Proverbs and sayings about May HORIZONTALLY: 2. May will deceive - in ... will leave.4 ....
Peace female soul is most fully revealed in the love lyrics of A. Akhmatova and occupies a central place in her poetry. The genuine sincerity of Akhmatova's love lyrics, combined with strict harmony, allowed her contemporaries to call her Russian Sappho immediately after the release of the first collections of poetry.
Early love lyrics Anna Akhmatova was perceived as a kind of lyrical diary. However, the depiction of romantically exaggerated feelings is not characteristic of her poetry. Akhmatova talks about simple human happiness and earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone is able to experience and understand.
Love in the lyrics of A. Akhmatova appears as a “fateful duel”, it is almost never portrayed serenely, idyllically, but, on the contrary, in an extremely crisis expression: at the moment of breakup, separation, loss of feeling or the first stormy blindness with passion.
Usually her poems are the beginning of a drama or its climax. “The torment of a living soul” is paid by her lyrical heroine for love. The combination of lyricism and epicness brings A. Akhmatova's poems closer to the genres of the novel, short story, drama, lyrical diary.
One of the secrets of her poetic gift lies in the ability to fully express the most intimate in herself and the world around her. In her poems, the string tension of experiences and the unmistakable accuracy of their sharp expression are striking. This is the strength of Akhmatova.
The theme of love and the theme of creativity are closely intertwined in Anna Akhmatova's poems. In the spiritual image of the heroine of her love lyrics one can guess "wingedness" creative personality. The tragic rivalry between Love and the Muse has been reflected in many works since early 1911. However, Akhmatova foresees that poetic glory cannot replace earthly love and happiness.
The intimate lyrics of A. Akhmatova are not limited to the depiction of loving relationships. It always contains the poet's inexhaustible interest in the inner world of man. The originality of Akhmatov's poems about love, the originality of the poetic voice, conveying the most intimate thoughts and feelings of the lyrical heroine, the fullness of the verses with the deepest psychologism cannot but arouse admiration.
Like no one else, Akhmatova knows how to reveal the most hidden depths inner peace a person, his experiences, states, moods. Striking psychological persuasiveness is achieved by using a very capacious and laconic technique of an eloquent detail (a glove, a ring, a tulip in a buttonhole ...).
“Earthly love” by A. Akhmatova also implies love for the “earthly world” surrounding a person. Image human relations inseparable from love for the native land, for the people, for the fate of the country. The idea of a spiritual connection with the Motherland that permeates the poetry of A. Akhmatova is expressed in the readiness to sacrifice even happiness and intimacy with the dearest people (“Prayer”) for her sake, which later so tragically came true in her life.
She rises to biblical heights in the description maternal love. The suffering of a mother, doomed to see her son's agony on the cross, is simply amazing in Requiem:
The choir of angels glorified the great hour,
And the heavens went up in flames.
He said to his father: “Almost left me!”
And Mother: “Oh, don’t cry for Me…”
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
Thus, the poetry of A. Akhmatova is not only a confession of a woman in love, it is a confession of a man who lives with all the troubles, pains and passions of his time and his land.
Anna Akhmatova, as it were, combined "female" poetry with the poetry of the main stream. But this association is only apparent - Akhmatova is very smart: having retained the theme and many techniques women's poetry, she radically reworked both in the spirit of not female, but universal poetics.
The world of deep and dramatic experiences, the charm, richness and originality of the personality are imprinted in the love lyrics of Anna Akhmatova.
A. Akhmatova
She was considered perfect. Her poems were read. Her hump-nosed, surprisingly harmonious profile evoked comparisons with ancient sculpture. In her declining years, she became an honorary doctor of science from Oxford. The name of this woman is Anna Akhmatova. “Akhmatova is a jasmine bush, charred by gray mist,” is what her contemporaries said about her. According to the poetess herself, Alexander Pushkin and Benjamin Constant, the author of the acclaimed nineteenth-century novel Adolf, had a great influence on her. It was from these sources that Akhmatova drew the subtlest psychologism, that aphoristic brevity and expressiveness that made her lyrics the object of endless love of readers and the subject of research by several generations of literary critics.
I learned to live simply, wisely, - Look at the sky and pray to God, And wander long before evening, To calm unnecessary anxiety.
Such is the result of this wise, suffering life.
She was born at the turn of two centuries - the nineteenth, "iron" by Blok's definition, and the twentieth - a century, equal to which in fear, passions and suffering was not in the history of mankind. She was born on the verge of centuries in order to connect them with a living quivering thread of her destiny.
A great influence on her poetic development was the fact that Akhmatova spent her childhood in Tsarskoe Selo, where the very air was saturated with poetry. This place became for her one of the most expensive on earth for life. Because "here lay his (Pushkin's) cocked hat and a disheveled volume of Guys." Because for her, seventeen years old, it was there that “the dawn was alley to itself, in April the smell of decay and earth, and the first kiss ...”. Because there, in the park, there were meetings with Nikolai Gumilyov, another tragic poet of the era, who became the fate of Akhmatova, about whom she would later write in lines that were terrible in their tragic sound:
Akhmatova's poetry is the poetry of the female soul. And although literature is universal, Akhmatova could rightfully say about her poems:
Could Bice create like Dante, or Laura glorify the fire of love? I taught women to speak.
In her works there is a lot of personal, purely feminine, what Akhmatova experienced with her soul, which is why she is dear to the Russian reader.
Akhmatova's first poems are love lyrics. In them, love is not always bright, often it carries grief. More often, Akhmatova's poems are psychological dramas with sharp plots based on tragic experiences. The lyrical heroine of Akhmatova is rejected, out of love. But he experiences it with dignity, with proud humility, without humiliating himself or his beloved.
In the fluffy muff, the hands went cold. I was scared, I was kind of confused. Oh, how to bring you back, quick weeks of His love, airy and minute!
The hero of Akhmatov's poetry is complex and many-sided. He is a lover, a brother, a friend who appears in different situations. Then a wall of misunderstanding arises between Akhmatova and her lover and he leaves her; then they part because they cannot see each other; then she mourns her love and mourns; but always loves Akhmatova.
Everything is for you: and prayer during the day, And insomnia smoldering heat, And my white flock of poems, My nights are a blue fire.
But Akhmatova's poetry is not only a confession of a woman's soul in love, it is also a confession of a man living with all the troubles and passions of the 20th century. And yet, according to O. Mandelstam, Akhmatova “brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the 20th century”:
She escorted a friend to the front, She stood in the golden dust, Important sounds flowed from the neighboring bell tower. Thrown! Made up word - Am I a flower or a letter?
And the eyes are already looking sternly In the darkened dressing table.
The most important love in the life of A. Akhmatova was love for her native land, about which she will write later that "we lay down in it and become it, that's why we call it so freely ours."
In the difficult years of the revolution, many poets emigrated from Russia abroad. No matter how hard it was for Akhmatova, she did not leave her country, because she could not imagine her life without Russia.
But Akhmatova “indifferently and calmly closed her hearing with her hands” so that “the mournful spirit would not be defiled by this unworthy speech.”
Akhmatova's love for the motherland is not a subject of analysis, reflection. There will be a Motherland - there will be life, children, poems. If she doesn't exist, there is nothing. Akhmatova was a sincere spokesman for the troubles and misfortunes of her age, over which she was ten years older.
Akhmatova was worried about the fate of the spiritually impoverished people, and the anxiety of the Russian intelligentsia after the seizure of power in the country by the Bolsheviks. She conveyed the psychological state of the intellectuals in those inhuman conditions:
In a circle of bloody day and night A cruel languor hurts ... No one wanted to help us For the fact that we stayed at home.
In the days of Stalinism, Akhmatova was not subjected to repressions, but these were difficult years for her. Her only son was arrested, and she decided to leave a monument to him and all the people who suffered during this time. Thus the famous "Requiem" was born. In it, Akhmatova talks about the difficult years, about the misfortunes and sufferings of people:
The stars of death stood over us, And innocent Rus writhed Under bloody boots And under the tires of black marus.
Despite all the hardship and tragic life, for all the horror and humiliation she experienced during the war and after, Akhmatova did not have despair and confusion. No one has ever seen her with her head down. Always direct and strict, she was a person of great courage. In her life, Akhmatova knew fame, infamy and glory again.
Such is the lyrical world of Akhmatova: from the confession of a woman's heart, insulted, indignant, but loving, to the soul-shaking "Requiem", with which "a hundred million people" shout.
Once in her youth, clearly anticipating her poetic fate, Akhmatova uttered, referring to the Tsarskoye Selo statue of A. S. Pushkin:
Cold, white, wait, I will also become a marble.
And, probably, in front of the Leningrad prison - where she wanted - there should be a monument to a woman holding a bundle with a transfer for her only son, whose only fault was that he was the son of Nikolai Gumilyov and Anna Akhmatova - two great poets who displeased the authorities.
Or maybe you don’t need marble statues at all, because there is already a miraculous monument that she erected to herself after her Tsarskoye Selo predecessor - these are her poems.
The second great lyric poetess after Sappho...
1912 can be called revolutionary in Russian poetry. At this time, the first collection of Anna Akhmatova, "Evening", was released. After its release, critics unanimously placed this poetess next to the first poets of Russia. Moreover, contemporaries recognized that it was Akhmatova who “unquestionably holds the first place among Russian poets after the death of Blok.” The Evening was followed by The Rosary (1914) and The White Flock (1917).
All three of these collections of the poetess were devoted to one theme - love. The revolutionary nature of Akhmatova's lyrics was that she opened the world to the Universe of the female soul. The poetess brought her lyrical heroine to the stage and exposed all her emotional experiences, her feelings, emotions, dreams, fantasies.
In her poems, Akhmatova not only created a universal female character. She showed him various forms and manifestations: a young girl (“I pray to the window beam”, “Two poems”), a mature woman (“How many requests ...”, “As simple courtesy commands”, “Walk”), a cheating wife(“The gray-eyed king”, “My husband whipped me patterned ...”). In addition, the heroine of Akhmatova is a homemaker, a harlot, a wanderer, an Old Believer, and a peasant woman. In her poems, the poetess also draws the fate of her sister and mother (“Magdalene fought and sobbed”, “Requiem” and others).
In the poem "we are all thugs here, harlots ..." the lyrical heroine experiences the pangs of jealousy. Her love for the hero is so strong that it drives a woman crazy:
Oh, how my heart yearns!
Am I waiting for the hour of death?
And the one that's dancing now
It will definitely go to hell.
The heroine is trying to return the departed feeling. She wants to attract her lover with beauty: "I put on a tight skirt, To appear even slimmer." Or is the heroine already celebrating a wake for a departed love? After all, she perfectly understands that "windows are forever clogged." Love is gone, you can't get it back. It remains only to yearn and wish for death, but nothing can be corrected.
And the poem "The boy said to me:" How it hurts! depicts the opposite situation. The heroine of Akhmatova, a mature woman, inspired the love of a young man. The age of the heroine is indicated by her appeal to the young man: “boy”. Now this woman refuses love. She sees what she does young man unbearable pain, but can not do otherwise:
I know he can't handle his pain
With the bitter pain of first love.
How helplessly, greedily and hot strokes
My cold hands.
The contrast in the last lines of the poem conveys the intensity of the feelings of the characters. The young man “greedily and hotly” loves the lyrical heroine, the same one is cold to him.
In general, hands are a very significant detail in Akhmatova's lyrics. They are, in my opinion, a reflection of the soul, feelings and emotions of the characters. So, in the poem “She squeezed her hands under dark veil... "Akhmatova conveys all the grief of separation through this line. She clenched her hands under a veil - this means she squeezed her soul under the blackness of longing and trouble. The heroine said something to her lover, confessed something to him. These words "drunk the hero with sadness. Realizing what she did, the heroine tries to return everything, because she cannot live without her lover:
Breathless, I shouted: "Joke
All that has gone before. If you leave, I'll die."
But... it's too late. The hero is already "poisoned" by sadness. His last words were casual and indifferent: "Don't stand in the wind."
Hands also play a large role in the poem “The Song of the Last Meeting”. In it, the heroine experienced a very difficult moment: parting with her beloved. Her condition conveys one, but very weighty, detail:
But my steps were light.
I'm on right hand put on
Left hand glove.
In general, in the life of the lyrical heroine Akhmatova, love plays a colossal role. This is the main thing both for her and for the poetess herself. But, unfortunately, in the lyrics of A. Akhmatova is very rare happy love. This feeling of the poetess is always bitterness, separation, sadness, the desire for death. We can say that the heroine of Akhmatova dies with each parting and is reborn with each new love in her life.
Another hypostasis of the lyrical heroine is a woman poet. She perceives her talent not as a gift, but as a cross that she must carry throughout her life. In the poem "Muse" the heroine reproaches her "muse-sister":
Muse! you see how happy everyone is -
Girls, women, widows...
I'd rather die on the wheel
Just not these chains.
For the lyrical heroine, God's gift is the opportunity to live the life of an ordinary woman, not to honor the troubles and hardships of all women on earth. But such happiness is not available to the heroine. She must endure all the world's pain and express it in her poems.
In the poem "Song" the heroine of Akhmatova is a simple peasant woman. Her harsh life, her heavy “torment-share” is drawn. The fate of this heroine is associated with the image of a swan, which was traditionally considered a sign of misfortune: "I sing about love - a swan field." The voice of this simple woman, who has endured many troubles and grief, is intertwined with the voice of a woman poet. The key image of the last stanza of the poem is "a stone instead of bread." This is an “evil reward” for the heroine-poetess and the heroine of a simple woman for everything: for their life, for their actions. The woman in this poem by Akhmatova is lonely. She remains one on one with the universe, with God:
The lyrical heroine of Akhmatova is a mother who lost her child (“Husband in the grave, son in prison - pray for me ...”), and a Russian woman suffering along with her country (“Requiem”):
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.
Thus, the lyrical heroine of Akhmatova is a Woman in all her earthly incarnations, in all her incarnations. It was thanks to this poetess that the richest and deepest world of the female soul, the world of Love and Sorrow, Grief and Joy, was opened ...
Poetry of the female soul. She was considered perfect. Her poems were read, Her hook-nosed, surprisingly harmonious profile evoked comparisons with ancient sculpture. In her later years, she received an honorary doctorate from Oxford. The name of this woman is Anna Akhmatova. “Akhmatova is a jasmine bush, charred by gray mist,” that is what her contemporaries said about her. According to the poetess herself, Alexander Pushkin and Benjamin Constant, the author of the sensational novel of the 19th century Adolf, had a great influence on her. It was from these sources that Akhmatova drew the subtlest psychologism, that aphoristic brevity and expressiveness that made her lyrics the object of endless love of readers and the subject of research by several generations of literary critics.
I learned to live simply, wisely, -
Look up to the sky and pray to God
And wander long before evening,
To relieve unnecessary anxiety.
Such is the result of this wise, suffering life.
She was born at the turn of two centuries - the nineteenth, "iron" according to Blok's definition, and the twentieth - a century, equal to which in fear, passions and suffering was not in the history of mankind. She was born on the verge of centuries, to connect them with a living, quivering thread of her destiny.
A great influence on her poetic development was the fact that Akhmatova spent her childhood in Tsarskoye Selo, where the very air was saturated with poetry. This place became for her one of the most expensive on earth for life. Because "here lay his (Pushkin's) cocked hat and a disheveled volume of Guys." Because for her, seventeen years old, it was there that “the dawn was alley itself, in April the smell of decay and earth, and the first kiss. ". Because there, in the park, there were dates with Nikolai Gumilyov, another tragic poet of the era, who became the fate of Akhmatova, about whom she would later write in lines that were terrible in their tragic sound:
Husband in the grave, son in prison,
Pray for me...
Akhmatova's poetry is the poetry of the female soul. And although literature is universal, Akhmatova could rightfully say about her poems:
Could Bice create like Dante,
Or Laura glorify the heat of love?
I taught women to speak.
In her works there is a lot of personal, purely feminine, what Akhmatova experienced with her soul, which is why she is dear to the Russian reader.
Akhmatova's first poems are love lyrics. In them, love is not always bright, often it carries grief. More often, Akhmatova's poems are psychological dramas with sharp plots based on tragic experiences. The lyrical heroine of A Shatova is rejected, falling in love. But he experiences it with dignity, with proud humility, without humiliating himself or his beloved.
In the fluffy muff, the hands went cold.
I was scared, I was kind of confused.
Oh how to get you back, fast weeks
His love, airy and minute!
The swarm of Akhmatov's poetry is complex and multifaceted. He is a lover, brother, friend, appearing in various situations. Then a wall of misunderstanding arises between Akhmatova and her lover, and he leaves her; then they part because they cannot see each other; then she mourns her love and mourns; but always loves Akhmatova.
All to you: and a daily prayer,
And insomnia melting heat,
And my white flock of poems,
And my eyes are blue fire.
But Akhmatova's poetry is not only a confession of a woman's soul in love, it is also a confession of a man living with all the troubles and passions of the 20th century. And also, according to O. Mandelstam, Akhmatov “brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the 20th century”:
Walked a friend to the front
Standing in golden dust
From the bell tower nearby
Important sounds flowed.
Thrown! Invented word -
Am I a flower or a letter?
And the eyes are already looking sternly
In a darkened dressing table.
The most important love in the life of A. Akhmatova was love for her native land, about which she will write later that "we lay down in it and become it, that's why we call it so freely ours."
During the difficult years of the revolution, many poets emigrated from Russia abroad. No matter how hard it was for Akhmatova, she did not leave her country, because she could not imagine her life without Russia.
I had a voice. He called comfortingly
He said, "Come here
Leave your land deaf and sinful,
Leave Russia forever."
But Akhmatova “indifferently and calmly closed her hearing with her hands” so that “the mournful spirit would not be defiled by this unworthy speech.”
Akhmatova's love for the Motherland is not a subject of analysis or reflection. There will be a Motherland - there will be life, children, poems. There is no her - there is nothing. Akhmatova was a sincere spokesman for the troubles and misfortunes of her age, over which she was ten years older.
Akhmatova was worried about the fate of the spiritually impoverished people, and the anxiety of the Russian intelligentsia after the seizure of power in the country by the Bolsheviks. She conveyed the psychological state of the intellectuals in those inhuman conditions:
In the circle of bloody day and night
A cruel languor hurts ...
Nobody wanted to help us
Because we stayed at home.
During the Stalinist era, Akhmatova was not subjected to repressions, but these were difficult years for her. Her only son was arrested, and she decided to leave a monument to him and all the people who suffered during this time. Thus the famous "Requiem" was born. In it, Akhmatova talks about the difficult years, about the misfortunes and sufferings of people:
The death stars were above us
And innocent Russia writhed
Under the bloody boots
And under the tires of black marus.
Despite all the hardship and tragic life, for all the horror and humiliation she experienced during the war and after, Akhmatova did not have despair and confusion. No one has ever seen her with her head bowed. Always direct and strict, she was a person of great courage. In her life, Akhmatova knew glory, infamy and glory again.
I am your voice, the heat of your breath,
I am the reflection of your face.
Such is the lyrical world of Akhmatova: from the confession of a woman's heart, insulted, indignant, but loving, to the soul-shaking "Requiem", with which "a hundred million people" shout.
Once in her youth, clearly anticipating her poetic fate, Akhmatova uttered, referring to the Tsarskoye Selo statue of A. S. Pushkin:
Cold, white, wait
I, too, will become a marble.
And, probably, opposite the Leningrad prison - where she wanted - there should be a monument to a woman holding a bundle with a transfer for her only son, whose only fault was that he was the son of Nikolai Gumilyov and Anna Akhmatova - two great poets who did not please the authorities.
Or maybe marble sculptures are not needed at all, because there is already a miraculous monument that she erected to herself after her predecessor in Tsarskoye Selo - these are her poems.
