A trend in Russian literature at the beginning of the 20th century. It got its name from the Greek word "acme" (height, peak, rise, flourishing). Acmeism manifested itself mainly in the lyrics and united the poets of a new generation who replaced the Symbolists, in whom many acmeists went through a literary school. Arguing with the poetry of symbolism, marked by the complexity of metaphors and aesthetic associations, acmeists strove for clarity of images. Hence another name - clarism ("clear").

The most famous representatives of acmeism are Nikolai Stepanovich Gumilyov, Anna Andreevna Akhmatova, Mikhail Alekseevich Kuzmin, Sergei Mitrofanovich Gorodetsky, Osip Emilievich Mandelstam. In 1911, the Acmeists created the Poets Workshop association. Its name emphasized that in poetry, acmeists rely more on skill and craftsmanship than on fleeting, momentary inspiration. The cult of the craft, preached by the acmeists, caused rejection among the poets of the older generation (an article by Alexander Alexandrovich Blok “Without a deity, without inspiration”). By the end of the 1910s, the current of acmeism broke up. However, all the poets associated with him in their further work remained committed to his aesthetic principles. The tradition of acmeism has proven to be one of the most influential in Russian poetry.

"Workshop of poets"

The name of the three literary associations that were in St. Petersburg in 1911-1922. The first "Workshop of Poets" was formed by Nikolai Stepanovich Gumilyov and Sergei Mitrofanovich Gorodetsky in 1911 and became the center for the formation of acmeism. Among the participants in the association were M. A. Kuzmin, A. A. Akhmatova, O. E. Mandelstam, G. V. Ivanov and others. They organized meetings, published the journal Hyperborea (1912-1913; ten issues were published) and poetic almanacs. In 1914 the association ceased to exist. In 1916, on the initiative of Georgy Vladimirovich Ivanov and Georgy Viktorovich Adamovich, the second "Workshop of Poets" was created, which lasted about a year. The third "Workshop of Poets" was organized by Gumilyov in 1920. Many of its participants emigrated from Russia and supported its activities in Berlin and Paris until the mid-1920s.

House of Mikhail Leonidovich Lozinsky

Since October 1912, in the apartment of Mikhail Leonidovich Lozinsky, regularly, on Fridays, meetings of the "Workshop of Poets" took place. The editorial office of the journal "Hyperborea" was also located here. In addition to Lozinsky's apartment, acmeists sometimes arranged meetings at the house of Nikolai Stepanovich Gumilyov and Anna Andreevna Akhmatova in Tsarskoye Selo.

Acmeism(from the Greek akme - the highest degree of something, flourishing, maturity, peak, tip) - one of the modernist trends in Russian poetry of the 1910s, formed as a reaction to extremes.

Overcoming the predilection of the symbolists for the "super-real", polysemy and fluidity of images, complicated metaphor, acmeists strove for sensual plastic-material clarity of the image and accuracy, the chasing of the poetic word. Their "earthly" poetry is prone to intimacy, aestheticism and poeticization of the feelings of primitive man. Acmeism was characterized by extreme apoliticality, complete indifference to the topical problems of our time.

The Acmeists, who replaced the Symbolists, did not have a detailed philosophical and aesthetic program. But if in the poetry of symbolism the determining factor was the transience, the momentaryness of being, a certain mystery covered with a halo of mysticism, then a realistic view of things was put as the cornerstone in the poetry of acmeism. The hazy unsteadiness and fuzziness of symbols were replaced by precise verbal images. The word, according to the acmeists, should have acquired its original meaning.

The highest point in the hierarchy of values ​​for them was culture, identical to universal human memory. Therefore, acmeists often turn to mythological plots and images. If the Symbolists in their work focused on music, then the Acmeists - on the spatial arts: architecture, sculpture, painting. The attraction to the three-dimensional world was expressed in the acmeists' passion for objectivity: a colorful, sometimes exotic detail could be used for a purely pictorial purpose. That is, the “overcoming” of symbolism took place not so much in the sphere of general ideas, but in the field of poetic style. In this sense, acmeism was just as conceptual as symbolism, and in this respect they are undoubtedly in a succession.

A distinctive feature of the acmeist circle of poets was their "organizational cohesion". In essence, the acmeists were not so much an organized movement with a common theoretical platform, but a group of talented and very different poets who were united by personal friendship. The Symbolists had nothing of the kind: Bryusov's attempts to reunite his brethren were in vain. The same was observed among the futurists - despite the abundance of collective manifestos that they issued. Acmeists, or - as they were also called - "Hyperboreans" (after the name of the printed mouthpiece of acmeism, the journal and publishing house "Hyperborey"), immediately acted as a single group. They gave their union the significant name of the “Workshop of Poets”. And the beginning of a new trend (which later became almost an "obligatory condition" for the emergence of new poetic groups in Russia) was laid by a scandal.

In the autumn of 1911, in the poetic salon of Vyacheslav Ivanov, the famous "Tower", where the poetic society gathered and poetry was read and discussed, a "revolt" broke out. Several talented young poets defiantly left the next meeting of the "Academy of Verse", outraged by the derogatory criticism of the "masters" of Symbolism. Nadezhda Mandelstam describes this incident as follows: “Gumilyov's Prodigal Son was read at the Academy of Verse, where Vyacheslav Ivanov reigned, surrounded by respectful students. He subjected the Prodigal Son to a real rout. The performance was so rude and harsh that Gumilyov's friends left the Academy and organized the Poets' Workshop in opposition to it.

And a year later, in the autumn of 1912, the six main members of the "Tsekh" decided not only formally, but also ideologically to separate from the Symbolists. They organized a new community, calling themselves "Acmeists", that is, the top. At the same time, the "Workshop of Poets" as an organizational structure was preserved - the acmeists remained in it as an internal poetic association.

The main ideas of acmeism were outlined in the program articles by N. Gumilyov “The Heritage of Symbolism and Acmeism” and S. Gorodetsky “Some Trends in Modern Russian Poetry”, published in the Apollo magazine (1913, No. 1), published under the editorship of S. Makovsky. The first of them said: “Symbolism is being replaced by a new direction, no matter how it is called, whether acmeism (from the word akme - the highest degree of something, a flowering time) or adamism (a courageously firm and clear outlook on life), in any case, requiring a greater balance of power and a more precise knowledge of the relationship between subject and object than was the case in symbolism. However, in order for this trend to assert itself in its entirety and be a worthy successor to the previous one, it is necessary that it accept its legacy and answer all the questions posed by it. The glory of the ancestors obliges, and symbolism was a worthy father.

S. Gorodetsky believed that “symbolism… having filled the world with ‘correspondences’, turned it into a phantom, important only insofar as it… shines through other worlds, and belittled its high intrinsic value. Among the Acmeists, the rose again became good in itself, with its petals, smell and color, and not with its conceivable similarities with mystical love or anything else.

In 1913, Mandelstam's article "Morning of Acmeism" was also written, which was published only six years later. The delay in publication was not accidental: Mandelstam's acmeist views differed significantly from the declarations of Gumilyov and Gorodetsky and did not make it to the pages of Apollo.

However, as T. Scriabina notes, “for the first time, the idea of ​​a new direction was expressed on the pages of Apollo much earlier: in 1910, M. Kuzmin published an article in the journal “On Beautiful Clarity,” which anticipated the appearance of declarations of acmeism. By the time the article was written, Kuzmin was already a mature person, he had experience of cooperation in symbolist periodicals. Otherworldly and vague revelations of the Symbolists, "incomprehensible and dark in art" Kuzmin opposed "beautiful clarity", "clarism" (from the Greek. clarus - clarity). The artist, according to Kuzmin, must bring clarity to the world, not obscure, but clarify the meaning of things, seek harmony with those around him. The philosophical and religious searches of the Symbolists did not fascinate Kuzmin: the artist's job is to focus on the aesthetic side of creativity, artistic skill. “Dark in the last depth of the symbol” gives way to clear structures and admiration of “pretty little things.” Kuzmin's ideas could not help but influence the acmeists: "beautiful clarity" turned out to be in demand by the majority of participants in the "Workshop of Poets".

Another "harbinger" of acmeism can be considered John. Annensky, who, formally being a symbolist, actually paid tribute to him only in the early period of his work. Later, Annensky took a different path: the ideas of late symbolism had practically no effect on his poetry. On the other hand, the simplicity and clarity of his poems were well received by the acmeists.

Three years after the publication of Kuzmin's article in Apollo, the manifestos of Gumilyov and Gorodetsky appeared - from that moment it is customary to count the existence of acmeism as a literary movement that has taken shape.

Acmeism has six of the most active participants in the current: N. Gumilyov, A. Akhmatova, O. Mandelstam, S. Gorodetsky, M. Zenkevich, V. Narbut. G. Ivanov claimed the role of the "seventh acmeist", but this point of view was protested by A. Akhmatova, who stated that "there were six acmeists, and there never was a seventh." O. Mandelstam was in solidarity with her, who, however, considered that six was too much: “There are only six Acmeists, and among them there was one extra ...” Mandelstam explained that Gorodetsky was “attracted” by Gumilyov, not daring to oppose the then powerful Symbolists with some “ yellow-mouthed." “Gorodetsky was [by that time] a famous poet…”. At various times, G. Adamovich, N. Bruni, Nas. Gippius, Vl. Gippius, G. Ivanov, N. Klyuev, M. Kuzmin, E. Kuzmina-Karavaeva, M. Lozinsky, V. Khlebnikov and others. school of mastering poetic skills, professional association.

Acmeism as a literary trend united exceptionally gifted poets - Gumilyov, Akhmatova, Mandelstam, whose creative individualities were formed in the atmosphere of the "Poets' Workshop". The history of acmeism can be viewed as a kind of dialogue between these three prominent representatives of it. At the same time, the Adamism of Gorodetsky, Zenkevich and Narbut, who made up the naturalistic wing of the current, differed significantly from the “pure” acmeism of the above-mentioned poets. The difference between the Adamists and the Gumilyov-Akhmatova-Mandelstam triad has been repeatedly noted in criticism.

As a literary trend, acmeism did not last long - about two years. In February 1914, it split. The "shop of poets" was closed. Acmeists managed to publish ten issues of their journal "Hyperborea" (editor M. Lozinsky), as well as several almanacs.

“Symbolism was fading away” - Gumilyov was not mistaken in this, but he failed to form a current as powerful as Russian symbolism. Acmeism failed to gain a foothold in the role of the leading poetic trend. The reason for its rapid extinction is called, among other things, "the ideological unsuitability of the direction to the conditions of a drastically changed reality." V. Bryusov noted that "acmeists are characterized by a gap between practice and theory", and "their practice was purely symbolist." It was in this that he saw the crisis of acmeism. However, Bryusov's statements about acmeism were always harsh; at first he declared that “... acmeism is an invention, a whim, a metropolitan whim” and foreshadowed: “... most likely, in a year or two there will be no acmeism left. His very name will disappear,” and in 1922, in one of his articles, he generally denies him the right to be called a direction, a school, believing that there is nothing serious and original in acmeism and that it is “outside the mainstream of literature.”

However, attempts to resume the activities of the association were subsequently made more than once. The second "Workshop of poets, founded in the summer of 1916, was headed by G. Ivanov together with G. Adamovich. But he didn't last long either. In 1920, the third "Workshop of Poets" appeared, which was Gumilyov's last attempt to organizationally preserve the acmeist line. Under his wing, poets united who consider themselves to be the school of acmeism: S. Neldihen, N. Otsup, N. Chukovsky, I. Odoevtseva, N. Berberova, Vs. Rozhdestvensky, N. Oleinikov, L. Lipavsky, K. Vatinov, V. Pozner and others. The third "Workshop of Poets" existed in Petrograd for about three years (in parallel with the "Sounding Shell" studio) - until the tragic death of N. Gumilyov.

The creative fates of poets, one way or another connected with acmeism, developed in different ways: N. Klyuev subsequently declared his non-participation in the activities of the community; G. Ivanov and G. Adamovich continued and developed many principles of acmeism in exile; Acmeism did not have any noticeable influence on V. Khlebnikov. In Soviet times, the poetic manner of the acmeists (mainly N. Gumilyov) was imitated by N. Tikhonov, E. Bagritsky, I. Selvinsky, M. Svetlov.

In comparison with other poetic trends of the Russian Silver Age, acmeism in many ways is seen as a marginal phenomenon. It has no analogues in other European literatures (which cannot be said, for example, about symbolism and futurism); the more surprising are the words of Blok, Gumilyov's literary opponent, who declared that acmeism was just "imported foreign stuff." After all, it was acmeism that turned out to be extremely fruitful for Russian literature. Akhmatova and Mandelstam managed to leave behind "eternal words." Gumilyov appears in his poems as one of the brightest personalities of the cruel time of revolutions and world wars. And today, almost a century later, interest in acmeism has survived mainly because the work of these outstanding poets, who had a significant impact on the fate of Russian poetry of the 20th century, is associated with it.

Basic principles of acmeism:

- the liberation of poetry from symbolist appeals to the ideal, the return of clarity to it;

- rejection of mystical nebula, acceptance of the earthly world in its diversity, visible concreteness, sonority, colorfulness;

- the desire to give the word a specific, precise meaning;

- objectivity and clarity of images, sharpness of details;

- an appeal to a person, to the "authenticity" of his feelings;

- poetization of the world of primordial emotions, the primitive biological natural principle;

- a call to past literary eras, the broadest aesthetic associations, "longing for world culture."

Acmeist poets

A. G. Z. I. K. L. M. N. Sh.

"Portrait in painting" - Develop visual associations. Who is the portrait about? “Only a pure beautiful soul perceives true beauty. "Acquaintance with a child's portrait." Who is usually called that? I. Repin Dragonfly. Average age. V. A. Serov. To teach children to see movement and character in a portrait. Happy?

"Trends in painting" - Representatives. Aesthetic positions of naturalism. Long live the mysterious meaning of sounds!” A. Rimbaud Striving for the world of the beyond, beyond. The main trends in the literature of the early twentieth century. Emile Zola (1840-1902). Naturalism. Archaeological finds showing that Symbolism. critical realism.

"Painting styles" - "Pine trees illuminated by the sun." Paul Cezanne. Mount Saint Victoire. Surrealism (derived from the French surrealisme - over + realism) is one of the trends of modernism. Bowed Harlequin. Floor polishers. Annunciation. Lovers. Monet. Picasso. Suprematism. Demon's head against the backdrop of mountains. Daemon. Kitsch. Kandinsky Vasily Vasilievich.

"History of Painting" - K. Petrov - Vodkin. Veronese recreated one of the most significant moments in the life of Christ. Rock painting. The portrait of the old man, despite the naturalistic details, is full of charm. Pan. Greyhound. The color of the icons is conventional and decorative. Imagine a poplar. The history of painting begins with rock carvings of primitive man.

"Painting of the 20th century" - Innovation in all areas of art - this is the main slogan of the avant-garde. Self-portrait, 1912 Black square. One of the types of composer technique of the XX century. V. V. Kandinsky. Futurism. Velemir Khlebnikov. Pierre Boulez. In 1910 he became one of the organizers of the art association "Jack of Diamonds". Subject: MHC.

"Acmeism" - 1911 - the literary association "Workshop of Poets" The leaders of the "Workshop": N. Gumilyov and S. Gorodetsky 1913 "Apollo" magazine - a declaration of the acmeist group. Acmeism. The poem "Giraffe" 1907 1913 - 1914 S. Gorodetsky "Some currents in modern Russian poetry" Criticism of the "blurring" of symbolism, installation on the unknowability of the world.

Acmeism in literature is a trend that arose at the very beginning of the 20th century and became widespread among all the poets who created their masterpieces during this period of time. Mostly, he hooked on Russian literature, and also became a kind of reciprocal move towards symbolism. This direction is characterized by clarity, utmost clarity and earthiness, but at the same time there is no place for everyday problems.

A small description of the style

Acmeism in literature has always been distinguished by sensuality, a penchant for analyzing human feelings and experiences. The poets who wrote their works in this style were quite specific, did not use metaphors and hyperbole. According to modern writers, such characteristics appeared as if in opposition to the pre-existing symbolism, which, in turn, was famous for the vagueness of images, the complete lack of specificity and accuracy. At the same time, the acmeists attached importance only to the highest human needs, that is, they described the spiritual world. They were alien to political or social themes, aggressiveness and the like. That is why their poems are so easily perceived, because they write about complex things very simply.

What was acmeism based on

As such, there was no philosophy that would define acmeism in Russian literature at that time. Such a point of support was formed only in the process of the existence and prosperity of the style, when the first verses of its representatives began to appear, on the basis of which it was possible to determine the whole essence of what was written. Thus, acmeism in literature has distinguished itself with a realistic view not only of the general picture of life, but also of rather “unearthly” problems that are associated with feelings and emotional experiences. The key role in any work, according to the authors, should have been played by the word. It was with its help that all the thoughts and events that were described should have been expressed with the utmost accuracy.

The inspiration that the poets of this era drew

Most often, symbolism, which was the forerunner of acmeism, is compared with music. It is just as mysterious, ambiguous, and can be interpreted in all sorts of ways. It was thanks to such artistic techniques that this style became a concept in the art of that time. In turn, acmeism as a trend in literature has become a very significant opposite to its predecessor. Poets representing this trend themselves compare their work more with architecture or sculpture than with music. Their poems are incredibly beautiful, but at the same time accurate, coherent and extremely understandable for any audience. Each word conveys directly the meaning that was originally put into it, without any exaggeration or comparison. That is why acmeist verses are so easy to learn by heart for all schoolchildren, and so easy to understand their essence.

Representatives of acmeism in Russian literature

A distinctive feature of all representatives of this was not just solidarity, but even friendship. They worked in the same team, and at the very beginning of their creative path they loudly declared themselves, having founded the so-called "Poets' Workshop" in Leningrad. They didn't have a specific literary platform, standards by which poetry had to be written, or other production details. It can be said that each of the poets knew what his work should be, and knew how to present each word so that it was extremely understandable to others. And among such geniuses of clarity, famous names can be distinguished: Anna Akhmatova, her husband Nikolai Gumilyov, Osip Mandelstam, Vladimir Narbut, Mikhail Kuzmin and others. The poems of each of the authors differ from each other in their structure, character, and mood. However, each work will be understandable, and a person will not have unnecessary questions after reading it.

The glory of the acmeists during their existence

When acmeism appeared in literature, people read the first reports about it in the journal Hyperborea, which was published under the editorship of poets we know. By the way, in this regard, Acmeists were often also called Hyperboreans, who fought for the novelty and beauty of Russian art. This was followed by a series of articles written by almost every member of the "Workshop of Poets", which revealed the essence of this meaning of existence and much more. But, despite the zeal for work and even the friendship of all the poets who became the founders of a new trend in art, acmeism in Russian literature began to fade away. By 1922, the "Workshop of Poets" had already ceased to exist, attempts to renew it were futile. As the then literary critics believed, the reason for the failure was that the theory of the acmeists did not coincide with practical intentions, and they still failed to completely break away from symbolism.

It often happens with pioneers that instead of the planned opening of a short route to India, the New World is unexpectedly discovered, and instead of El Dorado, the Inca Empire. Something similar happened at the beginning of the twentieth century with the Acmeists. The direction of acmeism arose in opposition to its predecessors, but, as it turned out later, it only continued them and became a kind of crown of symbolism. However, many researchers believe that the difference between the two poetic groups was much deeper than it seemed at the beginning of the last century. Speaking about what acmeism is, it is worth telling not only about the features of the literary work of its representatives, but also about their life path.

The emergence of the movement

The history of the movement began in 1911, when poets under the leadership of Gorodetsky and Nikolai Gumilyov gathered for the first time in St. Petersburg. In an effort to emphasize the importance of craft and training in poetic creativity, the organizers called the new society the "Poets' Workshop". Thus, answering the question of what acmeism is, we can start with the fact that this is a literary trend, the founders of which were two St. Petersburg poets, who were later joined by no less significant heroes of the literary scene.

The first acmeists manifested their fundamental difference from the symbolists, arguing that, unlike the first, they strive for maximum reality, reliability and plasticity of images, while the symbolists tried to penetrate into "superreal" spheres.

Members of the poetry club

The official opening of the poetry club took place in 1912 at a meeting of the so-called Academy of Verse. A year later, two articles were published in the almanac "Apollo", which became fundamental for a new literary trend. One article, written by Nikolai Gumilyov, was titled "The Legacy of Symbolism and Acmeism." Another was written by Gorodetsky, and it was called "Some Trends in Modern Russian Poetry."

In his programmatic article on acmeism, Gumilyov points out the desire of himself and his associates to reach the heights of literary mastery. In turn, mastery was achievable only by working in a close-knit group. It was the ability to work in such a group and organizational cohesion that distinguished the representatives of acmeism.

According to the testimony of Andrei Bely, the name itself appeared quite by accident in the heat of a dispute between friends. On that decisive evening, Vyacheslav Ivanov jokingly began to talk about Adamism and Acmeism, but Gumilyov liked these terms, and since then he began to call himself and his comrades Acmeists. The term "Adamism" was less popular, as it evoked associations with brutality and soilism, with which the acmeists had nothing in common.

Basic principles of acmeism

Answering the question of what acmeism is, one should name the main features that distinguished it from other artistic movements of the Silver Age. These include:

• romanticization of the feelings of the first man;
• talk about earthly primeval beauty;
• clarity and transparency of images;
• understanding of art as a tool for improving human nature;
• influence on the imperfection of life by artistic images.

All these differences were reflected by the members of the informal community and reworked into specific instructions, which were followed by such poets as Nikolai Gumilyov, Osip Mandelstam, Mikhail Zinkevich, Georgy Ivanov, Elizaveta Kuzmina-Karavaeva and even Anna Akhmatova.

Nikolai Gumilyov in acmeism

Although many researchers insist that acmeism was one of the most cohesive movements of the early twentieth century, others, on the contrary, argue that it is more worth talking about the community of very different and talented poets in their own way. However, one thing remains indisputable: most of the meetings were held in Vyacheslav Ivanov's "Tower", and the literary journal "Hyperborea" was published for five years - from 1913 to 1918. In literature, acmeism occupies a very special place, being separated from both symbolism and futurism.

It will be convenient to consider all the internal diversity of this trend using the example of such key figures as Akhmatova and Gumilyov, who were married from 1910 to 1918. These two poets gravitated toward two fundamentally different types of poetic utterance.

From the very beginning of his work, Nikolai Gumilyov chose the path of a warrior, discoverer, conquistador and inquisitor, which was reflected not only in his work, but also in his life path.

In his texts, he used bright expressive images of distant countries and fictional worlds, idealized much in the world around him and beyond, and in the end he paid for it. In 1921 Gumilev was shot on charges of espionage.

Anna Akhmatova and acmeism

This direction played an important role in the life of Russian literature even after the "Workshop of Poets" ceased to exist. Most members of the poetic community have lived difficult and eventful lives. However, Anna Andreevna Akhmatova lived the longest life, becoming a real star of Russian poetry.

It was Akhmatova who was able to perceive the pain of the people around her as her own, because the terrible age also cast its shadow on her fate. However, despite all the hardships of life, Anna Andreevna throughout her entire work remained faithful to acmeist principles: careful attitude to the word, heredity of times, respect for culture and history. One of the main consequences of the influence of acmeism was that in Akhmatova's work, personal experiences always merged with social and historical ones.

It seems that everyday life itself did not leave room for mysticism and romantic reflections on the lyrical. For many years, Akhmatova was forced to stand in lines to deliver parcels to her son in prison, she suffered from deprivation and disorder. Thus, daily life forced the great poetess to follow the acmeist principle of clarity of speech and honesty of expression.

Osip Mandelstam appreciated Akhmatova's work so highly that he compared the richness and imagery of her literary language with all the richness of the Russian classical novel. Anna Andreevna also achieved international recognition, but the Nobel Prize, for which she was nominated twice, was never awarded.

Akhmatova's lyrical acmeism contrasted sharply with the temperament of another poet from her circle, Osip Mandelstam.

Mandelstam in the circle of acmeists

Osip Mandelstam stood apart among the young poets, differing from his compatriots in a special sense of the historical moment, for which he paid the price by dying in the Far Eastern camps.

The legacy of the great poet has survived to this day only thanks to the truly heroic efforts of his devoted wife, Nadezhda Yakovlevna Mandelstam, who kept her husband's manuscripts for several decades after his death.

It is worth noting that such behavior could cost Nadezhda Yakovlevna her freedom, because even for storing the manuscript of an enemy of the people, a serious punishment was due, and his wife not only saved, but also copied, and also distributed Mandelstam's poems.

Mandelstam's poetics is distinguished by a subject carefully inscribed in the context of European culture. His lyrical hero not only lives in the difficult time of Stalin's repressions, but also in the world of Greek heroes wandering the seas. It is possible that his studies at the historical and philological faculty of the university left their mark on the poet's work.

A conversation about what acmeism is for Russian culture cannot do without mentioning the tragic fates of its main representatives. As already mentioned, Osip Mandelstam, after the exile, was sent to the Gulag, where he went missing, and his wife was forced to wander around different cities for a long time, having no permanent home. The first husband and son of Akhmatova also spent many years in prison, which became an important topic in the texts of the poetess.