"The woman is created for a man, not a man for a woman" - such a postulate ...
Anna Andreyevna Akhmatova today is known as the name of the great Russian poets, whose creative heritage is included in the world poetic foundation fourteen collections of poems. In 1962, she was nominated for the Nobel Prize in Literature. In St. Petersburg there is a monument to the poetess, opened in 2006, not far from the place of her suffering: "And here, where I stood three hundred hours and where they did not open for me." It is known that the fate of Akhmatova was unusually tragic, severe tests fell out on her share. In the preface to his poem, Ahmatov told, as in the queue of people seeking to get on a date with their relatives in the investigative insulator - in the "Crosses" - one woman suggested a poetess to describe in verses a state of despair and pain that swept those who stayed at freedom But doomed to stand without hope under the walls of the prison. And Akhmatova wrote "Requiem".
The topics of Akhmatova creativity is always based on the look in the depths of the human soul. The means of poetic speech can be in the concentrated form of a poetic image to convey the psychological state of the lyrical hero, to motivate its decisions. The tragedy of the position of the mother, the son of which was arrested, it is difficult to imagine and understand those who have not seen with their own eyes the face of wives and mothers awaiting sentencing of relatives in line under prison. The political opinion of her husband and son is a heavy test, because the enemies of the people during the years of repression called those who did not keep up with the spirit of Soviet power. Ahmatov itself was a sharp assessment by the regime for the fact that her poetry was "completely alien, idledom." For many years, her poetry crowded censorship: poems corrected, not believing with the desire of the author, mercilessly removing all the "alien" moments; Books did not go to print. Ahmatova is one of those who felt the terrible position of the people repressed.
The poem "Requiem" is dedicated to maternal suffering. An autobiographical poem, nevertheless, goes beyond the individual tragedy of one person and becomes a monument to all mothers who have suffered such a fate. Requiem is a clock service of the Catholic Church, this is a musical work of a mournful character. It is sorrow who is the main motive in the poem. "It is necessary to kill memory until the end, it is necessary that the soul of petrified," the lyrical heroine convinces himself, trying to comprehend his condition. But there is too much pain in the heart of the mother, and now the reason is inferior to: "Listening to my own, as it were, someone else's nonsense," the heroine leads us to terrible thoughts, the decision of the tragedy at the highest level of being. In the poem "to death", it praits the arrival of the end, which thicker pain, and speaks of the moment of death: "You will still come to - why not now?". Grief increases from the awareness of the injustice of what is happening to the Son, from the awareness of the wrong trial over the victims of the regime:
There is a prison poplar swinging
And no sound - and how much there
Non-clear lives ends ...
The personal maternal tragedy of Akhmatova develops into a common misfortune of Russian mothers and wives who have known bitterness of separation, pain loss and long-long days of waiting, first sentence, then return. The son of Anna Akhmatova returned from the conclusion in 1956, spending about twenty years in repression. Many have not returned. The poem "Requiem" is written in order to keep the memory of all single mothers, which can only pray and hope: "And the hope of all sings in Dali ...".
Poem A. Akhmatova "Requiem" is a special work. This is a reminder of all those who have undergone unheard of tests, this is an excited confession of the thoroughly human soul. "Requiem" is the chronicle of the 30s of the twentieth century. Ahmatova asked if she could describe it.
Stranger asked, standing in line in the prison corridor. And Ahmatov replied affirmatively. She had long walked to the theme of the perpetuation of their terrible time, from the fact that for the first time her son was arrested. It was 1935. And then there were still arrests. The fact that came out from under her feather during these years was dictated not only by a personal maternal grief - this is a mountain of millions, by which Ahmatov could not pass indifferently, otherwise she would not be ahmatova ...
The poetess, standing in the prison queue, writes not only about himself, and about all women-mothers, speaks of "peculiar to all of us." The preface to the poem, like the epigraph, is the key that helps to understand that this poem is written, as the "Requiem" of Mozart, "on request". A woman with blue lips asks her about it as the last hope for a certain celebration of justice and truth. And Akhmatova takes on this "order", this such hard debt, not hesitating, "because she will write about everyone, including about himself.
Akhmatova was taken away from her son, but she climbed over her own maternal suffering and created the poem about the suffering of the mother in general: Mary - in Jesus, Russia - in millions of those killed her children. The poem shows the unity of all women - all suffering from mothers, from the Mother of God, "Streetsky Women's", wives of the Decembrists to the "Tsarsko Selic Merry Greens". And feeling in his suffering the involvement of many, the poetess looks at him as if from somewhere on the top, perhaps from the sky: quietly pouring a quiet Don, the yellow month is included in the house. Included in the cap the hat. Sees yellow month shadow. This woman is sick, this woman is alone.
Husband in the grave, son in prison, pray for me. Only at the limit, the highest point of suffering, this cold extension arises, when he is talking about himself and about my grief, calmly, as it were, in the third face ... The motive of the semi-professional image of a quiet Don prepares another motive, even more terrible - the motive of madness, nonsense and complete Readiness for death or suicide: already madness of the soul wing covered half, and will eat fiery wine, and manits into the Black Valley. And I understood that I should give me a victory, listening to my already as if someone else's delight. And I will not allow anything to carry me with him (no matter how much Moloto doesn't ask him) ...
At some point, the highest stress of suffering can be seen not only those who are near in time, but also ever suffering from women mothers at the same time. Uniting in suffering, different times look at each other through the eyes of their suffering women. This demonstrates, for example, the fourth part of the poem. In it, "Tsarskostskaya Cheerful Sinwear" looks into the eyes of that, "three hundred, with transmission," - this is already a clash of different women. And overcoming the temporary fault occurs through the feeling of him in itself, when the "heart is really" in half and two half is both the same, and two different women's life.
So it passes this path - in the circles of hell and lower and below, and women's figures on the way - to me with a Morozovo putting off, with a paddle of Herod to dance, with smoke to fly away from the fire of Didona, so that with Jeanne to the fire again - as a monument to suffering. And then - a sharp jerk back to the present, to the prison queues of Leningrad. And everyone turns out to be one in the face of torture time.
No words are not conveyed to what happens to the mother, whose son is tormented: And there, where the mother was silent, she stood, so nobody and did not dare. This is the same taboo, as for the leisure wife look back. But the poetess looks around, looks, and like the wife of Lot froze the salt post, and she froze this monument - a monument to alive, mourning all those who suffer from people ...
Such is the mother's flour due to the crucible son - the flour, the equivalent of the flour of dying, but death does not come, the person lives and understands that it is necessary to live on ... "Stone word" falls on the "living breast", the soul must become, and when " To kill until the end, "life begins first. And Akhmatov agrees: all this "need" and how calmly, it sounds like a business: "Clean it somehow ...
"And" I have a lot of things today! ". This testifies to a kind of transformation into the shadow, turning into a monument ("Soul of Petrified"), and "again learn to live" - \u200b\u200bit means you will learn how to live with this ... "Requiem" Akhmatova - a truly popular work, not only in the sense that he reflected Great folk tragedy. People first of all because "Woven" from the simple, "overheard" words.
"Requiem", performed by large poetic expression and civil sound, expressed his time suffering from the soul of a mother suffering from the soul of the people ...
1937 year. The terrible page of our story. Names are remembered: O. Mandelshtam, V. Shalamov, A. Solzhenitsyn ... Dozens, thousands of names. And behind them crippled fate, hopeless grief, fear, despair, oblivion. But the memory of man is strangely arranged. She keeps the most intimate, expensive. And terrible ...
"White Clothing" V. Du Dintseva, "Children of Arbat" A. Rybakova, "By the right of memory" A. Tvardovsky, "The problem of bread" V. Podmogyl, "Gulag Archipelago" A. Solzhenitsyn - These and other works about tragic 30 -40-kh. The XX century has become our own generation, quite recently turned our consciousness, our understanding of history and modernity.
Poem A. Akhmatova "Requiem" is a special work in this series. The poetess could be talented in it, brightly reflect the tragedy of the personality, family, the people. She herself passed through the horrors of Stalinist repressions: he was arrested and seventeen held in Stalin's dungeons the son of Leo, G- ~ D arrest was also husband N. Punin; Killing close and dear O. Mandelstam, B. Pilnyak; Since 1925, a single Ahmatov-Skoy line was not published, the poet seemed to be crossed out of life. These events have formed the basis of the poem "Requiem".
No, and not under the strangers,
And not under the protection of alien wings
- I was then with my people,
Where my people, unfortunately, was ...
Seventeen months shout
Calling you home ...
You are my son and my horror.
I learned how feasible faces
How from under the ages looks out of fear,
Like clinopy hard pages
Suffering displays on the cheeks ...
I am striking the depth and brightness of the author's experiences. I forget that in front of me an artistic work. I see a broken grief of a woman, mother, a wife who herself does not believe in the ability to survive this: no, it's not me, this is someone else suffering. I would not like that ... But once it was "mockery and a loved one of all friends, a Tsarskoye cheerful sinner ..." was a loved husband, son, the joy of creativity. There was an ordinary human life with a minute of happiness and chagrins. And now? Did that chagrins compare with what is happening now?!
Pictures, one more terrible, arise when reading the poem. Here, "you woined you at dawn, for you, as on the removal, went ..." But "three hundred, with transmission, under the crosses" stood, burning New Year's ice with a hot tear. That "rushed to the feet of the executioner" and waited for executions. And when the stone word fell, I learned to kill myself memory, soul, learned to live again. The motive of death, fossil suffering sounds in poetess verses. But, despite the personal grief, the lyrical heroine managed to rise above the personal and imagine the mountain of other mothers, wives, the tragedy of the whole generation, in front of which the mountains bent. " And again terrible paintings. Leningrad, who chatting "unnecessary imaging", "convicted shelves", "Sun separation". And the "high stars with cute souls" are now the stars of death, look at the "hawk hot ok."
The poetess reflects on his beloved homeland, about Russia, who disseminated disintegly in the suffering, about his friends on misfortune, which Sadeli and stood in endless queues. She would like to remember everyone, call named. Even in the new grief and the on the eve of death she will not forget about them. And the monument to herself would like to have not at the sea, where he was born, not in the Tsarskoye Selo Garden, where he became friends with the muse, but for the terrible wall, where she stood three hundred o'clock. The mouth of the lyrical heroine of the poetess appeals to our memory, the memory of its contemporaries and future generations.
Anna Akhmatova Poem "Requiem" is a condemnation of violence against personality, the verdict of any totalitarian regime, which is based on the blood, suffering, humiliations as a separate personality and the whole people. Becoming the victim of such a regime, the poetess took the right and obligation to speak on behalf of the affected multi-million people. To conveyed his pain, in the misfortune of thought helped Akhmatova, her multifaceted talent of the artist of the word, her ability to dialogue with the reader, to convey the most intimate one. Therefore, the poem "Requiem" worries readers, makes them think about what is happening around. This is not only a tombstone, but also a harsh warning to humanity.
The theme of maternal suffering in the poem A.A. Ahmatova "Requiem" occupies the most important place. This is due to the fact that the image of the mother is central in the poem. It is extremely complicated. Three hypostasis was awakened in it: Mother - lyrical heroine (autobiographical image), mother - generalizing the image of all mothers and, finally, mother - Russia.
In "Dedication", Ahmatov immediately introduces a generalizing image of the mother. This is due to the use of the pronoun "we" and verbs in a plural. To the final of the poem from the crowd of mothers waiting for the sentence, the image of one mother is distinguished, which is destined to become an expressant of maternal suffering in the poem:
... and immediately tears are plugged,
All all are already separated ...
... but it goes ... staggers ... one ...
In the "entry" the image of Russia appears. Using the reception of personification, the poetess creates the feeling of Russia as a living person, the woman who is beaten with boots into the blood, press the "Black Marus" tires.
From the first to the tenth, the plot of poems actually unfolds. First, the son of lyrical heroine is leaving, and the band of expectations and solarms begins. The mother's soul is overwhelmed by paradoxical feelings. Notable in this regard part of the third:
No, this is not me, this is someone else suffering.
I could not so, but what happened,
Let black cloth be covered,
And let the lanterns take ...
Night is the state of the mother's soul. Infembality suddenly replaces a quiet cry, and then with a breakdown:
Seventeen months shout
Call you home
Rushed to the feet of the executioner,
You are my son and my horror. (V part)
Lungs fly weeks.
What happened not to understand
Like you, son, imprison
White nights looked
How do they look again
Hawk hot
About your cross high
And they say about death (VI part).
In the seventh part of the "Verdict", the mother learns about the fate of her son: "And a stone word fell // On my still living breasts." The madness, impended on the woman who killed grief, begins with a request for death to come ("to death"). Mother is ready to take death in any form, just not to see the suffering of her son. Apogus of madness occurs in the ninth chapter:
Already madness wing
The souls covered half,
And eat fiery wine
And manits into the Black Valley.
Amazing, but here we no longer see tears and exemptions. Fossil and fatigue - here are the feelings that swept the lyrical heroine in this part. She, as it were, gathered and squeezed into a lump, but in this colleva it is silent, detachment from peace and reality.
The highest point of the poem is the tenth part "Crucifix". Ahmatova uses the biblical motive of the crucifixion of Christ, but looks at everything that happens to Mary's eyes. In this image of the suffering Mary, the mother's lyrical heroine was awkwardly, and all the mother's victims of Terror, and Russia, humiliated, extruded, forced to look at the murder of his sons in silence. Maria becomes an inviolable and saint at the time of transferring the same martyrs, which the son on the cross tolerates it:
Magdalene beat and sobbed,
Pupil Favorite Kamene,
And there, where silently mother stood,
So no one to look and did not dare.
I would like to name everyone named,
Yes, they took a list, and nowhere to know.
The poet calls to put a monument to the Great Mother in order to never forget that horror and pain that he had to transfer to Russian women in the terrible years of terror.
Akhmatova devotes his poem to all women and mothers who, suffering, were on the verge of exhaustion of physical and mental strength and lived only by hope. But thanks to their endless love and faithful to flour, life will continue.
The writing
The theme of the maternal suffering in the poem A. A. Akhmatova "Requiem" occupies the most important place. This is due to the fact that the image of the mother is central in the poem. It is extremely complicated. Three hypostasis was awakened in it: Mother - lyrical heroine (autobiographical image), mother - generalizing the image of all mothers and, finally, mother - Russia.
In "Dedication", Ahmatov immediately introduces a generalizing image of the mother. This is due to the use of the pronoun "we" and verbs in a plural. To the final of the poem from the crowd of mothers waiting for the sentence, the image of one mother is distinguished, which is destined to become an expressant of maternal suffering in the poem:
... and immediately tears are plugged,
All all are already separated ...
... but it goes ... staggers ... one ...
In the "entry" the image of Russia appears. Using the reception of personification, the poetess creates the feeling of Russia as a living person, the woman who is beaten with boots into the blood, press the "Black Marus" tires.
From the first to the tenth, the plot of poems actually unfolds. First, the son of lyrical heroine is leaving, and the band of expectations and solarms begins. The mother's soul is overwhelmed by paradoxical feelings. Notable in this regard part of the third:
No, this is not me, this is someone else suffering.
I could not so, but what happened,
Let black cloth be covered,
And let the lanterns take ...
Night is the state of the mother's soul. Infembality suddenly replaces a quiet cry, and then with a breakdown:
Seventeen months shout
Call you home
Rushed to the feet of the executioner,
You are my son and my horror. (V part)
Lungs fly weeks.
What happened not to understand
Like you, son, imprison
White nights looked
How do they look again
Hawk hot
About your cross high
And they say about death (VI part).
In the seventh part of the "Verdict", the mother learns about the fate of her son: "And a stone word fell // On my still living breasts." The madness, impended on the woman who killed grief, begins with a request for death to come ("to death"). Mother is ready to take death in any form, just not to see the suffering of her son. Apogus of madness occurs in the ninth chapter:
Already madness wing
The souls covered half,
And eat fiery wine
And manits into the Black Valley.
Amazing, but here we no longer see tears and exemptions. Fossil and fatigue - here are the feelings that swept the lyrical heroine in this part. She, as it were, gathered and squeezed into a lump, but in this colleva it is silent, detachment from peace and reality.
The highest point of the poem is the tenth part "Crucifix". Ahmatova uses the biblical motive of the crucifixion of Christ, but looks at everything that happens to Mary's eyes. In this image of the suffering Mary, the mother's lyrical heroine was awkwardly, and all the mother's victims of Terror, and Russia, humiliated, extruded, forced to look at the murder of his sons in silence. Maria becomes an inviolable and saint at the time of transferring the same martyrs, which the son on the cross tolerates it:
Magdalene beat and sobbed,
Pupil Favorite Kamene,
And there, where silently mother stood,
So no one to look and did not dare.
I would like to name everyone named,
Yes, they took a list, and nowhere to know.
The poet calls to put a monument to the Great Mother in order to never forget that horror and pain that he had to transfer to Russian women in the terrible years of terror.
Akhmatova devotes his poem to all women and mothers who, suffering, were on the verge of exhaustion of physical and mental strength and lived only by hope. But thanks to their endless love and faithful to flour, life will continue.
