied in Tsarskoe Selo, and then in Kyiv, at the Fundukleevskaya gymnasium. When she published her first poem in 1911, her father forbade her to use her real surname, in connection with which Anna took the surname of her great-grandmother, Akhmatova. It was with this name that she entered Russian and world history.

There is one associated with this episode. interesting fact which we present at the end of the article.

By the way, above you can see a photo of young Akhmatova, which differs sharply from her subsequent portraits.

Akhmatova's personal life

In total, Anna had three husbands. Was she happy in at least one marriage? It is hard to say. In her works we find many love poetry. But this is rather some kind of idealistic image of unattainable love, which has passed through the prism of Akhmatova's gift. But whether she had ordinary family happiness is hardly.

Gumilyov

The first husband in her biography was famous poet Nikolai Gumilyov, from whom she was born The only son- Lev Gumilyov (author of the theory of ethnogenesis).
After living for 8 years, they divorced, and already in 1921 Nikolai was shot.

It is important to emphasize here that the first husband passionately loved her. She did not reciprocate his feelings, and he knew about it even before the wedding. In a word, their living together was extremely painful and painful from constant jealousy and internal suffering of both.

Akhmatova was very sorry for Nikolai, but she did not feel feelings for him. Two poets from God could not live under one roof and dispersed. Even their son could not stop their disintegrating marriage.

Shileiko

In this difficult period for the country, the great writer lived very badly.

Having an extremely meager income, she earned money by selling herring, which was given out as a ration, and with the proceeds she bought tea and smoke, without which her husband could not do.

In her notes there is a phrase referring to this time: "I will soon get on all fours myself."

Shileiko was terribly jealous of his brilliant wife for literally everything: men, guests, poems and hobbies. He forbade her to read poetry in public and even did not allow her to write them at all. This marriage was also short-lived, and in 1921 they parted ways.

Punin

Akhmatova's biography developed rapidly. In 1922 she marries again. This time for Nikolai Punin, an art critic, with whom she lived the longest - 16 years. They parted in 1938, when Anna's son Lev Gumilyov was arrested. By the way, Lev spent 10 years in the camps.

Hard years of biography

When he was first imprisoned, Akhmatova spent 17 most difficult months in prison queues, bringing parcels to her son. This period of life forever crashed into her memory.

Lyova Gumilev with her mother - Anna Akhmatova. Leningrad, 1926

One day a woman recognized her and asked if she, as a poet, could describe all the horror experienced by the mothers of the innocently convicted. Anna answered in the affirmative and at the same time began work on her own famous poem"Requiem". Here is a small extract from there:

I've been screaming for seventeen months
I'm calling you home.
I threw myself at the feet of the executioner -
You are my son and my horror.

Everything is messed up,
And I can't make out
Now who is the beast, who is the man,
And how long to wait for the execution.

First world war Akhmatova completely limited her public life. However, this was incomparable with what happened later in her difficult biography. After all, the Great Patriotic War was still ahead of her - the bloodiest in the history of mankind.

In the 1920s, a growing movement of emigration began. All this had a very hard effect on Akhmatova because almost all of her friends went abroad. One conversation that took place between Anna and G.V. is noteworthy. Ivanov in 1922. Ivanov himself describes it this way:

I'm going abroad the day after tomorrow. I go to Akhmatova - to say goodbye.

Akhmatova holds out her hand to me.

- Are you leaving? Bow from me to Paris.

- And you, Anna Andreevna, are not going to leave?

- Not. I will not leave Russia.

But it's getting harder and harder to live!

Yes, it's getting harder.

- It can become quite unbearable.

- What to do.

- Won't you leave?

- I'm not leaving.

In the same year she writes famous poem, which paved the line between Akhmatova and the creative intelligentsia who went into exile:

I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.

But the exile is eternally pitiful to me,
Like a prisoner, like a patient
Dark is your road, wanderer,
Wormwood smells of someone else's bread.

Since 1925, the NKVD has issued an unspoken ban that no publishing house should publish any of Akhmatova's works because of their "anti-nationality".

In a brief biography, it is impossible to convey the burden of moral and social oppression that Akhmatova experienced during these years.

Having learned what fame and recognition are, she was forced to drag out a miserable, half-starved existence, in complete oblivion. At the same time, realizing that her friends abroad are regularly published and deny themselves little.

The voluntary decision not to leave, but to suffer with her people - this is the truly amazing fate of Anna Akhmatova. During these years, she was interrupted by random translations of foreign poets and writers and, in general, lived extremely poorly.

Creativity Akhmatova

But let's go back to 1912, when the first collection of poems by the future great poetess was published. It was called "Evening". This was the start creative biography future star in the sky of Russian poetry. Three years later, a new collection of "Rosary" appears, which was printed in the amount of 1000 pieces.

Actually, from this moment, the nationwide recognition of Akhmatova's great talent begins. In 1917 the world saw A new book with poems "The White Flock". It was published twice as large in circulation, through the previous collection.

Among the most significant works of Akhmatova, one can mention the "Requiem", written in 1935-1940. Why is this poem considered one of the greatest? The fact is that it displays all the pain and horror of a woman who lost her loved ones due to human cruelty and repression. And this image was very similar to the fate of Russia itself.

In 1941, Akhmatova wandered hungry around Leningrad. According to some eyewitnesses, she looked so bad that a woman, stopping near her, handed her alms with the words: "Take Christ for the sake of it." One can only imagine what Anna Andreevna felt at that time.

However, before the blockade began, she was evacuated to Moscow, where she met with Marina Tsvetaeva. This was their only meeting.

A short biography of Akhmatova does not allow to show in all details the essence of her amazing poems. They seem to be talking to us alive, conveying and revealing many sides human soul.

It is important to emphasize that she wrote not only about the individual, as such, but considered the life of the country and its fate as a biography of a single person, as a kind of living organism with its own virtues and morbid inclinations.

A subtle psychologist and a brilliant connoisseur of the human soul, Akhmatova managed to depict in her poems many facets of fate, its happy and tragic vicissitudes.

Death and memory

On March 5, 1966, Anna Andreevna Akhmatova died in a sanatorium near Moscow. On the fourth day, the coffin with her body was delivered to Leningrad, where a funeral took place at the Komarovsky cemetery.

In honor of the outstanding Russian poetess, many streets are named in former republics Soviet Union. In Italy, in Sicily, a monument was erected to Akhmatova.

In 1982, a minor planet was discovered, which received its name in her honor - Akhmatova.

In the Netherlands, on the wall of one of the houses in the city of Leiden, the poem "Muse" is written in large letters.

Muse

When I wait for her arrival at night,
Life seems to hang by a thread.
What honors, what youth, what freedom
In front of a nice guest with a pipe in her hand.

And so she entered. Throwing back the cover
She looked at me carefully.
I tell her: “Did you dictate to Dante
Pages of Hell? Answers: "Me!".

Interesting facts from the biography of Akhmatova

Being a recognized classic, back in the 1920s, Akhmatova was subject to colossal censorship and silence. She was not printed at all for decades, which left her without a livelihood. However, despite this, abroad she was considered one of the major poets modernity and in different countries released without her knowledge.

When Akhmatova's father found out that his seventeen-year-old daughter began to write poetry, he asked "not to shame his name."

Photo from the early 1960s

Her first husband Gumilev says that they often quarreled over their son. When Levushka was about 4 years old, Mandelstam taught him the phrase: "My dad is a poet, and my mom is a hysteric." When a poetic company had gathered in Tsarskoye Selo, Levushka entered the living room and shouted a memorized phrase in a loud voice.

Nikolai Gumilev was very angry, and Akhmatova was delighted and began to kiss her son, saying: “Clever, Leva, you are right, your mother is hysterical!” At that time, Anna Andreevna did not yet know what kind of life lay ahead of her, and what century was coming to replace the Silver Age.

The poetess kept a diary all her life, which became known only after her death. It is thanks to this that we know many facts from her biography.

Akhmatova was nominated for the Nobel Prize in Literature in 1965, but it was ultimately awarded to Mikhail Sholokhov. Not so long ago it became known that initially the committee considered the option of dividing the prize between them. But then they still stopped at Sholokhov.

Two of Akhmatova's sisters died of tuberculosis, and Anna was sure that the same fate awaited her. However, she was able to overcome weak genetics and lived for 76 years.

Lying down in a sanatorium, Akhmatova felt the approach of death. In her notes she left a short phrase: "It is a pity that there is no Bible."

A short message about the life and work of Anna Akhmatova for children in grades 2, 3, 4, 5, 6, 7

Akhmatova - Gorenko, was born in a family with Tatar ancestry, on July 11 or 23 according to the old style in 1889.

As a child, at the age of one, the girl was transferred to the village of Tsarskoye, where she had to live for almost 16 years. Anna's memories were associated with memories of the splendors of green parks, with a nanny who periodically went to the local epod rum with the girl. Anyuta often thought of little horses, of the old station. And every summer she rested in the Crimea on the Black Sea, near Streletskaya Bay.
When she was only five, the girl listened with inspiration to the stories of a teacher who taught French to her older brothers. Later she was given away, studying at the women's gymnasium in Tsarskoye Selo. I didn’t study very well in the first year, but after a while, my studies improved with a young girl, improved.
By the age of 11, Akhmatova had composed her first work.

In 1903, Anna met Gumilyov, to whom she systematically showed her works.

In 1905, the girl's family ceased to exist, mother and father divorced. After that, Anna moved to Evpatoria.

In 1907, she graduated from a gymnasium, and from 1908 to 1810 she was a student of women's courses in law.

In 1910, she signed up to attend the historical and literary courses that were held in St. Petersburg, with the participation of N.P. Raev. In the same year, Anna accepted Gumilev's offer to become his wife. Having entered into marriage, the newlyweds lived in the village, Tsarskoe.

A year later, Anna gave birth to Gumilyov's son, but the family, the birth of a child, did not unite, and already, a year later, the young couple broke up, and Akhmatova, in short, soon, joined her life with the poet V.K. Shireiko.
Having started writing at the age of 11 and publishing at the age of 18, Akhmatova first publicized her work in the summer of 1910, while reading her creations, in front of an audience of authors led by Ivanov and Kuzmin. Several times Akhmatova tried to publish without the participation of her husband.

In this regard, the young poetess sends her poems to V.Ya. Bryullov for consideration, with the question, is it worth writing further? After reviewing the received texts of poetry, Bryullov was silent. But the girl didn't stop there. And soon Anna's poems were published in the magazines "Gaudeamus", "General Journal", "Apollo". In speed, after their publication, Akhmatova speaks with them to a huge audience at the Higher Women's Courses.

1914 - the collection "Rosary" appeared, which, for unknown reasons, was reprinted more than ten times. It was he who brought fame to the poetess throughout Russia, which became the subject of imitation for beginning poets. Looking into the past, living memories of childhood, Akhmatova began to write a poem about childhood, which was completely finished and ready to be read in 1914.

During the war, the poetess, as it were, falls silent, she has not been heard for several years. Later, it became known that Anna became seriously ill with tuberculosis, which did not let her go for a long time, and therefore, her letter was sharply limited.
A short biography of Anna Akhmatova is characterized by a wide poetic range and, despite her illness, the poetess writes patriotic poems, lyrical cycles, distinguished by the motives of blood unity.
Later, the poetess was forced to evacuate from Leningrad to Tashkent. There she writes great amount poems, is working on writing the poem "Poem Without Grief". At this time, Akhmatova became interested in a historian from Berlin, who visited Anna in Tashkent. It was his visit that brought the wrath of Stalin and Akmatov to the poetess, in short, fell out of favor with the angry Stalin, who issued an order to the authorities to prohibit the printing of Anna Andreevna's works. Diktat hardened in earnest, nothing could change the decision of the commander in chief.
If we talk about Akhmatova, briefly, even at the end of her life, Anna Andreevna published a collection of poems "The Run of Time" and a year before her death she was awarded an Italian literary prize.
And in 1966, on March 5, Anna Andreevna Akhmatova's heart stopped.

Anna Andreevna Akhmatova (Gorenko) is a talented and world-renowned poetess whose biography tells of the tragic fate of a generation of the last representatives of nobility Russian Empire, supplemented by the drama characteristic of the life of many creative personalities.

Years of life: 1889 - 1966.

Being persecuted most his literary life, repeatedly experiencing repression against loved ones, Anna Akhmatova did not stop writing even in the most difficult moments.

The imprint of the tragedy, superimposed on the work of the poetess, gave him a special spiritual strength and anguish.

The best poems of Anna Akhmatova

Many works of the poetess have earned worldwide recognition.

Each was born on a special occasion, became a logical continuation of the events of her life:

1. The first collection of poems by the poetess was published in 1912 under the title "Evening", shortly before the birth of her son. It already contained many poems that made Akhmatova's name immortal: "Muse", "Garden", " Grey-eyed king", "Love".
2. The second collection was published already in the year 14, before the start of World War I, under the title "Rosary". It came out in a much larger circulation, but would be reprinted more than once. Reviews of critics noted a noticeable creative growth of the poetess. They highlighted the persuasiveness poetic language, many successful literary devices, rhythm and rare style of the poetess ("Alexander Blok", "In the Evening", "I learned to live simply, wisely").
3. Three years later - a month before the terrible revolutionary events of 1917, the collection "White Pack" was published. In his lines, written during the years of Russia's participation in World War I, shades of intimate feelings are already faintly heard. lyrical heroine, which abounded in the poems of previous collections. Akhmatova becomes stricter, more patriotic, more tragic, an appeal to the Divine is tangibly manifested (“In Memory of July 19, 1914”, “Your spirit is darkened by arrogance”). The poetic style is noticeably improved. It was the best time her life, giving complete freedom for creativity.
4. The collection "Plantain" came out in one of the most hard years for the poetess - in 1921, when she learns about her brother's suicide, about the execution ex-husband and the father of his child, Nikolai Gumilyov, about the death of a friend of A. Blok. It includes poems written mainly in the 17-20s. The poetess put into the name the idea that the revolution, having destroyed cultural heritage country and making impossible the growth of " cultivated plants”, doomed her future to desolation - to “weeds”. The theme of a blooming garden, the warm lyrics of the previous collections are almost never found, the mood is minor and thoughtful (“And then I was left alone”, “Immediately it became quiet in the house”). Pain and condemnation are heard in the verses from the fact that the color of the nation is leaving the country with a wide emigration flow (“You are an apostate: for the green island”).
5. In the collection "Anno Domini MCMXXI" there are few joyful lines at all. He was born after the upheavals experienced by Anna, therefore he leads the reader along the path of sadness and hopelessness ("Slander", "Prediction"), which the poetess herself went through.
6. And the apotheosis of the tragic pages of Akhmatova's work is the poem "Requiem", dedicated to the repressions of the 30s. The suffering of a mother whose son suffers in prison is just an episode in the global grief of an entire nation whose sons and daughters are being crushed by the soulless state machine.

Short biography of Anna Akhmatova

The future poetess was born in 1889 in the Russian Empire, in Odessa. Of the 6 children of the family of hereditary nobles Gorenko, no one wrote poetry except Anna.

After moving to St. Petersburg, Anna at the age of 10 entered the Tsarskoye Selo Mariinsky Gymnasium, at the age of 17 - at the Fundukleev Gymnasium in Kyiv, and in 1908-10. - Graduated from the Higher Women's Historical and Literary Courses.

early years

Already in early childhood she studied French, and at the age of 11 she composed her first poem.

In the summer months, the Gorenko family took children with tuberculosis to the sea - they had a house in the Crimea.

Anna on the sea coast was known as a “wild young lady”, because she did not feel burdened by secular requirements - she swam, sunbathed, ran barefoot, just like ordinary children of “ignoble blood”.

Subsequently, she will remember her free childhood in the poem "By the Sea", and will return to this topic later.

Personal life

The unfortunate female fate haunted her all her life, despite the abundance of male attention. The first union without love, with a difficult and turbulent family life, a short second and painful third marriages that ended in divorce.

At the same time, the charm, intelligence and talent of the poetess not only earned her literary fame, but also provided her with many admirers. The famous sculptor and artist Amadeo Modigliani was captivated by the young poetess during her first trip to Europe with Gumilyov.

At the same time, the first, most famous, portrait of Akhmatova appeared - a sketch of several strokes, which she cherished more than anyone else.

She kept fiery letters addressed to Anna Modigliani, and once allowed Gumilyov to discover them - as revenge for his betrayal. This helped her speed up the divorce.

Another admirer is the artist and writer Boris Anrep, whom she especially singled out from the mass of others. The poet dedicated several dozen poems to him.

Composer and music critic Arthur Lurie, philosopher and diplomat Isaiah Berlin also left a mark on the life of the Russian poetess, adding to the list of her admirers. Berlin even contributed to Akhmatova's doctorate Oxford University, after many years - already at the end of her life.

Husbands Akhmatova

Married to Nikolai Gumilyov, her first husband, Anna came out, being in love with another. She resigned herself to her fate, yielding to the long courtship of an exalted admirer, who made several suicide attempts because of unrequited love. Relatives of the groom did not approve of this marriage so much that they did not even appear at the wedding ceremony.

Gumilyov, being a talented poet, researcher and outstanding personality, was not ready for family life. Despite his passionate love for young Anna before marriage, he did not try to make his wife happy. Creative jealousy, infidelity on both sides, lack of intimacy did not contribute to the preservation of the family. Only Gumilyov's long absences made it possible to delay the divorce by as much as 8 years.

They broke up because of his next hobby, but continued to maintain friendly communication. In marriage, Anna's only son, Lev Gumilyov, was born. Three years after the divorce, N. Gumilyov was shot Soviet power as a convinced monarchist, for not informing about an allegedly counter-revolutionary conspiracy.

The second husband, with whom Anna married immediately after her divorce from Gumilyov, Vladimir Shileiko, was a talented scientist and poet. But, being very jealous of his wife, he limited her freedom, burned correspondence, and did not allow her to compose poetry. In 1921, tragic for Anna, they parted ways.

With her third husband, Akhmatova lived in a civil marriage for 15 years, since 1922. Nikolai Punin was also not a “common of the people” - he was a prominent scientist, art historian, critic, and held significant positions in power structures.

But, like the two previous husbands, he was also jealous of Anna for creativity, tried in every possible way to belittle her poetic talent. Akhmatova had to live with her son at Punin's house, where his first wife and daughter also lived. The children were not in equal conditions, preference was always given to the daughter of Nikolai, which greatly offended Anna.

When Punin was arrested for the first time, Akhmatova managed to secure his release. After some time, he broke up with Anna, starting a family with another woman. After living for several years in a new marriage, he was again arrested, and never returned from prison.

Creativity Akhmatova

The Silver Age of Russian poetry was rich in talents and literary trends. Akhmatova's work is a vivid example of such an original trend in literature as acmeism, the founder, and also the main authority of which was N. Gumilyov.

It is interesting that the public, not particularly favoring the poems of Gumilyov himself, enthusiastically reacted to the new representative of the movement, who quickly became a full member of the "Workshop of Poets".

World of poetry early Akhmatova consists of clear forms, vivid emotions, achieved by the imagery and rhythm of the language, without leading into symbolism, blurring and incomprehensibility of mystical images.

Clear narrative phrases made the lines written by her close and understandable to the reader, without forcing them to guess hidden meanings and subtexts.

The creative path of the poetess is divided into two periods. The first is built around the image of a lyrical heroine, loving, sensitive and suffering.

In the second period, the heroine undergoes metamorphoses, and the reason for this is life's trials. Now this is a grieving mother, a woman, a patriot, acutely feeling the pain of the suffering of her people. Sometimes the border in her work is drawn along the Great Patriotic war, but this is not entirely correct.

There is no clear separation of these periods - with each collection, starting with "Plantain", a citizen of her fatherland becomes more and more clearly manifested in the heroine, and patriotic intensity grows stronger in poetry. Indeed, it reaches its apogee in the early 40s (“Oath”, “Courage”), the impetus for its occurrence is October Revolution, and consolidates its tragic year 1921 ("Anno Domini MCMXXI").

After 1924, her poems ceased to be printed, and the Russian reader saw the official edition of the famous "Requiem" only by the end of the 80s, just a few years before the collapse of the Soviet Union.

After evacuation from besieged Leningrad in Tashkent she writes many poems that do not reach the public. She is surrounded on all sides by censorship and prohibitions, lives only on earnings for literary translations.

Last years of life and death

Only towards the end of her life, since 1962, the ice around the poetess begins to gradually melt. Another generation of readers has appeared. The disgrace against Akhmatova is a thing of the past - she speaks at author's evenings, her poems are quoted in literary circles.

A year before her death, the poetess is nominated for Nobel Prize in the field of literature.

The son of the poetess did not communicate with her for the last 10 years before the death of his mother. As a result, Akhmatova, being famous and beloved by the literary public, died alone, passing spa treatment, at the respectable age of 76 years. The reason is another heart attack.

The poetess was buried near St. Petersburg, at the Komarovsky cemetery. She bequeathed to put a wooden cross on her grave.

Lev Nikolaevich arranged the place of her burial himself, with the help of students, having built a fragment of the camp wall with a prison window from cobblestones. Anna used to come to such a wall for 1.5 years to pass the parcels to her son.

Interesting facts from the biography of Anna Akhmatova

Having listed the most important, let's add a few more curious facts from the life and work of the poetess:

1. The father of the future poetess, Andrey Antonovich, a naval officer and nobleman, did not approve of her poetic experiments, demanding not to shame his surname with his rhymes. Anna Andreevna was offended, so from the age of 17 she began to sign as Akhmatova, taking the name of her great-grandmother by her mother, the successor of old kind Princes Chagadaevs and the Tatar branch of the Akhmatovs. Subsequently, after the first divorce, the poetess will accept her pseudonym as a surname, officially. When asked about her nationality, she always answered that she comes from a Tatar family, originating from Khan Akhmat.
2. In 1965, the Nobel Prize Committee, considering two candidates from Russia - Akhmatova and Sholokhov, tended to divide the amount equally between the nominees. But in the end, preference was given to Sholokhov.
3. After the death of A. Modigliani, several previously unknown sketches were found. The image of the model very much resembles the image of the young Anna, which can be judged from her photo.
4. The son of the poetess did not forgive his mother for not releasing him to freedom, accusing her of narcissism and lack of maternal love. Anna herself always admitted that she bad mother. Incredibly gifted, charismatic and enthusiastic person scientific activity, Lev Nikolaevich experienced the full power of the repressive state machine, which deprived him of his health and nearly broke him completely. He was sure that his mother could, but did not particularly strive to help him with his release from prison dungeons. He especially hated the poem "Requiem", believing that the requiem is not dedicated to those who are still alive, and his mother was too hasty to bury him.
5. Akhmatova died on the day of Stalin's death - March 5.

We learn about the details of the life of this unique woman from her diary, with which she did not part all her conscious life. The works written by Akhmatova also help to restore the events of those years, connected with the life of not only her own, but also of contemporaries - people who were in her life. varying degrees close.

The history of the 20th century, grinding the fate of many talented people, caused indelible damage to the Russian culture of the Silver Age. Based on Akhmatova's play "Prologue, or Dream in a Dream", the series "Moon at Zenith" was even filmed, where the most important narrative line is the biographical memoirs of the poetess.

Life and creativity famous poetess outlined in this article.

Anna Akhmatova chronological table

Anna Andreevna Akhmatova- Russian poetess, translator and literary critic, one of the most significant figures of Russian literature of the XX century.

June 23, 1889- Born in the village Big Fountain near Odessa in the family of a hereditary nobleman, a retired mechanical engineer of the fleet. Real surname Gorenko, in the marriage of Gumilyov. Akhmatova is a pseudonym, chosen by the poetess by the maiden name of her maternal great-grandmother.

1890-1905 - Akhmatova's childhood years were spent in Tsarskoe Selo. Here she studied at the Tsarskoye Selo (Mariinsky) female gymnasium. She spent her holidays near Sevastopol, on the shore of the Streletskaya Bay.

1903 - Acquaintance with Nikolai Stepanovich Gumilyov, poet, translator, critic.

1906-1907 - Studying in the final class of the Kiev-Fundukley gymnasium.

1908-1909 – Studying at the legal department of the Kyiv Higher Women's Courses.

1910 - "... I married N.S. Gumilyov, and we went to Paris for a month." (From an autobiography.) In Paris, the artist A. Modigliani made a pencil portrait of Akhmatova.

1912 — The son Leo was born, who later became a historian, geographer, specialist in the ethnogenesis of the peoples of Eurasia. The first book was published - the collection "Evening", in the edition of the "Workshop of Poets" with a circulation of 300 copies

1914 - in the spring, for the first time, "The Rosary" was published by the publishing house "Hyperborey" in a considerable circulation for those times - 1000 copies. Until 1923, 8 more editions were sustained.

1917 - the third book, "The White Flock", was published by the Hyperborea publishing house with a circulation of 2000 copies.

1918 - married the Assyriologist and poet Vladimir Shileiko.

1921 - the collection "Plantain" was published with a circulation of 1000 copies. She broke up with V. K. Shileiko. The book "Anno Domini MCMXXI" (lat. "In the summer of the Lord 1921").

1922 - became the wife of art historian Nikolai Punin

1923 — 1934 almost never printed.

1939 - Admitted to the Union of Soviet Writers.

1935-1940 - The poem "Requiem" was written.

1935 - Arrest of Akhmatova's son Lev Nikolaevich Gumilyov. (He was arrested three times - in 1935, 1938 and 1949.)

1940 - new, sixth collection: "From six books".

1941 - I met the war in Leningrad. On September 28, at the insistence of doctors, she was evacuated first to Moscow, then to Chistopol, not far from Kazan, and from there through Kazan to Tashkent. A collection of her poems was published in Tashkent.

1946 - Excluded from the Union of Soviet Writers.

1950 - creation of a cycle of poems "Glory to the world!" (1950)

January 19, 1951- at the suggestion of Alexander Fadeev, Akhmatova was reinstated in the Union of Soviet Writers.

1954 - in December participated in the Second Congress of the Union of Soviet Writers.

1958 - published a collection of "Poems"

1964 - In Italy, she received the Etna-Taormina award.

1965 - Diploma of an honorary doctorate from Oxford University, the collection "The Passage of Time" was published.

March 5, 1966- She died in Domodedovo, near Moscow. She was buried in Komarovo near St. Petersburg.

Akhmatova's chronological table is summarized above, but you can expand it using biography data.