How many requests does your beloved always have? Poems about love

“My beloved always has so many requests!...” Anna Akhmatova

My beloved always has so many requests!
A woman who has fallen out of love has no requests.
I'm so glad there's water today
It freezes under the colorless ice.

And I will become - Christ, help! -
On this cover, light and brittle,
And you take care of my letters,
So that our descendants can judge us,

To make it clearer and clearer
You were visible to them, wise and brave.
In your glorious biography
Is it possible to leave spaces?

The earthly drink is too sweet,
The love networks are too dense
May my name someday
Children read in the textbook,

And, having learned the sad story,
Let them smile slyly...
Without giving me love and peace,
Give me bitter glory.

Analysis of Akhmatova’s poem “My beloved always has so many requests!...”

In April 1910, Akhmatova married Gumilyov. The marriage was the result of long courtship on the part of Nikolai Stepanovich. He sought the love of the young poetess with extraordinary tenacity - a couple of times he even tried to commit suicide after her refusals. None of Anna Andreevna’s relatives came to the wedding ceremony. In their opinion, this union was doomed from the very beginning. As a result, the gloomy prediction came true. After the wedding, Gumilyov quickly lost interest in his young wife. Most likely, the process of conquest was much more important and interesting for him than the subsequent possession of the received prize. In March 1912, Nikolai Stepanovich released the collection “Alien Sky”. On its pages, Akhmatova appeared either as a poisoner, or as a sorceress from Bald Mountain, or as Margarita in love with Mephistopheles. One way or another, the lyrical hero fought a life-and-death struggle with the woman. In September 1912, Anna Andreevna gave birth to Gumilyov’s son, who was named Lev. A short time after the boy was born, the relationship between the spouses finally turned into almost a formality. As Akhmatova recalled, they “stopped being interested in the intimate side of each other’s lives.” In the fall of 1913, Nikolai Stepanovich returned from another African expedition. Anna Andreevna met her husband with letters addressed to him from actress Olga Vysotskaya. He only smiled shyly in response. After this episode, the poem “How many requests does your beloved always have!..” was born.

The main thing you need to know about the lyrical heroine of the text in question is given at the very beginning - the man fell out of love with her. An interesting point is that nothing is said about his leaving for another woman. It turns out that formally the relationship continues, but on the one hand there is no longer love. Next, a landscape detail is mentioned, which helps determine approximately the time of action: the water freezes under colorless ice, which means it is autumn. The heroine of the poem is ready to take a desperate step - to stand on thin ice. She has only one request to her lover - to take care of her letters so that descendants can judge them. With undisguised irony, she calls the man wise and brave, and calls his biography glorious. At the end of the text, the heroine expresses hope for posthumous glory, albeit bitter. This glory serves as a kind of compensation for the love and peace that her lover was unable to give her during her lifetime.

My beloved always has so many requests!
A woman who falls out of love has no requests...
I'm so glad there's water today
It freezes under the colorless ice.

And I will become - Christ, help me! -
On this cover, light and brittle,
And you take care of my letters,
So that our descendants can judge us.

To make it clearer and clearer
You were visible to them, wise and brave.
In your biography
Is it possible to leave spaces?

The earthly drink is too sweet,
The love networks are too dense...
May my name someday
Children read in the textbook,

And, having learned the sad story,
Let them smile slyly.
Without giving me love and peace,
Give me bitter glory.

Comments: 28

poems for husband

Vasya, you have no right to write such things at all! It’s not for you to judge whether a verse is good or not! If only by the fact that not a single work was created! Oh, don't touch the classics! If they couldn’t instill in you a sense of taste, or even teach you tact, that’s your problem! Everyone has the right to express their thoughts, but it must be done politely, and you are just a boor. And if rap is your ceiling, so be it!!!

***
There are so many of us, unloved, who are uncontrollably waiting for happiness,
Regardless. Submissively. Silently. Open. Naive.
They don’t see us and they don’t sing songs about us.
Existence strives to crush with an indifferent avalanche.
Until the last moment, until the very edge of fate
A look full of hope, trusting, bright, does not go away...
With the rest of my breath, trembling from the unequal struggle,
Hundreds of us, unloved, still believe in happiness.

Everyone has different tastes, some like to swear in rhyme, some like to confess their love... in rhyme, but no one thinks that time moves forward and does not stand still, then there was Akhmatova, Pushkin, Blok, Pasternak, now Guf, AK-47, but everyone still has different tastes...

amazing poem

good poems. every girl will find a poem suitable for her life.
Well done. everything turned out as Akhmatova wrote)))

Anna Andreevna Akhmatova

My beloved always has so many requests!
A woman who has fallen out of love has no requests.
I'm so glad there's water today
It freezes under the colorless ice.

And I will become - Christ, help!
On this cover, light and brittle,
And you take care of my letters,
So that our descendants can judge us,

To make it clearer and clearer
You were visible to them, wise and brave.
In your glorious biography
Is it possible to leave spaces?

The earthly drink is too sweet,
The love networks are too dense
May my name someday
Children read in the textbook,

And, having learned the sad story,
Let them smile slyly...
Without giving me love and peace,
Give me bitter glory.

In April 1910, Akhmatova married Gumilyov. The marriage was the result of long courtship on the part of Nikolai Stepanovich.

Anna Akhmatova and Nikolai Gumilyov

He sought the love of the young poetess with extraordinary tenacity - a couple of times he even tried to commit suicide after her refusals. None of Anna Andreevna’s relatives came to the wedding ceremony. In their opinion, this union was doomed from the very beginning. As a result, the gloomy prediction came true. After the wedding, Gumilyov quickly lost interest in his young wife. Most likely, the process of conquest was much more important and interesting for him than the subsequent possession of the received prize. In March 1912, Nikolai Stepanovich released the collection “Alien Sky”. On its pages, Akhmatova appeared either as a poisoner, or as a sorceress from Bald Mountain, or as Margarita in love with Mephistopheles. One way or another, the lyrical hero fought a life-and-death struggle with the woman. In September 1912, Anna Andreevna gave birth to Gumilyov’s son, who was named Lev.

Leo with his parents, Nikolai Gumilyov and Anna Akhmatova

A short time after the boy was born, the relationship between the spouses finally turned into almost a formality. As Akhmatova recalled, they “stopped being interested in the intimate side of each other’s lives.” In the fall of 1913, Nikolai Stepanovich returned from another African expedition. Anna Andreevna met her husband with letters addressed to him from actress Olga Vysotskaya.

Olga Vysotskaya

He only smiled shyly in response. After this episode, the poem “How many requests does your beloved always have!..” was born.

The main thing you need to know about the lyrical heroine of the text in question is given at the very beginning - the man fell out of love with her. An interesting point is that nothing is said about his leaving for another woman. It turns out that formally the relationship continues, but on the one hand there is no longer love. Next, a landscape detail is mentioned, which helps determine approximately the time of action: the water freezes under colorless ice, which means it is autumn. The heroine of the poem is ready to take a desperate step - to stand on thin ice. She has only one request to her lover - to take care of her letters so that descendants can judge them. With undisguised irony, she calls the man wise and brave, and calls his biography glorious. At the end of the text, the heroine expresses hope for posthumous glory, albeit bitter. This glory serves as a kind of compensation for the love and peace that her lover was unable to give her during her lifetime.

“My beloved always has so many requests!..”

My beloved always has so many requests!
A woman who has fallen out of love has no requests.
I'm so glad there's water today
It freezes under the colorless ice.

And I will become - Christ, help me! -
On this cover, light and brittle,
And you take care of my letters,
So that our descendants can judge us,

To make it clearer and clearer
You were visible to them, wise and brave.
In your glorious biography
Is it possible to leave spaces?

“These torments, complaints and such extreme humility - isn’t this weakness of spirit, isn’t it simple sentimentality? Of course not: the very voice of Akhmatova, firm and rather self-confident, the very calmness in the recognition of both pains and weaknesses, the very abundance of poetically translated torment - all this does not testify to tearfulness on the occasion of life’s trifles, but reveals the lyrical soul, rather tough rather than too soft, cruel rather than tearful, and clearly dominant rather than oppressed.

The enormous suffering of this not so easily vulnerable soul is explained by the magnitude of its demands, by the fact that it wants to rejoice or suffer only on great occasions. Other people walk in the world, rejoice, fall, hurt themselves against each other, but all this happens here, in the middle of the world circle; but Akhmatova belongs to those who somehow reached its “edge” - and why would they turn around and go back to the world? But no, they fight, painfully and hopelessly, at the closed border, and scream and cry. He who does not understand their desire considers them eccentrics and laughs at their trifling groans, not suspecting that if these same pitiful holy fools suddenly forgot their absurd passion and returned to the world, then with iron feet they would walk over the bodies of him, a living worldly person; then he would have recognized the brutal force there at the wall from the trifles of tearful capricious women and capricious women.”

Nikolay Nedobrovo. "Anna Akhmatova"

The earthly drink is too sweet,
The love networks are too dense.
May my name someday
Children read in the textbook,

And, having learned the sad story,
Let them smile slyly...
Without giving me love and peace,
Give me bitter glory.

1912 (?)

Music rang in the garden
Such unspeakable grief.
Fresh and sharp smell of the sea
Oysters on ice on a platter.

He told me: “I am a true friend!”
And he touched my dress.
How different from a hug
The touch of these hands.

This is how they pet cats or birds,
This is how slender riders are looked at...
Only laughter in his calm eyes
Under the light gold of eyelashes.

March 1913

"Flowers and inanimate things..."

Flowers and inanimate things
The smell in this house is pleasant.
There are piles of vegetables in the garden beds
They lie, colorful, on the black soil.

The chill is still flowing,
But the matting has been removed from the greenhouses.
There is a pond there, such a pond,
Where the mud looks like brocade.

And the boy told me, afraid,
Quite excited and quiet,
What big crucian carp lives there
And with him is a big crucian carp.

1913

“I see a faded flag above the customs house...”

I see a faded flag over customs
And there is a yellow haze over the city.
Now my heart is more careful
He freezes and it hurts to breathe.

“It is especially difficult to talk about Anna Akhmatova’s poems, and we are not afraid to admit it. Having noted their charming intimacy, their exquisite melodiousness, the fragile subtlety of their seemingly careless form, we still will not say anything about what constitutes their charm. Akhmatova’s poems are very simple, laconic, in them the poetess deliberately keeps silent about many things - and this is perhaps their main charm.

Vladislav Khodasevich. “Review of Anna Akhmatova’s book “The Rosary”.” 1914

I wish I could become a seaside girl again,
Put shoes on bare feet,
And put a crown on your braids,
And sing with an excited voice.

“All day I remember your lines about the “seaside girl”, not only do I like them, they intoxicate me. So much has been said simply, and I am absolutely convinced that of all post-symbolist poetry you and, perhaps (in your own way), Narbut will turn out to be the most significant.”

“Let’s not drink from the same glass...”

Addressed to M. L. Lozinsky. This is confirmed in L.K. Chukovskaya’s note dated May 10, 1940:

“...She dictated to me minor amendments to the poem “We will not drink from the same glass...” - Mikhail Leonidovich was offended when he saw that I had changed, did not do it the way I did in my youth. And so, I’m restoring it the old way,” she explained. "How? So this is for him!” - I thought, but didn’t say it” (Chukovskaya, vol. 1, p. 108).

“You can’t confuse real tenderness...”

Analysis of Nedobrovo –

“The speech is simple and colloquial to the point, perhaps, that it is not poetry? But what if you read it again and notice that when we talked like this, then, for the complete exhaustion of many human relationships, it would be enough for everyone to exchange two or three eight-line lines - and there would be a reign of silence. Is it not in silence that the word grows to the power that transforms it into poetry?

You can't confuse real tenderness

With nothing… -

what a simple, completely everyday phrase, how calmly it moves from verse to verse, and how smoothly and with tension the first verse flows - pure anapests, the stress of which is distant from the ends of the words, so appropriate for the dactylic rhyme of the verse. But now, smoothly moving into the second verse, the speech is compressed and cut: two anapests, the first and third, are pulled together into iambs, and the stresses, coinciding with the ends of the words, cut the verse into solid feet. You can hear the continuation of a simple saying:

...tenderness cannot be confused

With nothing, and she is quiet, -

but the rhythm had already conveyed anger, deeply held somewhere, and the whole poem suddenly became tense with it. This anger decided everything: it had already subdued and humiliated the soul of the one to whom the speech was addressed; Therefore, in the following verses, the triumph of victory has already floated to the surface - in cold contempt:

You are in vain carefully wrapping...

What especially clearly indicates the mental movement that accompanies speech? The words themselves are not wasted on this, but the flow and fall of them work again: this “carefully wraps you up” is so figurative and so, if you like, tenderly, that it could be said to a loved one, that’s why it beats here. And then it’s almost mockery in words:

My shoulders and chest are covered in fur... -

This is the dative case, which brings the sensation closer and gives out some kind of shudder of disgust, and at the same time sounds, sounds! “My shoulders and chest...” - what a gentle crunch of all the gentle, pure and deep sounds in this spondee and anapest.

But suddenly there is a change in tone to a simple and significant one, and how syntactically this change is authentically justified: the repetition of the word “in vain” with “and” before it:

And in vain the words of submissiveness...

The vain attempt at impudent tenderness was given a harsh answer, and then it was especially emphasized that submissive words were also in vain; The particularity of this shade is outlined by the fact that the corresponding verses are included in another rhyme system, in the second quatrain:

And in vain are the words submissive

You're talking about first love.

How this again seems to be said in an ordinary way, but what reflections play on the gloss of this shield - the shield is the whole poem. But it is said: and in vain you speak submissive words... Isn’t strengthening the idea of ​​speaking already an exposure? And is there any irony in the words “submissive”, “about the first”? And isn’t that why irony is so felt because these words are pronounced on iambic anapests, on rhythmic concealments?

In the last two verses:

How do I know these stubborn ones,

Your unsatisfied glances! –

again, the ease and agile expressiveness of dramatic prose in the word combination, and at the same time, the subtle lyrical life in the rhythm, which, carrying out the word “these” in an iambic anapest, makes the views mentioned actually “these,” that is, here, now visible. And the very way of introducing the last phrase, after the break of the previous wave, with the exclamatory word “how,” immediately shows that in these words something completely new and final awaits us. The last phrase is full of bitterness, reproach, judgment and something else. What? – Poetic liberation from all bitter feelings and from the person standing here; it is undoubtedly felt, but how is it given? Only the rhythm of the last line, pure, these completely freely, without any pretense, rolling out anapests; There is still bitterness in the words “your unsatisfied glances,” but underneath the words there is already flight.