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"REQUIEM"
History of creation. The poem “Requiem” is one of the pinnacle works of A.A.’s late work. Akhmatova. The poem was written in the period from 1935 to 1940. Until mid-1962, the work did not have a handwritten text, but lived in the memory of Akhmatova and several of her closest friends. The story of the creation of this hidden document of the era is as follows: Akhmatova lived in the belief that a listening device was installed in her room, so the verses from the “Requiem” were usually not spoken out loud, but written down on a piece of paper, memorized, and then burned. Last reading full text works, before “Requiem” was retyped on a typewriter, took place on May 27, 1962. On this day, in a public garden on Ordynka, L.K. Chukovskaya, at Akhmatova’s request, read the entire “Requiem”. L.K. Chukovskaya recalls this event this way: “She listened, and I read aloud the poems that I had repeated to myself so many times. She untied the knot of her scarf and opened her coat. She listened to my voice, peered at the trees and cars. She was silent. I read every single one. I asked if she was going to write them down now. “I don’t know,” she answered, from which I understood that I also did not have the right to write it down yet.” The idea of the poem is explained by Akhmatova herself in the preface to “Requiem”: “During the terrible years of the Yezhovshchina, I spent seventeen months in prison lines in Leningrad. One day someone “identified” me. Then a woman standing behind me with blue lips, who, of course, had never heard my name in her life, woke up from the stupor that is characteristic of us all and asked me in my ear (everyone there spoke in a whisper): “Can you describe this?” And I said: “I can.” Then something like a smile crossed what had once been her face.”
The history of the creation of the Poem "Requiem"
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Anna Andreevna Akhmatova
(surname at birth - Gorenko; June 11, 1889, Odessa, Russian empire- March 5, 1966, Domodedovo, Moscow region, RSFSR, USSR) - one of the largest Russian poets of the 20th century, writer, literary critic, literary critic, translator.
The poet's fate was tragic. Although she herself was not imprisoned or exiled, three people close to her were subjected to repression (her husband in 1910-1918, N.S. Gumilyov, was shot in 1921; Nikolai Punin, her life partner in the 1930s, was arrested three times , died in a camp in 1953; only son Lev Gumilyov spent more than 10 years in prison in the 1930s-1940s and in the 1940s-1950s). The grief of the widow and mother of imprisoned “enemies of the people” is reflected in one of Akhmatova’s most famous works, the poem “Requiem.”
Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and persecution; many of her works were not published not only during the author’s lifetime, but also for more than two decades after her death. Even during her lifetime, her name was surrounded by fame among wide circles of poetry admirers both in the USSR and in emigration.
Biography
Akhmatova was adjacent to Acmeism (collections “Evening”, 1912, “Rosary”, 1914). Loyalty to the moral foundations of existence, the psychology of female feelings, comprehension of the national tragedies of the 20th century, coupled with personal experiences, attraction to classic style poetic language in the collection “The Running of Time. Poems. 1909-1965". Autobiographical cycle of poems “Requiem” (1935-1940; published 1987) about the victims of repression of the 1930s. In “Poem without a Hero” (published in full 1976) there is a recreation of the “Silver Age” era. Articles about the Russian poet Alexander Sergeevich Pushkin.
Family. Childhood. Studies. Anna Akhmatova born June 23, 1889, in Bolshoy Fontan, near Odessa. Her ancestors on her mother’s side, according to family legend, went back to the Tatar Khan Akhmat. His father was a mechanical engineer in the navy and occasionally dabbled in journalism. As a child, Akhmatova lived in Tsarskoe Selo, where in 1903 she met Nikolai Stepanovich Gumilyov and became a regular recipient of his poems. In 1905, after her parents’ divorce, she moved to Evpatoria. In 1906-1907, Anna Andreevna studied at the Fundukleevskaya gymnasium in Kyiv, in 1908-1910 - at the law department of the Kyiv Higher Women's Courses. Then she attended N.P. Raev’s women’s historical and literary courses in St. Petersburg (early 1910s).
Gumilev. In the spring of 1910, after several refusals, Anna Akhmatova agreed to become Gumilyov’s wife (in 1910-1916 she lived with him in Tsarskoe Selo); On her honeymoon she made her first trip abroad, to Paris (she visited there again in the spring of 1911), met Amedeo Modigliani, who made pencil portrait sketches of her. In the spring of 1912, the Gumilevs traveled around Italy; their son Lev was born in September. In 1918, having divorced Gumilev (the marriage actually broke up in 1914), Akhmatova married Assyriologist and poet Vladimir Kazimirovich Shileiko (real name Voldemar). 
Anna Akhmatova's first publications. First collections. Writing poetry from the age of 11 and publishing from the age of 18 (the first publication was in the Sirius magazine published by Gumilev in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience in the summer of 1910. Defending from the very beginning family life spiritual independence, Anna made an attempt to get published without the help of Gumilyov - in the fall of 1910 she sent poems to V. Ya. Bryusova in “Russian Thought”, asking whether she should study poetry, then gave poems to the magazines “Gaudeamus”, “General Journal”, “Apollo” ”, who, unlike Bryusov, published them. Upon Gumilyov’s return from his African trip, Akhmatova reads to him everything he had written over the winter and for the first time received full approval for her literary experiments. From that time on, she became a professional writer. Her collection “Evening,” released a year later, gained very early success. In the same 1912, participants had recently 
The so-called “Workshop of Poets” (Akhmatova was elected its secretary) announced the emergence of the poetic school of Acmeism.
Under the sign of growing metropolitan fame, Akhmatova’s life passed in 1913: Anna spoke to a crowded audience at the Higher Women’s Courses, her portraits were painted by artists, and poets addressed her with poetic messages. New, more or less long-lasting intimate attachments of Akhmatova arose - to the poet and critic N.V. Nedobrovo, to the composer A.S. Lurie and others. In 1914, Anna Akhmatova’s second collection, “The Rosary” (reprinted about 10 times), brought her All-Russian fame, which gave rise to numerous imitations, which established the concept of “Akhmatov’s line” in the literary consciousness. In the summer of 1914, Akhmatova wrote the poem “Near the Sea,” which goes back to her childhood experiences during summer trips to Chersonesus near Sevastopol.
"White Flock". With the outbreak of World War I, Anna Akhmatova sharply limited her public life. At this time she suffered from tuberculosis, a disease that did not let her go for a long time. In-depth reading of the classics (A.S. Pushkin, Evgeniy Abramovich Baratynsky, Jean Racine, etc.) affects her poetic manner, the acutely paradoxical style of quick psychological sketches gives way to neoclassical solemn intonations. Insightful criticism discerns in her collection “The White Flock” (1917) a growing “sense of personal life as a national, historical life.” Inspiring an atmosphere of “mystery” and an aura of autobiographical context in her early poems, Anna Andrevna introduced free “self-expression” as a stylistic principle into high poetry. The apparent fragmentation, disorganization, spontaneity of lyrical experience is more and more clearly subordinated to a strong integrating principle, which gave Vladimir Vladimirovich Mayakovsky a reason to note: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.”
Post-revolutionary years. The first post-revolutionary years in Anna Akhmatova’s life were marked by hardships and complete separation from the literary environment, but in the fall of 1921, after the death of Blok and the execution of Gumilev, she, having parted ways with Shileiko, returned to active work - she participated in literary evenings, in the work of writers' organizations, published in periodicals. In the same year, two of her collections were published - “Plantain” and “Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova united her fate with art critic Nikolai Nik 
Olaevich Punin.
Years of silence. "Requiem". In 1924, Akhmatova’s new poems were published for the last time before a multi-year break, after which an unspoken ban was imposed on her name. Only translations appeared in print, as well as an article about Pushkin’s “The Tale of the Golden Cockerel.” In 1935, her son L. Gumilyov and Punin were arrested, but after Akhmatova’s written appeal to Stalin they were released. In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities; in 1938, Anna Andreevna’s son was arrested again. The experiences of these painful years, expressed in poetry, made up the “Requiem” cycle, which the poetess did not dare to record on paper for two decades. In 1939, after a semi-interested remark from Stalin, publishing authorities offered Anna a number of publications. Her collection “From Six Books” was published, which included, along with old poems that had passed strict censorship selection, new works that arose after many years of silence. Soon, however, the collection was subjected to ideological criticism and removed from libraries.
War. Evacuation. In the first months of the Great Patriotic War Anna Akhmatova wrote poster poems. By order of the authorities, she was evacuated from Leningrad before the first winter of the siege; she spent two and a half years in Tashkent. She wrote many poems and worked on “Poem without a Hero” (1940-1965), a baroque-complicated epic about the St. Petersburg 1910s.
Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. In 1945-1946, Anna Andreevna incurred the wrath of Stalin, who learned about the visit of the English historian Isaiah Berlin to her. The Kremlin authorities made her, along with Mikhail Mikhailovich Zoshchenko, the main object of party criticism; the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, “On the magazines “Zvezda” and “Leningrad” (1946), directed against them, tightened the ideological dictate and control over the Soviet intelligentsia, misled by the emancipating spirit national unity during the war. There was a publication ban again; an exception was made in 1950, when Akhmatova imitated loyal feelings in her poems written for Stalin's anniversary in a desperate attempt to soften the fate of her son, who was once again imprisoned.
last years of life. In the last decade of A. Akhmatova’s life, her poems gradually, overcoming the resistance of party bureaucrats and the timidity of editors, came to a new generation of readers. In 1965, the final collection “The Running of Time” was published. In her dying days, she was allowed to accept the Italian Etna-Taormina Literary Prize (1964) and an honorary doctorate from Oxford University (1965). 
Creative activity
One of the most talented poets of the Silver Age, Anna Akhmatova, lived a long life, full of both bright moments and tragic events. She was married three times, but did not experience happiness in any marriage. She witnessed two world wars, during each of which she experienced an unprecedented creative surge. She had a difficult relationship with her son, who became a political repressant, and until the end of the poetess’s life he believed that she chose creativity over love for him.
Anna Andreeva Gorenko was born on June 11, 1889 in Odessa. Her father, Andrei Antonovich Gorenko, was a retired captain of the second rank, who, after finishing his naval service, received the rank of collegiate assessor. The poetess's mother, Inna Stogova, was an intelligent, well-read woman who made friends with representatives of the creative elite of Odessa. However, Akhmatova will have no childhood memories of the “pearl by the sea” - when she was one year old, the Gorenko family moved to Tsarskoe Selo near St. Petersburg. Since childhood, Anna was taught 
French language and social etiquette, which was familiar to any girl from an intelligent family. Anna received her education at the Tsarskoye Selo women's gymnasium, where she met her first husband Nikolai Gumilyov and wrote her first poems. Having met Anna at one of the gala evenings at the gymnasium, Gumilev was fascinated by her and since then the fragile dark-haired girl has become a constant muse of his work.
First verse Akhmatova composed it at the age of 11 and after that she began to actively improve in the art of versification. The poetess’s father considered this activity frivolous, so he forbade her to sign her creations with the surname Gorenko. Then Anna took her great-grandmother’s maiden name - Akhmatova. However, very soon her father completely ceased to influence her work - her parents divorced, and Anna and her mother moved first to Yevpatoria, then to Kiev, where from 1908 to 1910 the poetess studied at the Kiev Women's Gymnasium. In 1910, Akhmatova married her longtime admirer Gumilyov. Nikolai Stepanovich, who was already quite famous person in poetic circles, contributed to the publication of his wife’s poetic works. Akhmatova’s first poems began to be published in various publications in 1911, and in 1912 her first full-fledged poetry collection, “Evening,” was published. In 1912, Anna gave birth to a son, Lev, and in 1914 fame came to her - the collection “Rosary Beads” received good feedback critics, Akhmatova began to be considered a fashionable poetess. By that time, Gumilyov’s patronage ceases to be necessary, and discord sets in between the spouses. In 1918, Akhmatova divorced Gumilev and married the poet and scientist Vladimir Shileiko. However, this marriage was short-lived - in 1922, the poetess divorced him, so that six months later she would marry art critic Nikolai Punin. Paradox: Punin will subsequently be arrested almost at the same time as Akhmatova’s son, Lev, but Punin will be released, and Lev will go to prison. Akhmatova’s first husband, Nikolai Gumilev, would already be dead by that time: he would be shot in August 1921. 
Latest published collection Anna Andreevna dates back to 1924. After this, her poetry came to the attention of the NKVD as “provocative and anti-communist.” The poetess is having a hard time with the inability to publish, she writes a lot “on the table”, the motives of her poetry change from romantic to social. After the arrest of her husband and son, Akhmatova begins work on the poem “Requiem”. The “fuel” for creative frenzy was soul-exhausting worries about loved ones. The poetess understood perfectly well that under the current government this creation would never see the light of day, and in order to somehow remind readers of herself, Akhmatova writes a number of “sterile” poems from the point of view of ideology, which, together with censored old poems, make up the collection “Out of Six books", published in 1940.
All Second world war Akhmatova spent time in the rear, in Tashkent. Almost immediately after the fall of Berlin, the poetess returned to Moscow. However, there she was no longer considered a “fashionable” poetess: in 1946, her work was criticized at a meeting of the Writers’ Union, and Akhmatova was soon expelled from the Union of Writers. Soon another blow falls on Anna Andreevna: the second arrest of Lev Gumilyov. For the second time, the poetess’s son was sentenced to ten years in the camps. All this time, Akhmatova tried to get him out, wrote requests to the Politburo, but no one listened to them. Lev Gumilyov himself, knowing nothing about his mother’s efforts, decided that she had not made enough efforts to 
help him, so after his release he moved away from her.
In 1951, Akhmatova was reinstated in the Union of Soviet Writers and she gradually returned to active creative work. In 1964, she was awarded the prestigious Italian literary prize "Etna-Torina" and she is allowed to receive it because the times of total repression have passed, and Akhmatova is no longer considered an anti-communist poet. In 1958 the collection “Poems” was published, in 1965 - “The Running of Time”. Then, in 1965, a year before her death, Akhmatova received a doctorate from Oxford University. Anna Andreevna Akhmatova died on March 5, 1966 in Domodedovo near Moscow.
Akhmatova's main achievements
1912 - collection of poems “Evening”
1914-1923 - a series of poetry collections “Rosary”, consisting of 9 editions.
1917 - collection “White Flock”.
1922 - collection “Anno Domini MCMXXI”.
1935-1940 - writing the poem “Requiem”; first publication - 1963, Tel Aviv.
1940 - collection “From Six Books”.
1961 - collection of selected poems, 1909-1960.
1965 - the last lifetime collection, “The Running of Time.”
Interesting facts from the life of Akhmatova
Throughout her life, Akhmatova kept a diary, excerpts from which were published in 1973. On the eve of her death, going to bed, the poetess wrote that she was sorry that her Bible was not here, in the cardiological sanatorium. Apparently, Anna Andreevna had a presentiment that her thread earthly life it's about to break.
In Akhmatova’s “Poem without a Hero” there are the lines: “clear voice: I am ready for death.” These words sounded in life: they were spoken by Akhmatova’s friend and comrade-in-arms in the Silver Age, Osip Mandelstam, when he and the poetess were walking along Tverskoy Boulevard.
After the arrest of Lev Gumilyov, Akhmatova, along with hundreds of other mothers, went to the notorious Kresty prison. One day, one of the women, exhausted by anticipation, seeing the poetess and recognizing her, asked, “Can you describe this?” Akhmatova answered in the affirmative and it was after this incident that she began working on Requiem.
Before her death, Akhmatova nevertheless became close to her son Lev, who for many years harbored an undeserved grudge against her. After the death of the poetess, Lev Nikolaevich took part in the construction of the monument together with his students (Lev Gumilev was a doctor at Leningrad University). There was not enough material, and the gray-haired doctor, together with the students, wandered the streets in search of stones.
A. A. Akhmatova was born on June 11 (23), 1889, died on March 5, 1966, ( real name-- Gorenko) was born into the family of a marine engineer, retired captain of the 2nd rank at the station. Big Fountain near Odessa. A year after the birth of their daughter, the family moved to Tsarskoye Selo. Here Akhmatova became a student at the Mariinsky Gymnasium, but spent every summer near Sevastopol. “My first impressions are Tsarskoye Selo,” she wrote in a later autobiographical note, “the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where small motley horses galloped, the old train station and something else, which was later included in the “Tsarskoye Selo Ode”".
Anna begins to write poems early (1904 - 1905); in her girlhood she wrote about two hundred. In 1905, after her parents’ divorce, Akhmatova and her mother moved to Yevpatoria. In 1906 - 1907 she studied at graduating class Kiev-Fundukleevskaya gymnasium, in 1908 - 1910. - at the legal department of the Kyiv Higher Women's Courses.
On April 25, 1910, “beyond the Dnieper in a village church,” she married N. S. Gumilev, whom she met in 1903. In 1907, he published her poem "There are many shiny rings on his hand..." in the Sirius magazine he published in Paris. The style of Akhmatova’s early poetic experiments was noticeably influenced by her acquaintance with the prose of Hamsun, the poetry of V. Ya. Bryusov and A. A. Blok.
Akhmatova spent her honeymoon in Paris, then moved to St. Petersburg and from 1910 to 1916 lived mainly in Tsarskoye Selo. She studied at the Higher Historical and Literary Courses of N.P. Raev. On June 14, 1910, Akhmatova made her debut on the “tower” of Vyacheslav Ivanov. According to contemporaries, “Vyacheslav listened to her poems very sternly, approved only one, kept silent about the rest, and criticized one.” The “master’s” conclusion was indifferently ironic: “What dense romanticism...” In 1911, having chosen the surname of her maternal great-grandmother as a literary pseudonym, she began publishing in St. Petersburg magazines, including Apollo. Since the founding of the "Workshop of Poets" she became its secretary and active participant. In 1912, Akhmatova’s first collection was published "Evening" with a foreword by M. A. Kuzmin. “A sweet, joyful and sorrowful world” opens to the gaze of the young poet, but the condensation of psychological experiences is so strong that it evokes a feeling of approaching tragedy. In fragmentary sketches, little things, “concrete fragments of our life” are intensely shaded, giving rise to a feeling of acute emotionality. These aspects of Akhmatova’s poetic worldview were correlated by critics with trends characteristic of the new poetic school. In her poems they saw not only a refraction of the idea of Eternal Femininity, no longer associated with symbolic contexts, in keeping with the spirit of the times, but also that extreme “thinness” of the psychological pattern that became possible at the end of symbolism. Through the “cute little things,” through the aesthetic admiration of joys and sorrows, a creative longing for the imperfect broke through - a trait that S. M. Gorodetsky defined as “acmeistic pessimism,” thereby once again emphasizing Akhmatova’s belonging to a certain school.
The sadness that the poems breathed" Evenings", seemed to be the sadness of a “wise and already weary heart” and was permeated with the “deadly poison of irony,” according to G. I. Chulkov, which gave reason to trace Akhmatova’s poetic pedigree to I. F. Annensky, whom Gumilev called a “banner” for “seekers new paths", meaning the Acmeist poets. Subsequently, Akhmatova told what a revelation it was for her to become acquainted with the poems of the poet, who revealed to her a “new harmony.” Akhmatova will confirm the line of her poetic continuity with a poem "Teacher" (1945) and his own confession: “I trace my origins to Annensky’s poems. His work, in my opinion, is marked by tragedy, sincerity and artistic integrity.”
"Rosary" (1914), Akhmatova’s next book continued the lyrical “plot” "Evenings". Compared to the first collection in "Rosary beads“The detail of the development of images is increasing, the ability not only to suffer and sympathize with the souls of “inanimate things” is deepening, but also to take on the “anxiety of the world.” The new collection showed that Akhmatova’s development as a poet does not go along the line of expanding themes, her strength lies in deep psychologism, in comprehending the nuances of psychological motivations, in sensitivity to the movements of the soul. This quality of her poetry has intensified over the years. Akhmatova’s future path was correctly predicted by her close friend N.V. Nedobrovo. “Her calling is in cutting layers,” emphasized it is in an article from 1915, which Akhmatova considered the best written about her work.
After " Rosary" glory comes to Akhmatova. Her lyrics turned out to be close not only to “schoolgirls in love,” as Akhmatova ironically noted. Among her enthusiastic fans were poets who were just entering literature - M. I. Tsvetaeva, B. L. Pasternak. A. A. Blok and V. Ya. Bryusov reacted more reservedly, but still approvingly, to Akhmatova. During these years, Akhmatova became a favorite model for many artists and the recipient of numerous poetic dedications. Her image is gradually turning into an integral symbol of St. Petersburg poetry of the Acmeism era.
During the First World War, Akhmatova did not add her voice to the voices of poets who shared the official patriotic pathos, but she responded with pain to the wartime tragedy (“July 1914”, “Prayer”, etc..). Collection "White Flock"", published in September 1917, did not have such a resounding success as the previous books. But the new intonations of mournful solemnity, prayerfulness, and super-personal beginning destroyed the usual stereotype of Akhmatova’s poetry that had formed among the reader of her early poems. These changes were caught by O. E. Mandelstam , noting: “The voice of renunciation is growing stronger and stronger in Akhmatova’s poems, and at present her poetry is close to becoming one of the symbols of the greatness of Russia.”
After the October Revolution, Akhmatova did not leave her homeland, remaining in “her deaf and sinful land.” In the poems of these years (collections " Plantain" and "Anno Domini MCMXXI", both - 1921) grief over the fate of the native country merges with the theme of detachment from the vanity of the world, the motives of "great earthly love" are colored by the mood of the mystical expectation of the "groom", and the understanding of creativity as divine grace spiritualizes thoughts about poetic word and vocation of the poet and transfers them to the “eternal” plane. In 1922, M. S. Shaginyan wrote, noting the deep-seated quality of the poet’s talent: “Over the years, Akhmatova increasingly knows how to be amazingly folk, without any quasi, without falsehood, with stern simplicity and priceless parsimony of speech."
Since 1924, Akhmatova has ceased to be published. In 1926, a two-volume collection of her poems was supposed to be published, but the publication did not take place, despite lengthy and persistent efforts. Only in 1940 did the small collection “From Six Books” see the light, and the next two in the 1960s (“Poems”, 1961; “The Running of Time”, 1965).
Since the mid-1920s, Akhmatova has been heavily involved in the architecture of old St. Petersburg, studying the life and work of A. S. Pushkin, which corresponded to her artistic aspirations for classical clarity and harmony of poetic style, and was also associated with understanding the problem of “poet and power.” In Akhmatova, despite the cruelty of time, the spirit of high classics lived indestructibly, determining both her creative manner and style of life behavior.
In the tragic 1930s - 1940s, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, the death of friends, and her excommunication from literature by the party decree of 1946. This could not but be reflected in her work:
Husband in the grave, son in prison,
Pray for me...
Time itself gave her the moral right to say, together with the “hundred-million people”: “We have not deflected a single blow.” Akhmatova's works of this period - poem "Requiem""(1935 in the USSR published in 1987), poems written during the Great Patriotic War testified to the poet’s ability not to separate the experience of personal tragedy from the understanding of the catastrophic nature of history itself. The people’s tragedy, which also became her personal misfortune, gave strength to Akhmatova’s muse. In 1940, Akhmatova wrote the poem lament " The path of all the earth".
A cruel, disharmonious world bursts into Akhmatova’s poetry and dictates new themes and new poetics: the memory of history and the memory of culture, the fate of a generation considered in historical retrospect... Narrative plans of different times intersect, the “alien word” goes into the depths of the subtext, history is refracted through “ eternal" images of world culture, biblical and evangelical motifs. Significant understatement becomes one of artistic principles late creativity of Akhmatova. The poetics of the final work was built on it - "Poems without a hero" ( 1940 - 65), with which Akhmatova said goodbye to St. Petersburg in the 1910s and to the era that made her a Poet. Throughout the war years and later, until 1964, intense work continued on “Poem without a Hero,” which became the central work in her work. Akhmatova's last book was a large collection "The passage of time", which became the main poetic event of that year and revealed to many readers the entire enormous creative path of the poet - from "Evening" to "Komarovsky Sketches""(1961).
Akhmatova’s creativity as the largest cultural phenomenon of the 20th century. received worldwide recognition. In 1964 she became a laureate of the international Etna-Taormina Prize, and in 1965 she received an honorary degree of Doctor of Literature from Oxford University.
On March 5, 1966, Akhmatova ended her days on earth. On March 10, after the funeral service in the St. Nicholas Naval Cathedral, her ashes were buried in a cemetery in the village of Komarovo near Leningrad.
After her death, in 1987, during Perestroika, the tragic and religious cycle "Requiem", written in 1935 - 1943 (added 1957 - 1961), was published.
Anna Andreevna Akhmatova is one of the most prominent poets of the 20th century. Her writing talent has captured every heart and inspired many people.
Anna Akhmatova was born on June 11, 1889 in Odessa. Anna received her primary education at the Mariinsky Gymnasium in Tsarskoye Selo. Anna Akhmatova continued her further education in Kyiv, at the famous Fundukleevskaya women's gymnasium. I attended women’s courses, as well as historical and literary lectures.
Anna Akhmatova began writing in 1911, presenting her first poem to the public. Her first collection was published in 1912, a year after her debut, and it was called “Evening”. Her native surname was Gorenko, however, for the pseudonym Anna Andreevna used the surname of her great-grandmother because of disagreements with her father on this basis.
The second collection was not long in coming and in 1914 she published her second book, a collection called “Rosary Beads”. The circulation was huge - 1000 copies - which was already wonderful news for a young, aspiring poetess. It was “The Rosary” that helped Anna Akhmatova gain real popularity and acquire admirers of her talent, hard work and singing soul.
Three years later, without keeping anyone waiting for a relatively long time, a new collection was published, to which Anna Akhmatova gave the name “The White Flock.” By this time, the poetess had reached the peak of her creativity, tours began, literary readings, Anna performed a lot, met famous people, acquired loyal friends into my circle, gained new experience.
In 1910, as is known, Anna Akhmatova became engaged to the poet Nikolai Gumilev. Their noble, intelligent couple was replenished in 1912 with a son, Lev Nikolaevich, who in the conscious years of his life formulated philosophical concepts and worked in the scientific field.
The marriage with Nikolai Gumilyov did not last long: in 1918 they divorced. The sad events of the war took her to the front ex-husband. In the works of Anna Akhmatova one can find many poems that were dedicated to her ex-husband; there is even a note of sadness and longing for the old days.
Her next husband was the scientist V. Shileiko, with whom she did not live very long, and after the execution of Nikolai Gumilyov in 1921, she separated. But the poetess’s heart could not be free, and in 1922 she began an amazingly warm relationship with the art critic Punin, with whom she spent a lot of time happy years. Her last collection was published in 1925.
The life and work of Anna Akhmatova amazes with experiences, difficult moments, but with the extraordinary beauty of talent, which was able to grow on this seemingly unfavorable soil. Anna Akhmatova was remembered for her extremely soul-quivering poem “Requiem,” dedicated to the fate of the Russian people, whom she loved with all her heart.
The poetess died on March 5, 1966 in a sanatorium near Moscow, where she was undergoing treatment. She was buried at the Komarovskoye cemetery near Leningrad, however, she was not buried for a moment in the hearts of her beloved followers and admirers.
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Anna Akhmatova - world famous poet, laureate Nobel Prize, translator, critic and literary critic. She bathed in glory and greatness, and knew the bitterness of loss and persecution. It was not published for many years, and the name was banned. silver Age nurtured freedom in her, Stalin sentenced her to disgrace.
Strong in spirit, she survived poverty, persecution, and the hardships of an ordinary person, standing in prison lines for many months. Her "Requiem" became an epic monument to a time of repression, women's resilience and faith in justice. The bitter fate affected her health: she suffered several heart attacks. By a strange coincidence, she died on the anniversary of Stalin’s birth, in 1966.
Her gracefulness and unusual profile with a hump inspired many artists. Modigliani himself painted hundreds of portraits of her, but she treasured only one, which he gave to her in 1911 in Paris.
Anna Akhmatova's archive was sold after her death government agencies for 11.6 thousand rubles.
Purpose
Akhmatova did not hide her noble origins, she was even proud of them. The third child in the family of a hereditary nobleman and military naval officer from Odessa, Andrei Antonovich Gorenko, she was weak and sickly.
At the age of 37, he married for the second time to 30-year-old Inna Erasmovna Stogova.
Over eleven years, the couple had six children. We moved to Tsarskoye Selo in 1890, when Anya was one year old.
Read and communicate well in French she started early. At the gymnasium, by her own admission, she studied well, but not willingly. Her father often took her with him to Petrograd; he was an avid theatergoer, and they did not miss premiere performances. And the family spent the summer in their own house in Sevastopol. Tuberculosis was a hereditary curse; three of Gorenko’s daughters subsequently died from it - the last after the revolution in 1922. Anna herself also suffered from consumption in her youth, but was able to recover.
At the age of 25, Anna dedicated the poem “By the Sea” to her life in Crimea; this theme will not leave the poetess’s work even after.
Writing has been characteristic of Anya Gorenko since childhood. She kept a diary for as long as she could remember and before last days. She composed her first poem at the turn of time - at the age of 11. But her parents did not approve of her hobby; she received praise for her flexibility. Tall and fragile, Anya easily turned her body into a ring and could, without getting up from her chair, grab a handkerchief from the floor with her teeth. She was destined for a ballet career, but she categorically refused.
She took the pseudonym that made her famous because of her father, who forbade the use of his last name. She liked Akhmatova - the surname of her great-grandmother, which somehow reminded her of the Crimean conqueror Khan Akhmat.
From the age of 17, she began signing her poems, which were periodically published in various magazines under a pseudonym. The parents separated: the father successfully squandered the dowry and left the family in a difficult situation.
The mother and children left for Kyiv. Here, in Last year While studying at the gymnasium, Anna writes a lot, and these poems of hers will be published in the book “Evening”. The debut of the 23-year-old poetess was successful.
Her husband, Nikolai Gumilyov, helped her in many ways. They got married when she turned 21.
He sought her for several years; he was already an accomplished poet, three years older than Anna: a military beauty, a historian, passionate about travel and dreams.
He takes his beloved to Paris, and after returning they are preparing to move to Petrograd. She will come to Kyiv, where she has relatives.
A year later, in the northern capital, the literary society became acquainted with the new movement and its creators - the Acmeists. Gumilev, Akhmatova, Mandelstam, Severyanin and others consider themselves to be members of the community. The Silver Age was rich in poetic talent, evenings were held, poems were discussed, poems were read and published.
Anna was abroad several times in the two years after her marriage. There she met the young Italian Amedeo Modigliani. They talked a lot, he drew her. At that time he was an unknown artist; fame came to him much later. He liked Anna for her unusual appearance. He spent two years transferring her image to paper. Several of his drawings have survived, which after his early death became recognized masterpieces. Already in her declining years, Akhmatova said that the main asset of her legacy was “Modi’s drawing.”
In 1912, Gumilyov became a university student in Petrograd and immersed himself in the study of French poetry. His collection “Alien Sky” is published. Anna is expecting her first child.
The couple travels to Tsarskoe Selo, where a son is born in the fall.
Gumilyov's parents were really looking forward to the boy: he turned out to be the only heir. It is not surprising that Gumilyov’s mother invited the family to live in her wooden house. two-storey house. The family would live in this house in Tsarskoye Selo until 1916. Gumilev only made short visits, Anna went to Petrograd for a short time, to a sanatorium for treatment for tuberculosis and for her father’s funeral. It is known that friends came to visit them at this house: Struve, Yesenin, Klyuev and others. Anna was friends with Blok and Pasternak, who were also among her admirers. From a wild girl with skin burned from the sun, she turned into a mannered society lady.
Lev Nikolaevich will be raised by his grandmother until he is 17 years old. With little Leva, she will go to live in the Tver region in the village of Slepnevo, where the Gumilevs’ estate was located. Anna and Nikolai visit them and help them financially.
Their marriage is bursting at the seams: they rarely see each other, but often write to each other. He has affairs abroad, and Anna finds out about it.
She herself has many fans. Among them is Nikolai Nedobrovo. He introduced Anna to his friend Boris Anrep. This connection will destroy their friendship and give rise to the love of the poetess and the artist.
They rarely saw each other, and in 1916, their lover left Russia. She will devote more than thirty poems to him: a year later they will be published in the collection “White Flock” and five years later in “Plantain”. Their meeting will take place half a century later in Paris, where Akhmatova will arrive at the invitation of Oxford University: for her research into Pushkin’s work, she was awarded an honorary degree of Doctor of Literature.
Eight years later, the star couple divorced. We would have liked to do it earlier, but it turned out to be difficult to do this in pre-revolutionary Russia.
Almost immediately after the divorce, she will agree to become the wife of Vladimir Shileiko, which will greatly surprise her friends. After all, she was no longer that enthusiastic and gentle Russian Sappho, as she was called. The changes in the country filled her with fear and sadness.
And Gumilyov marries another Anna, the daughter of the poet Engelhardt. She would quickly become a widow - in 1921, Gumilyov would be shot on charges of conspiracy against Soviet power, along with 96 other suspects. He was only 35 years old. She learns about the arrest of her ex-husband at the funeral of Alexander Blok. On the 106th anniversary of his birth, Nikolai Gumilev will be completely rehabilitated.
Anna Andreevna, having lost her first husband, leaves her second. The orientalist scholar Shileiko was extremely jealous, they lived from hand to mouth, poetry was not written or published. The book “Plantain,” consisting mainly of past poems, was published several months before Gumilyov’s execution.
In 1922, she was able to release the fifth collection in her creative life -
"Anno Domini" The author proposed seven new poems, as well as those relating to different years. Therefore, it was easy for readers to compare its rhythm, images, and excitement. Critics wrote about the “different quality” of her poems, anxiety, but not brokenness.
She could have left the country; her friends from France persistently invited her to their place, but Akhmatova refused. Her life in dilapidated Petrograd did not promise anything good, she knew about it. But she could not imagine that years of oblivion and persecution awaited her ahead - an unspoken ban would be placed on her publications.
Repression and "Requiem"
A communal apartment on Fontanka in Leningrad would become her home from October 1922. Here Akhmatova will live for 16 years. As biographers say - unlucky.
She did not register their marriage with her third husband: art historian, critic and a little poet Nikolai Punin. He was married, and the strangest thing is that in this communal apartment, divided into two by a partition, his wife was in charge of the entire household. By coincidence, also Anna.
The couple had a one-year-old daughter, Irina, who would later become very close friends with Akhmatova and become one of the poetess’s heirs.
They knew each other for ten years: Nikolai Punin came to the Gumilev couple along with other poets. But he was criticized by his namesake and harbored a grudge. But he was glad that Akhmatova left her husband; he idolized her. Punin persistently courted Akhmatova, came to her at the sanatorium when she was once again treating her tuberculosis, and persuaded her to move in with him.
Anna Andreevna agreed, but found herself in even more cramped conditions, although she was used to living and writing on the sofa. By nature, she did not know how to manage or maintain a house. Punin’s wife worked as a doctor, and at that difficult time she always had a constant income, which is what they lived on. Punin worked at the Russian Museum, sympathized with the Soviet regime, but did not want to join the party.
She helped him in his research; he used her translations of scientific articles from French, English and Italian.
In the summer of 28, her 16-year-old son came to her. Due to the disgrace of his parents, the guy was not accepted to study. Punin had to intervene, and with difficulty he was placed in school. Then he entered the history department at the university.
Akhmatova made more than once attempts to break off her complicated relationship with Punin, who did not allow her to write poetry (after all, he was better), was jealous of her, cared little, and took advantage of her works. But he persuaded her, little Irina whined, accustomed to Anna, so she stayed. Sometimes she went to Moscow.
I began researching Pushkin’s work. The articles were published after Stalin's death. Critics wrote that no one had ever done such a deep analysis of the works of the great poet before. For example, she sorted out “The Tale of the Golden Cockerel”: she showed the techniques that were used by the author to turn eastern history into a Russian fairy tale.
When Akhmatova turned 45, Mandelstam was arrested. She was just visiting them. A wave of arrests swept the country after the murder of Kirov.
Nikolai Punin and student Gumilyov failed to avoid arrest. But soon they were released, but not for long.
The relationship completely went wrong: Punin blamed everyone in the household, including Anna, for his troubles. And she worked for her son, who in the spring of 1938 was accused of conspiracy. The death verdict was replaced by a five-year exile in Norilsk.
Anna Akhmatova moves to another room in the same communal apartment. She can no longer bear to be in the same space with Punin.
Soon Irina gets married, the couple has a daughter, who is also named Anna. She will become Akhmatova's second heir, considering them her family.
Her son will devote more than fifteen years to the camps. Convict Nikolai Punin will die in Vorkuta. But even after this she will not move from the communal apartment, will remain with his family, and will write the legendary “Requiem”.
During the war years, Leningrad residents were evacuated to Tashkent. Anna will also leave with them. Her son will volunteer for the army.
After the war, Akhmatova will engage in translations in order to somehow support herself. In five years, she will translate more than a hundred authors from seventy languages of the world. My son will graduate from the history department as an external student in 1948 and defend his dissertation. And next year he will be arrested again. The charges are the same: conspiracy against Soviet power. This time they gave me ten years of exile. He will celebrate his fortieth birthday due to heart pain in a hospital bed, the consequences of torture affected him. He will be recognized as disabled, he will be very scared and even write a will. During his exile, he will be hospitalized several times and undergo two operations. He will correspond with his mother. She will work for him: she will write a letter to Stalin, even compose a correct poem in his glory, which will immediately be published by the Pravda newspaper. But nothing will help.
Lev Nikolaevich will be released in 1956 and rehabilitated.
By this time, his mother had been given back the opportunity to publish, membership in the Writers' Union, and was given a house in Komarov.
Her son helped her with translations for some time, which made it possible to at least somehow exist until the fall of 1961. Then they finally quarreled and didn’t communicate anymore. They gave him a room and he left. Akhmatova had a second heart attack, but her son did not visit her. What caused the conflict remains unknown; there are several versions, but none by Akhmatova.
She will publish another of her epic works, “Poem without a Hero.” By her own admission, she wrote it for two decades.
She will again be in the center of literary bohemia, meet the aspiring poet Brodsky and others.
Two years before her death, she will again travel abroad: she will go to Italy, where she will be enthusiastically received and given an award. The next year - to England, where she was honored as a Doctor of Literature. In Paris, she met with her acquaintances, friends and former lovers. They remembered the past, and Anna Andreevna said that back in 1924, she was walking through her beloved city and suddenly thought that she would definitely meet Mayakovsky. At this time he should be in another capital, but his plans changed, he walked towards her and thought about her.
Such coincidences often happened to her; she could foresee some moments. Her last unfinished poem is about death.
Anna Akhmatova was buried in Komarovo. The last orders were given by the son. He did not allow official filming, but amateur footage was still filmed. They were included in a documentary film dedicated to the poetess.
Lev Gumilyov marries artist Natalya Simanovskaya three years after the death of his mother. She is 46 years old, he is 55. They will live together for twenty-four years in harmony, but they will not have children. Doctor of Historical Sciences Lev Nikolaevich will leave behind scientific works and good memory among scientists.
