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The work of Anna Andreevna Akhmatova occurred in the first half of the 20th century. Spiritually emerging from the Silver Age of Russian poetry, Akhmatova, together with her country, survived the revolutionary hard times, mass repressions of the 30s, and the war years.
All these stages life path found their reflection in Akhmatova’s work, influencing not only the themes and aesthetics of the poems, but also philosophy, the way of seeing and feeling the world. But still, Akhmatova is first and foremost a lyrical poet, glorifying human feelings, glorifying love.
Akhmatova's lyrics from the period of her first books (Evening, Rosary, The White Flock) are almost exclusively love lyrics. Her innovation as an artist initially manifested itself in this traditional theme.
As B. Eikhenbaum also noted, Akhmatova’s lyrics are characterized by “romance”; each book of her poems is like a lyrical novel, going back to the traditions of Russian realistic prose.
In this type of art, in the lyrical miniature novel, Anna Akhmatova achieved great mastery. Here is one of these “novels”:
As simple courtesy dictates,
He came up to me, smiled,
Half-affectionate, half-lazy
Touched my hand with a kiss -
And mysterious ancient faces
The eyes looked at me...
Ten years of freezing and screaming,
All my sleepless nights
I put it in a quiet word
And she said it - in vain.
You walked away and it started again
My soul is both empty and clear.
The tragedy of ten years is told in one short event. Often, Akhmatova’s miniatures were, in accordance with her favorite style, unfinished and looked not so much like a small novel, but like a randomly torn page from a novel, or even part of a page that has neither beginning nor end and forces the reader to figure out what happened between heroes before.
Akhmatova always preferred a “fragment” to a coherent, sequential story, since it made it possible to saturate the poem with psychologism. In addition, the fragment imparted a kind of documentary quality to what was being depicted: what appeared before the reader was either an excerpt from an accidentally overheard conversation or a dropped note that was not intended for prying eyes.
Akhmatova’s poems often resemble a quick entry in a diary:
He loved three things in the world:
Behind the evening singing, white peacocks
And erased maps of America.
I didn't like it when children cried
Didn't like raspberry tea
And female hysteria.
And I was his wife...
However, these quick notes depict the whole world - with pain, betrayal, suffering. Akhmatova's love lyrics, despite their outward transparency and simplicity, are extremely psychological and dramatic. For example, poems such as “The Gray-Eyed King,” “I clenched my hands under a dark veil...”, “You are my letter, dear, don’t crumple...”, “I learned to live simply, wisely...” and many others. are the clearest example of such a view of the world and the nature of human feelings.
So, Akhmatova’s love lyrics are primarily distinguished by such features as psychologism, dramaturgy and depth of feelings. Along with this, the language of the poems is characterized by clarity of the meanings of all words, simplicity of vision, and objectivity. It is characterized by colloquial poetic speech, the gravity of the poem towards a sketch or short story, with a laconic style adopted from Pushkin, to whom Akhmatova turned from the very first steps of her work.
Akhmatova's creativity is a unique phenomenon. Combining soulful lyricism and epic scope, incorporating the best classical traditions, it acquired the versatility and emotional persuasiveness that glorified Akhmatova’s name throughout the world. Therefore, it is quite possible to agree with K. Paustovsky, who said that “Anna Akhmatova is a whole era in the poetry of our country.”
on the topic of:
“LOVE LYRICS BY A. AKHMATOVA”
Gold rusts and steel decays,
Marble is crumbling. Everything is ready for death.
The most durable thing on earth is sadness
And more durable is the royal word.
A. Akhmatova
Anna Akhmatova's first poems appeared in Russia in 1911 in the magazine Apollo. Almost immediately, Akhmatova was ranked by critics among the greatest Russian poets.
A. A. Akhmatova lived and worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom was, often had to choose between free creativity and life.
But despite all these circumstances, poets still continued to work miracles: wonderful lines and stanzas were created.
The source of inspiration for Akhmatova was her Motherland, Russia, which was desecrated, but this made it even closer and dearer to her. Anna Akhmatova could not emigrate; she knew that only in Russia could she create, that it was in Russia that her poetry was needed.
I'm not with those who abandoned the earth
To be torn to pieces by enemies.
I don't listen to their rude flattery,
I won’t give them my songs.
In the famous work “Everything is stolen, betrayed, sold...” (1921), the first line of which was quoted many times to prove the idea of the poetess’s hostile attitude towards Soviet society and the revolution, even in it one could hear her benevolent curiosity and undoubted interest in new life:
Everything is stolen, betrayed, sold,
The wing of the black death flashed,
Everything is devoured by hungry melancholy,
Why did we feel light?
During the day the breath of cherry blossoms blows
An unprecedented forest under the city,
At night it shines with new constellations
The depth of the transparent July skies, -
And the wonderful comes so close
To the crumbling dirty houses...
Unknown to anyone,
But from the ages we have desired.
This is 1921, devastation, famine, the very end civil war, from which the country emerged with incredible strain. Old world was destroyed, the new one was just beginning to live. For Akhmatova and those whom she unites with herself in this poem, the destroyed past was a well-lived and familiar home. And yet, the inner strength of life forced her, in the midst of the ruins of the old world, to utter words blessing the eternal in its charm and wise newness of life. The poem is essentially optimistic, it radiates light and joy, anticipation of life, which seems to be starting over.
The lyrics of Anna Akhmatova in her first books “Evening”, “The Rosary” and “The White Flock” are almost exclusively lyrics of love.
The romance between Anna Akhmatova and Lev Gumilyov lasted for seven years. Confused, broken, on the verge of breaking down, the relationship with Gumilyov forever determined for Anna Akhmatova the model of her relationships with men. She will always fall in love only when she sees a riddle on top of the earthly, real essence. It excited her, she sought to unravel it, she sang its praises. She spoke about love as a higher concept, almost religious. And she herself - with the rarest exceptions - abruptly ended the romance if it threatened to turn into an everyday, familiar existence...
Even if I don’t have a flight
From a flock of swan,
Alas, lyric poet
Must be a man!
Otherwise everything will go upside down
Until the hour of parting:
And the garden is not a garden, and the house is not a house,
A date is not a date!
Her heart seemed to be looking for death, looking for torment. On April 25, 1910, Anna Gorenko and Nikolai Gumilev were married in the St. Nicholas Church near Kiev, and in May they left for a honeymoon to Paris. And already on next year Anna Akhmatova's first poems appear in print. In 1911, the poetry collection “Evening” was published - the first-born of the poetess. A collection permeated with the pain of a loving and deceived woman
I'm not asking for your love -
She is now in a safe place.
Believe that I am your bride
I don’t write jealous letters….
Akhmatova wrote about unhappy love. She was created for happiness, but did not find it. Probably because she herself understood: “Being a poet for a woman is absurd.”
A woman is a poet with her thirst for love... After all, to quench this thirst, it is not enough for a man to love: a woman-poet suffers from the scarcity of simple love. To quench such an “immortal passion,” Akhmatova sought equivalence, equal value in love.
From your mysterious love
I scream out loud in pain,
Became yellow and fitful,
I can barely drag my feet...
In August 1914, Gumilyov volunteered to go to the front. Anna Akhmatova was disappointed in the love of Nikolai Gumilyov. And Gumilyov suffered a lot for the happiness of being Akhmatova’s husband.
And the heart will no longer respond
Everything is over…
And my song rushes
On an empty night where you are no longer there
Akhmatova in her poems appears in an infinite variety of women's destinies: lovers and wives, widows and mothers, cheating and abandoned.
There is a center that, as it were, brings the rest of the world of poetry to itself; it turns out to be the main nerve, idea and principle. This is Love. In one of her poems, Akhmatova called love the “fifth season of the year.” The feeling, in itself acute and extraordinary, receives additional acuteness, manifesting itself in extreme crisis expression - rise or fall, first meeting or complete breakup, mortal danger or mortal melancholy. That is why Akhmatova is so drawn to a lyrical short story with an unexpected end to a psychological plot, eerie and mysterious (“The City Has Disappeared,” “New Year’s Ballad”).
Usually her poems are the beginning of a drama, or only its culmination, and more often the finale and ending. She relied on the rich experience of Russian not only poetry, but also prose:
Glory to you, hopeless pain,
The gray-eyed king died yesterday.
And outside the window the poplars rustle:
Your king is not on earth...
Akhmatova’s poems carry a special element of love-pity:
Oh no, I didn't love you
Burned with sweet fire,
So explain what power
In your sad name.
In the complex music of Akhmatova’s lyrics, in its barely flickering depths, a special, frightening disharmony constantly lived and made itself felt in the subconscious, which embarrassed Akhmatova herself. She later wrote in “Poem Without a Hero” that she constantly heard an incomprehensible hum, as if some kind of underground bubbling, shifting and friction of those original solid rocks on which life had been eternally and reliably based, but which began to lose stability and balance. The very first harbinger of such an unsettling sensation was the poem "The First Return" with its images of a mortal sleep, a shroud and a death knell, and with a general feeling of a sharp and irrevocable change that had occurred in the very air of time.
Over time, Akhmatova’s lyrics conquered more and more reading circles and generations and, while never ceasing to be the object of admiring attention from discerning connoisseurs, clearly came out of the seemingly destined narrow circle of readers.
Soviet poetry of the first years of October and civil
war, occupied with the grandiose tasks of overthrowing the old world, preferring to talk not so much about a person as about humanity, or in any case about the masses, was initially insufficiently attentive to the microcosm of intimate feelings, classifying them in a fit of revolutionary puritanism as socially unsafe bourgeois prejudices. Akhmatova’s lyrics, by all laws of logic, should have gotten lost and disappeared without a trace. But that did not happen.
Young readers of the new, proletarian Soviet Russia, which was embarking on the socialist path, workers and workers' faculty members, Red Army women and Red Army men - all these people, so distant and hostile to the world itself, mourned in Akhmatova's poems, nevertheless noticed and read the elegantly published volumes of her poems.
Anna Akhmatova's lyrics change in the 20s and 30s compared to earlier books. These years were marked by exceptional creative intensity. Akhmatova, as before, remained unknown to the reader and therefore seemed to have disappeared from the reading and literary world.
Akhmatova's lyrics throughout the post-revolutionary period
twenty years has constantly expanded, absorbing more and more new,
areas previously uncharacteristic of her, the love story, without ceasing to be dominant, nevertheless now occupied only one of the poetic territories in her. However, the inertia of reader perception was so great that Akhmatova, even in these years, marked by her turn to civil, philosophical and journalistic lyrics, still appeared to the eyes of the majority as solely and exclusively an artist of love.
The expansion of the range of poetry resulting from changes in
the worldview and attitude of the poetess, could not, in turn, not affect the tonality and character of the love lyrics themselves. True, some of its characteristic features remained the same.
The love episode, as before, appears before us in a peculiar Akhmatovian guise: it is never consistently developed, it usually has neither end nor beginning; the declaration of love, despair or prayer that makes up the poem seems like a fragment of a accidentally overheard conversation that did not begin in front of us and the end of which we will not hear either:
"Oh, you thought I was like that too,
That you can forget me.
And that I will throw myself, begging and sobbing,
Under the hooves of a bay horse.
Or I’ll ask the healers
There's a root in the slander water
And I'll send you a terrible gift
My treasured fragrant scarf.
Damn you.
Not a groan, not a glance
I will not touch the damned soul,
But I swear to you by the garden of angels,
Miraculous icon I swear
And our nights are a fiery child
I will never return to you."
This feature of Akhmatova’s love lyrics, full of innuendos, hints, going into the distant depths of subtext, gives it true originality. The heroine of Akhmatov’s poems, most often speaking as if to herself in a state of impulse, semi-delirium or ecstasy, naturally does not consider it necessary to explain and explain to us everything that is happening. Only the basic signals of feelings are transmitted, without decoding, without comments, hastily - according to the hasty alphabet of love. The implication is that the degree of spiritual intimacy will miraculously help us understand both the missing links and general meaning the drama that just happened. Hence the impression of extreme intimacy, extreme frankness and heartfelt openness of these lyrics...
(327 words) Anna Andreevna Akhmatova is one of the great poetesses of Russia. Love in her poems is the most exciting topic. But for her, the feeling is not only happiness; rather, on the contrary, it is more suffering, painful misunderstanding and separation.
The poetess understands love as a “selfish” passion, “love is fun.” But most often her works feature “great earthly love” for people and to people. And it is expressed, like many poets of the Silver Age, in a craving for their native country. As you know, the author was repeatedly offered to leave Russia, especially in difficult times for her, but Akhmatova flatly refused. Thus, the motives of self-sacrifice and love for Russia were heard in her work.
Of course, the revolutionary events worried her greatly, and the persecution of the authorities affected her family: her first husband and son. The poem “Prayer” colorfully tells about Akhmatova’s feelings for the fatherland.
The love that the poetess describes in her works never brings with it a happy ending. It is usually filled with sadness. For example, in her poem “Muse,” Anna Andreevna wrote about unfulfilled love and a man’s misunderstanding of a woman poet. He believed that a lady had no need for such a calling. Then the lyrical heroine abandoned this relationship for the sake of creativity. Thus, the author dedicated some of his poems to his love of art, vocation, and poetry.
Of course, gender relations are the most common love theme in Akhmatova’s lyrics. For example, everyone is well aware of the poem “Clenched hands under a dark veil.” In it, the heroine shares her strong impressions of a meeting with a man, as a result of which they came to the conclusion that separation is inevitable. And although this is clear to both of them, the woman experiences the separation very acutely, repenting and trying to fix everything. This gesture conveys the fanatical force of attraction between hearts. When the taut connecting thread between them snapped, the once close people were thrown aside and painfully wounded by the shock.
The great poetess knew true love and through her work tried to convey to the reader that this feeling is multifaceted and contradictory, but in order to feel all its depths, it is necessary to understand that mutual attraction is not only happiness and joy, but also pain, disappointment, melancholy. People can be confident in the strength of their emotions only if they have been able to survive all the difficult moments.
Interesting? Save it on your wall!a) Love - “The Fifth Season”
“Great earthly love” is the driving principle of all her lyrics. It was she who made me see the world differently. In one of her poems, Akhmatova called love the “fifth season of the year.” From this unusual, fifth time, the other four she saw were ordinary. In a state of love, the world is seen anew. All senses are heightened and tense. And the unusualness of the ordinary is revealed. A person begins to perceive the world with tenfold force, truly reaching the heights of his sense of life. The world opens up in another reality: “After all, the stars were larger, After all, the herbs smelled different...”
"That fifth time of the year,
Just praise him.
Breathe the last freedom
Because it is love.
The sky flew high
Lighten the outlines of things,
And the body no longer celebrates
The anniversary of my sadness."
Akhmatova’s love almost never appears in a calm state. The feeling, in itself acute and extraordinary, receives additional acuteness and unusualness, manifesting itself in the utmost crisis expression - rise or fall, the first awakening meeting or a complete break, mortal danger or mortal melancholy.
The young critic and poet N.V. presciently wrote in an article in 1915 that the love theme in Akhmatova’s works is much broader and more significant than its traditional framework. Nedobrov. He was essentially the only one who understood before others the true scale of Akhmatova’s poetry, pointing out that the distinctive feature of the poetess’s personality was not weakness and brokenness, as was usually believed, but, on the contrary, exceptional willpower. In Akhmatova’s poems, he saw a lyrical soul that was rather harsh than too soft, rather cruel than tearful, and clearly dominant rather than oppressed.
In Akhmatov's lyrics always we're talking about about something more than what is directly said in the poem
“Everything has been taken away, both strength and love.
A body thrown into a disgraceful city
Not happy about the sun.
I feel like there's blood
I'm already completely cold.
I don’t recognize the Merry Muse’s disposition
She looks and doesn’t say a word,
And he bows his head in a dark wreath,
Exhausted, on my chest.
And only conscience gets worse every day
The great one is mad and wants tribute.
Covering my face, I answered her
But there are no more tears, no more excuses.
Everything has been taken away, both strength and love.”
In the 20s and 30s, Akhmatova published two books, Podorozhnik and Anno Domini. Compared to the early books, the tonality of that love story, which before the revolution at times covered almost the entire content of Akhmatova’s lyrics, and which many wrote about as the main discovery and achievement of the poetess, changes noticeably. Usually her poems are the beginning of a drama, or only its climax, or even more often the finale and ending. And here she relied on the rich experience of Russian not only poetry, but also prose. Akhmatova’s verse is objective: it returns things to their original meaning, it draws attention to what we are normally able to pass by indifferently, not appreciate, not feel. Therefore, the opportunity opens up to experience the world in a childishly fresh way. Poems such as “Murka, don’t go, there’s an owl...” are not thematically defined poems for children, but they have a feeling of completely childish spontaneity
“Murka, don’t go, there’s an owl there
Embroidered on the pillow
Murka is gray, not purring,
Grandpa will hear.
Nanny, the candle is not burning,
And the mice scratch.
I'm afraid of that owl
Why is it embroidered?
b) Big and restless love
Akhmatova's poems are not fragmentary sketches, not isolated sketches: the sharpness of her gaze is accompanied by the sharpness of her thoughts. Their generalizing power is great. A poem may begin as a song:
"I'm at sunrise
I sing about love
On my knees in the garden Lebedu field...”
“...There will be stone instead of bread
My reward is evil.
The poet always strives to take a position that would allow him to fully reveal his feelings, to fully aggravate the situation, to find the final truth. This is why Akhmatova’s poems appear as if they were spoken even from beyond the point of death. But no afterlife, mystical secrets they don't carry. And there is no hint of anything otherworldly.
Akhmatova’s poems, indeed, are often sad: they carry a special element of love - pity. In the Russian folk language, in the Russian folk song, there is a synonym for the word “to love” - the word “to regret”; “I love” - “I regret.”
Already in the very first poems of Akhmatov, not only the love of lovers lives. It often turns into another, love - pity, or is even opposed to it, or even supplanted by it:
"Oh no, I didn't love you,
Burning with sweet fire,
So explain what power
In your sad name."
It is this sympathy, empathy, compassion in love - pity that makes many of Akhmatova’s poems truly folk, epic, and makes them similar to Nekrasov’s poems that are so close to her and beloved by her. Akhmatova’s love in itself carries the possibility of self-development, enrichment and expansion of the boundless, global, almost cosmic.
c) Fidelity in the theme of love in Akhmatova’s works of the 20s - 30s
In the difficult 20s, Anna Akhmatova remained true to her theme. Despite her great fame and the terrible era of war and revolution, Akhmatova’s poetry, true to her feelings, remained restrained and retained the simplicity of its forms. This was precisely the hypnotic power of her poems, thanks to which Akhmatova’s stanzas, heard or read just once, were often retained in memory for a long time.
The poetess's lyrics were constantly expanding. During these years, she turned to civil, philosophical lyrics in her work, but continued to have a love orientation. She portrays love, love confession in a new way; the despair and prayer that make up the poem always seem like a fragment of some conversation, the completion of which we will not hear:
“Oh, you thought - I’m like that too,
That you can forget me.
And that I will throw myself, begging and sobbing,
Under the hooves of a bay horse.
Or I’ll ask the healers
There's a root in the slander water
And I'll send you a terrible gift
My treasured fragrant scarf.
Damn you.
Neither a groan nor a glance will touch the damned soul,
But I swear to you by the garden of angels,
I swear by the miraculous icon
And our nights are a fiery child
I will never return to you.
The poetess's poems are full of innuendos and hints hidden in the subtext. They are unique. The lyrical heroine most often speaks as if to herself in a state of impulse, semi-delirium. She does not explain or further explain what is happening:
“Somehow we managed to separate
And put out the hateful fire.
My eternal enemy, it's time to learn
You really need someone to love.
I am free. Everything is fun for me
At night the muse will fly down to console,
And in the morning glory will come
A rattle crackles over your ear.
There's no need to pray for me
And when you leave, look back...
The black wind will calm me down.
The golden leaf fall makes me happy.
I will accept separation as a gift
And oblivion is like grace.
But tell me, on the cross
Do you dare to send another one?
Akhmatova is not afraid to be frank in her confessions and pleas, since she is sure that only those who have the same font of love will understand her. The form of randomly and instantly bursting speech, which can be overheard by everyone passing by or standing nearby, but not everyone can understand, allows it to be undistributed and meaningful.
In the lyrics of the 20s-30s, the extreme concentration of the content of the episode itself, which lies at the heart of the poem, is preserved. Akhmatova's love poems are always dynamic. The poetess has almost no calm and cloudless feeling; her love is always culminating: it is either betrayed or fades away:
“...I wasn’t nice to you,
You hate me. And the torture lasted
And how the criminal languished
Love full of evil.
It's like a brother.
You are silent, you are angry
But if we meet eyes
I swear to you by heaven,
Granite will melt in the fire.”
Love is a flash, lightning, incinerating passion, piercing the entire being of a person and echoing across great silent spaces.
The writer often associated the excitement of love with the great “Song of Songs” from the Bible:
“And in the Bible there is a red wedge leaf
Laid down on the Song of Songs..."
The poems of the 20s and 30s do not subjugate the whole life, as it was before, but the whole life, the whole existence takes on a lot of shades. Love has become not only richer and more colorful, but also more tragic. Genuine feeling acquires biblical solemn elation:
“An unprecedented autumn built a high dome,
There was an order for the clouds not to darken this dome.
And people marveled: the September deadlines were passing,
Where did the cold, humid days go?
The water of the muddy canals became emerald,
And the nettles smelled like roses, but only stronger.
It was stuffy from the dawns, unbearable, demonic and scarlet,
We all remembered them until the end of our days.
The sun was like a rebel entering the capital,
And the spring autumn caressed him so greedily,
It seemed like the transparent snowdrop was about to get sick...
That’s when you approached, calm, to my porch.”
Akhmatova’s lyrics are reminiscent of Tyutchev: a stormy clash of passions, a “fatal duel.” Akhmatova, like Tyutchev, improvises both in feeling and in verse.
In the poem “Muse” (1924) from the cycle “Secrets of the Craft” she wrote:
"When I wait for her to come at night,
Life seems to hang by a thread.
What honors, what youth, what freedom
In front of a lovely guest with a pipe in hand.
And then she came in. Throwing back the covers,
Looked at me carefully
I tell her: “Did you dictate to Dante?
Hell page? Answers: “I.”
The passion for improvisation continued in the later period of his creativity. In her 1956 poem “Dream,” the poetess says:
“How will I repay for the royal gift?
Where to go and with whom to celebrate?
And so I write as before, without any blots,
My poems in a burnt notebook."
Of course, Anna Akhmatova’s work is not only improvisation. She revised her poems many times and was precise and meticulous in her choice of words and their arrangement. “Poem Without a Hero” was supplemented and revised, the lines of old poems were improved over the decades, and sometimes changed.
Tyutchev's "fatal" duel is an instant outbreak of passions, a deadly combat between two equally strong opponents, one of whom must either surrender or die, and the other must win.
"No secrets and no sorrows,
Not the wise will of fate
These meetings always left
The impression of a struggle.
I, in the morning, guessed the moment when you would come to me,
I felt my arms bent
A faint stabbing shiver..."
“Oh, how murderously we love” - Akhmatova, of course, did not ignore this side of Tyutchev’s worldview. It is characteristic that often love, its conquering power, appears in her poems, to the horror and confusion of the heroine, turned against... love itself!
“I called death upon my dear ones,
And they died one after another.
Oh, woe is me! These graves
Foretold by my word.
How the crows circle, sensing
Hot, fresh blood,
Such wild songs, rejoicing,
Mine sent love.
With you I feel sweet and sultry.
You are close, like a heart in my chest.
Give me your hand, listen calmly.
I implore you: go away.
And let me not know where you are,
Oh Muse, don't call him,
Let it be alive, unsung
My unrecognized love.
Akhmatova's love lyrics of the 20-30s, to an incomparably greater extent than before, are addressed to the inner, secretly spiritual life. One of the means of understanding the secret, hidden life of the soul is to turn to dreams, which makes the poems of this period more psychological.
"But if we meet eyes
I swear to you by heaven,
Granite will melt in the fire.”
It is not without reason that in one of N. Gumilyov’s poems dedicated to her, Akhmatova is depicted with lightning bolts in her hand:
“She is bright in the hours of languor
And holds lightning in his hand,
And her dreams are as clear as shadows
On the heavenly fiery sand."
