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Instruction The frames of the film merge for us into continuous movement due to ...
short biography Anna Akhmatova
Anna Andreevna Gorenko (Akhmatova) is one of the most famous Russian poets of the 20th century, literary critic and translator. She was born on June 11 (23), 1889 in a noble family in Odessa. When the girl was 1 year old, the family moved to Tsarskoe Selo, where Akhmatova was able to attend the Mariinsky Gymnasium. She was so talented that she managed to master the French language by listening to how the teacher deals with older children. While living in St. Petersburg, Akhmatova caught a piece of the era in which Pushkin lived and this left an imprint on her work.
Her first poem appeared in 1911. A year before, she married the famous acmeist poet N. S. Gumilyov. In 1912, the writer's couple had a son, Leo. In the same year, her first collection of poems entitled "Evening" was published. The next collection, The Rosary, appeared in 1914 and was sold out in an impressive number of copies. The main features of the poetess's work combined an excellent understanding of the psychology of feelings and personal experiences about the nationwide tragedies of the 20th century.
Akhmatova had a rather tragic fate. Despite the fact that she herself was not imprisoned or exiled, many people close to her were subjected to severe repression. So, for example, the first husband of the writer, N. S. Gumilyov, was executed in 1921. The third civil husband N. N. Punin was arrested three times, died in the camp. And, finally, the son of the writer, Lev Gumilyov, spent more than 10 years in prison. All the pain and bitterness of loss was reflected in the "Requiem" (1935-1940) - one of the most famous works of the poetess.
Being recognized by the classics of the 20th century, Akhmatova was silenced and persecuted for a long time. Many of her works were not published due to censorship and were banned for decades even after her death. Akhmatova's poems have been translated into many languages. The poetess went through difficult years during the blockade in St. Petersburg, after which she was forced to leave for Moscow, and then emigrate to Tashkent. Despite all the difficulties that occurred in the country, she did not leave it and even wrote a number of patriotic poems.
In 1946, Akhmatov, along with Zoshchenko, was expelled from the Writers' Union on the orders of I.V. Stalin. After that, the poetess was mainly engaged in translations. At the same time, her son was serving a sentence as a political criminal. Soon, the writer's work gradually began to be accepted by fearful editors. In 1965, her final collection, The Run of Time, was published. Also, she was awarded the Italian Literary Prize and an honorary doctorate from the University of Oxford. In the fall of that year, the poetess suffered a fourth heart attack. As a result, on March 5, 1966, A. A. Akhmatova died in a cardiological sanatorium in the Moscow region.
Akhmatova Anna Andreevna
Real surname - Gorenko (born in 1889 - died in 1966)
Russian poetess. Books of poems "Evening", "Rosary", "White Flock", "Plantain", "Anno Domini", "Running Time"; the cycles "Secrets of the Craft", "Wind of War", "Northern Elegies"; poems "Requiem", "Poem without a hero"; articles about Pushkin and others.
Anna Akhmatova contemporaries called solemnly and majestically - "Anna of All Russia." Indeed, in her appearance, in her posture, in her treatment of people there was something majestic, proud. It is no coincidence that her poetic "godson" Joseph Brodsky said that, looking at
Akhmatov, he imagined that this could probably be Empress Catherine II. And the German writer G. V. Richter, who was present at the presentation of the Akhmatova Literary Prize in Taormina in Italy, calling her “the queen of poetry,” wrote: “Anna Akhmatova ... a tall woman, a head taller than all poets of average height, like a statue against which they broke waves of time from 1889 to the present day. Seeing how she was walking, I suddenly understood why it was queens who could rule in Russia from time to time ... "
Naturalness, simplicity and pride were inherent in Akhmatova throughout her life, wherever she was. Even in her late, difficult years, in the line for kerosene, in a crowded Tashkent tram, in the hospital, people who did not know her immediately noticed in this woman a “calm majesty” that invariably aroused admiration. Her beautiful appearance harmoniously corresponded to the true greatness of the spirit and great spiritual strength.
The high freedom of the soul gave Anna Akhmatova the opportunity to stoically endure slander and betrayal, resentment and injustice, poverty and loneliness, with which her life was so full. And Akhmatova went through all the hardships as if the world of earthly realities did not exist for her. However, in everything that was in this world, she left her signs of goodness, compassion and truth. Perhaps that is why Akhmatova's poetry, filled with light, music and quiet sadness, sounds so light and free.
Anna Andreevna was born in the south of Russia, in Odessa, on June 11, 1889, in the family of an engineer-captain of the 2nd rank Andrei Antonovich Gorenko and Inna Erazmovna (nee Strogova). Two years later, the Gorenko couple moved to Tsarskoe Selo, where Anya studied at the Mariinsky Gymnasium. She was fluent in French, read Dante in the original. Of the Russian poets, Derzhavin and Nekrasov were the first to be discovered by her, then Pushkin, whose love remained for life.
In 1905, Inna Erazmovna divorced her husband and moved with her daughter, first to Evpatoria and then to Kyiv. Here Anna graduated from the Fundukleevskaya gymnasium and entered the law faculty of the Higher Women's Courses, giving preference to history and literature.
Anya Gorenko met her future husband, poet Nikolai Gumilyov, when she was still a fourteen-year-old girl. Later, a correspondence arose between them, and in 1909 Anna accepted Gumilyov's official offer to become his wife. On April 25, 1910, they got married in the Nicholas Church in the village of Nikolskaya Sloboda near Kyiv. After the wedding, the young went on a honeymoon trip, having been in Paris all spring.
Akhmatova's active literary activity began in the 1910s. At this time, the young poetess met Blok, Balmont, Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 the first collection of poems "Evening" was published. Anna Andreevna was always very proud of her name and even expressed this feeling in poetic lines: “At that time I was visiting on earth. I was given a name at baptism - Anna, the sweetest for human lips and hearing, ”she wrote so proudly and solemnly about her youth. It is much less known that when the young poetess realized her destiny, none other than Father Andrei Antonovich forbade her to sign her poems with the name Gorenko. Then Anna took the name of her great-grandmother - Tatar princess Akhmatova.
Immediately after the publication of the collection "Evening" Akhmatova and Gumilyov made a new trip, this time around Italy, and in the autumn of the same 1912 they had a son, who was given the name Lev. The writer Korney Chukovsky, who met Akhmatova at that time, described the poetess as follows: “Thin, slender, graceful, she never left her husband, the young poet N. S. Gumilyov, who then, at the first meeting, called her his student. That was the time of her first poems and extraordinary, unexpectedly noisy triumphs.
Anna Akhmatova realized very early that it was necessary to write only those poems that “if you don’t write, you will die.” Otherwise, as she believed, there is no and cannot be poetry. And yet, in order for the poet to be able to sympathize with people, he must go through despair, grief and learn to overcome them alone.
In March 1914, the second book of poems, Rosary, was published, which brought Akhmatova all-Russian fame. The next collection, The White Flock, saw the light of day in September 1917 and was met with a rather reserved reception. War, famine and devastation pushed poetry into the background. But those who knew Akhmatova closely, well understood the significance of her work.
In March 1917, Anna Andreevna accompanied Nikolai Gumilyov abroad, where he served in the Russian Expeditionary Force. And already in the next 1918, when he returned from London, there was a break between the spouses. In the autumn of the same year, Akhmatova married V. K. Shileiko, an assyrologist and translator of cuneiform texts.
The poetess did not accept the October Revolution. For, as she wrote, “everything is plundered, betrayed, sold; everything is devoured by hungry longing. But she did not leave Russia, rejecting the “comforting” voices calling to a foreign land, where many of her contemporaries ended up. Even after the Bolsheviks shot her in 1921 ex-husband Nikolay Gumilyov.
December 1922 was marked by a new turn in Akhmatova's personal life. She moved in with art historian Nikolai Punin, who later became her third husband.
The beginning of the 1920s was marked by a new poetic rise of Akhmatova - the release of the poetry collections Anno Domini and Plantain, which cemented her fame as an outstanding Russian poetess. In the same years, she was seriously engaged in the study of the life and work of Pushkin. The results of these studies were the following works: "About the Golden Cockerel", "The Stone Guest", "Alexandrina", "Pushkin and the Neva Coast", "Pushkin in 1828".
Akhmatova's new poems were no longer published in the mid-1920s. Her poetic voice fell silent until 1940. Hard times came for Anna Andreevna. In the early 1930s, her son Lev Gumilyov was repressed, having survived three arrests during the period of repression and spent 14 years in the camps. All these years, Anna Andreevna patiently fussed about the release of her son, just as she fussed for her friend, the poet Osip Mandelstam, who was arrested at the same terrible time. But if Lev Gumilyov was nevertheless subsequently rehabilitated, then Mandelstam died in 1938 in a transit camp on the way to Kolyma. Later, Akhmatova dedicated her great and bitter poem Requiem to the fate of thousands and thousands of prisoners and their unfortunate families.
In the year of Stalin's death, when the horror of repression began to recede, the poetess uttered a prophetic phrase: “Now the prisoners will return, and the two Russias will look into each other's eyes: the one that planted, and the one that was imprisoned. A new era has begun."
The Patriotic War of 1941 found Anna Andreevna in Leningrad. At the end of September, already during the blockade, she flew first to Moscow, and then evacuated to Tashkent, where she lived until 1944. Here the poetess did not feel so lonely. In the company of people close and pleasant to her - actresses Faina Ranevskaya, Elena Sergeevna Bulgakova, the writer's widow. There she learned about the changes in the fate of her son. Lev Nikolaevich Gumilyov asked to be sent to the front, and his request was granted.
In the summer of 1944 Akhmatova returned to Leningrad. She traveled to the Leningrad front with poetry readings, her creative evening at the Leningrad House of Writers was a success. In the spring of 1945, immediately after the victory, Leningrad poets, including Akhmatova, performed in Moscow in triumph. And suddenly everything was broken. On August 14, 1946, the infamous resolution of the Central Committee of the CPSU “On the magazines Zvezda and Leningrad” was published, in which the work of A. Akhmatova and M. Zoshchenko was defined as “ideologically alien”. General meeting Leningrad creative intelligentsia unanimously approved the line of the Central Committee in relation to them. And two weeks later, the presidium of the board of the Union of Writers of the USSR decided to "exclude Anna Akhmatova and Mikhail Zoshchenko from the Union of Soviet Writers", thus both writers practically lost their livelihood. Akhmatova was forced to earn a living by translating, although she always believed that it was unthinkable to translate other people's and write her own poems. She completed several artistically serious works, including translations of Hugo's tragedy "Marion Delorme", Korean and Chinese poetry, and the lyrics of Ancient Egypt.
The disgrace was removed from Akhmatova only in 1962, when her “Poem without a Hero” came out of print, which took 22 years to write, and in 1964 the poetry collection “The Run of Time” was published. Poetry lovers accepted these books with delight, however, they never forgot Akhmatova. Despite the long years of silence, her name, pronounced with invariable deep reverence, has always stood in the front row of Russian poets of the 20th century.
In the 1960s, world recognition finally came to Akhmatova. Her poems have appeared in translations into Italian, English and French, her poetry collections began to appear abroad. In 1962, Akhmatova was awarded the Etna-Taormina International Poetry Prize in connection with the 50th anniversary of her poetic activity and the publication in Italy of a collection of selected works by Akhmatova. The procedure for presenting the award took place in the ancient Sicilian city of Taormina, and in Rome, a reception was given in her honor at the Soviet embassy.
In the same year, Oxford University decided to award Anna Andreevna Akhmatova an honorary doctorate in literature. In 1964, Akhmatova visited London, where a solemn ceremony was held for her to put on a doctoral robe. The ceremony was especially solemn. For the first time in the history of Oxford University, the British broke the tradition: not Anna Akhmatova ascended the marble stairs, but the rector descended to her.
Last thing public speaking Anna Andreevna took place at the Bolshoi Theater at a gala evening dedicated to Dante.
She did not complain about her age and took old age for granted. In the autumn of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiology sanatorium near Moscow. Akhmatova was buried at the Komarovsky cemetery near Leningrad.
Until the end of her life, Anna Andreevna Akhmatova remained a Poet. In her short autobiography, written in 1965, just before her death, she wrote: “I did not stop writing poetry. For me, they are my connection with time, with new life my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.
A. A. Akhmatova ( real name- Gorenko) was born in the family of a marine engineer, captain of the 2nd rank, retired at st. Big Fountain near Odessa. A year after the birth of their daughter, the family moved to Tsarskoye Selo. Here Akhmatova became a student of 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 the nanny took me, the hippodrome, where small motley horses galloped, the old station and something else that later became part of the Tsarskoye Selo Ode "". In 1905, after the divorce of her parents, Akhmatova moved with her mother to Evpatoria. In 1906 - 1907. she studied at senior class Kiev-Fundukley 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. Gumilyov, whom she met in 1903. In 1907, he published her poem "There are many brilliant rings on his hand ..." in a publication published by him in the Paris magazine "Sirius". The style of Akhmatova's early poetic experiments was significantly influenced by her acquaintance with Hamsun's prose, with the poetry of V. Ya. Bryusov and A. A. Blok.
Akhmatova spent her honeymoon in Paris, then moved to and from 1910 to 1916 lived mainly in Tsarskoye Selo. She studied at the Higher Historical and Literary Courses of N. P. Raeva. 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 thing, kept silent about the rest, criticized one." The conclusion of the "master" was indifferently ironic: "What thick romanticism ..." In 1911, having chosen the name of her maternal great-grandmother as a literary pseudonym, she began to publish in St. Petersburg magazines, including Apollo. Since the founding of the "Workshop of Poets" she became its secretary and active participant. In 1912, the first collection of Akhmatova's "Evening" was published with a preface by M. A. Kuzmin. "A sweet, joyful and sorrowful world" opens up to the gaze of the young poet, but the concentration of psychological experiences is so strong that it evokes a feeling of an approaching tragedy. In fragmentary sketches, trifles, "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 the tendencies characteristic of the new poetic school. In her poems, they saw not only the refraction of the idea of Eternal femininity, which was no longer associated with symbolic contexts, corresponding to the spirit of the times, but also that ultimate “thinness”. psychological drawing, which 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 made its way - a feature that S. M. Gorodetsky defined as "acmeistic pessimism", thereby once again emphasizing Akhmatova's belonging to a certain school.
The sadness that the poems of "Evening" breathed 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 build Akhmatova's poetic genealogy to I. F. Annensky, whom Gumilyov called it a "banner" for "seekers of new paths", referring to the acmeist poets. Subsequently, Akhmatova told what a revelation it was for her to get acquainted with the poems of the poet, who opened her "new harmony". Akhmatova will confirm the line of her poetic succession with the poem "Teacher" (1945) and her own confession: "I trace my origins from Annensky's poems. His work, in my opinion, is marked by tragedy, sincerity and artistic integrity."
The Rosary (1914), Akhmatova's next book, continued the lyrical "plot" of Evenings. Around the poems of both collections, united by the recognizable image of the heroine, an autobiographical halo was created, which made it possible to see in them either a "lyrical diary" or a "roman lyric". Compared to the first collection, the "Rosary" intensifies the details of the development of images, deepens the ability not only to suffer and sympathize with the souls of "inanimate things", but also to take on the "anxiety of the world." The new collection showed that the development of Akhmatova as a poet does not go along the line of expanding the subject, 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 increased over the years. The future path of Akhmatova was correctly predicted by her close friend N.V. Nedobrovo. "Her vocation is to cut layers," he emphasized in a 1915 article, 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 "high school students in love," as Akhmatova ironically remarked. Among her enthusiastic admirers were poets who only entered literature - M. I. Tsvetaeva, B. L. Pasternak. A. A. Blok and V. Ya. Bryusov treated Akhmatova more reservedly, but nevertheless they approved. During these years, Akhmatova became a favorite model for many artists and the addressee of numerous poetic dedications. Her image is gradually turning into an integral symbol of the Petersburg poetry of the era of acmeism.
During the First World War, Akhmatova did not join her voice with the voices of poets who shared the official patriotic pathos, but she responded with pain to wartime tragedies ("July 1914", "Prayer", etc.). The White Pack, published in September 1917, was not as successful as the previous books. But the new intonations of mournful solemnity, prayerfulness, and the supra-personal beginning destroyed the habitual stereotype of Akhmatov's poetry, which had developed 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 October revolution Akhmatova did not leave her homeland, remaining in "her deaf and sinful land." In the poems of these years (the collections "Plantain" and "Anno Domini MCMXXI", both from 1921), sorrow for the fate of their 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 understanding creativity as divine grace spiritualizes reflections on the poetic word and the poet's vocation and translates them into an "eternal" plan. In 1922, M. S. Shaginyan wrote, noting the deep property of the poet’s talent: “Akhmatova, over the years, more and more knows how to be amazingly folk, without any quasi, without falsehood, with severe simplicity and with priceless avarice of speech.”
Since 1924, Akhmatova was no longer published. In 1926, a two-volume collection of her poems was supposed to be published, but the publication did not take place, despite prolonged and persistent efforts. Only in 1940 was the small collection "From Six Books" published, and the next two - in the 1960s ("Poems", 1961; "Running Time", 1965).
Since the mid-1920s, Akhmatova has been much involved in the architecture of old 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 the time, the spirit of high classics indestructibly lived, determining both her creative manner and style of life behavior.
In the tragic 1930-1940s, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, the death of friends, her excommunication from literature by a party decree of 1946. The very time she was given the moral right to say, together with the “hundred-million people”: “We Not a single blow was deflected." Akhmatova's works of this period - the poem "Requiem" (1935-1940; published in the USSR in 1987), poems written during the Great Patriotic War, testified to the poet's ability not to separate the experience of personal tragedy from understanding the catastrophic nature of history itself. B. M. Eikhenbaum considered the most important aspect of Akhmatova's poetic worldview to be "the feeling of one's personal life as a national, folk life, in which everything is significant and generally significant." “Hence,” the critic remarked, “is the way out into history, into the life of the people, hence comes a special kind of courage associated with a sense of being chosen, a mission, a great, important cause ...” A cruel, disharmonious world breaks 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 a historical retrospective... Multi-temporal narrative planes intersect, "another's word" goes into the depths of subtext, history is refracted through the "eternal" images of world culture, biblical and gospel motifs. Significant understatement becomes one of the artistic principles late works of Akhmatova. The poetics of the final work, Poems Without a Hero (1940-65), was built on it, with which Akhmatova said goodbye to St. Petersburg in the 1910s and to the era that made her a Poet.
Akhmatova's creativity as the largest cultural phenomenon of the 20th century. received worldwide recognition. In 1964, she became the laureate of the international Etna-Taormina Prize, and in 1965, she received an honorary degree of Doctor of Literature from the University of Oxford.
On March 5, 1966, Akhmatova ended her days on earth. On March 10, after the funeral service at the St. Nicholas Naval Cathedral, her ashes were buried in a cemetery in the village of Komarov near Leningrad.
Already after her death, in 1987, during Perestroika, the tragic and religious cycle "Requiem" was published, written in 1935 - 1943 (supplemented 1957 - 1961).
Celebrity biography - Anna Akhmatova
Anna Akhmatova (Anna Gorenko) is a Russian and Soviet poetess.
Childhood
Anna was born in a large family on June 23, 1889. She will take the creative pseudonym "Akhmatova" in memory of the legends about her Horde roots.
Anna spent her childhood in Tsarskoye Selo near St. Petersburg, and every summer the family went to Sevastopol. At the age of five, the girl learned to speak French, but studying at the Mariinsky Gymnasium, where Anna entered in 1900, was difficult for her.
Akhmatova's parents divorced when she was sixteen years old. Mom, Inna Erazmovna, takes the children to Evpatoria. The family did not stay there for long, and Anna is finishing her studies in Kyiv. In 1908, Anna becomes interested in jurisprudence and decides to study further at the Higher Women's Courses. The result of the training was knowledge of Latin, which later allowed her to learn Italian.
Baby photos of Anna Akhmatova
The beginning of the creative path
Passion for literature and poetry began with Akhmatova since childhood. She wrote her first poem at the age of 11.
For the first time, Anna's works were published in 1911 in newspapers and magazines, and a year later the first collection of poems "Evening" was published. The poems were written under the influence of the loss of two sisters who died of tuberculosis. Her husband Nikolai Gumilyov helps to publish poems.
Young poetess Anna Akhmatova
Career
In 1914, the Rosary collection was released, which made the poetess famous. It is becoming fashionable to read Akhmatova's poems, young Tsvetaeva and Pasternak admire them.
Anna continues to write, new collections "White Flock", "Plantain" appear. The poems reflected Akhmatova's experiences about the First World War, revolution, civil war. In 1917, Anna falls ill with tuberculosis and recovers for a long time.
Starting in the twenties, Anna's poems began to be criticized, censored as inappropriate to the era. In 1923, her poems cease to be printed.
The thirties of the twentieth century become a difficult test for Akhmatova - her husband Nikolai Punin and son Lev are arrested. Anna spends a long time near the Kresty prison. During these years, she writes the poem "Requiem", dedicated to the victims of repression.
In 1939, the poetess was accepted into the Union of Soviet Writers.
During the Great Patriotic War, Akhmatova was evacuated from Leningrad to Tashkent. There she creates poems of military subjects. After the blockade is lifted, he returns to his hometown. During the crossings, many works of the poetess were lost.
In 1946, Akhmatova was removed from the Writers' Union after her work was sharply criticized in a resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks. At the same time as Anna, Zoshchenko is also being criticized. Akhmatova was restored in the Writers' Union in 1951 at the suggestion of Alexander Fadeev.
The poetess reads a lot, writes articles. The time in which she worked left an imprint on her work.
In 1964, Akhmatova was awarded the Etna-Taormina Prize in Rome for her contribution to world poetry.
The memory of the Russian poetess was immortalized in St. Petersburg, Moscow, Odessa, Tashkent. There are streets named after her, monuments, memorial plaques. During the life of the poetess, her portraits were painted.
Portraits of Akhmatova: artists Natan Altman and Olga Kardovskaya (1914)
Personal life
Akhmatova was married three times. Anna met her first husband Nikolai Gumilyov in 1903. They married in 1910 and divorced in 1918. The marriage with her second husband Vladimir Shileiko lasted 3 years, the last husband of the poetess Nikolai Punin spent a long time in prison.
In the photo: the poetess with her husband and son
Lyovushka with his famous mother
Son Leo was born in 1912. Spent over ten years in prison. He was offended by his mother, believing that she could help to avoid imprisonment, but did not.
Lev Gumilyov spent almost 14 years in prisons and camps, in 1956 he was rehabilitated and found not guilty on all counts.
From interesting facts we can note her friendship with the famous actress Faina Ranevskaya. On March 5, 1966, Akhmatova died in a sanatorium near Moscow, in Domodedovo. She was buried near Leningrad at the Komarovsky cemetery.
Grave of Anna Akhmatova
Akhmatova Anna Andreevna (1889-1966)
Russian poetess. Born near Odessa, in the family of a marine mechanical engineer. The real name is Gorenko, Akhmatova is her literary pseudonym. She spent her childhood in Tsarskoye Selo.
In 1907 she graduated from the gymnasium in Kyiv. She studied at the higher historical and literary courses of Raev in St. Petersburg - the city where she spent almost her entire life. In 1910-1912. Traveled in Germany, France, Italy. She began to publish in 1907, having joined the group of acmeists.
Already the first collections of poems brought her all-Russian fame. Thanks to her deep sense of patriotism, Akhmatova remained in her homeland after the October Revolution and went through a long creative path here.
In her chamber, mostly love, lyrical miniatures, in her own way she reflected the disturbing atmosphere of the pre-revolutionary decade; subsequently, the range of her themes and motifs became wider and more complex.
Akhmatova's style combined the traditions of classics and latest experience Russian poetry. To the Great Patriotic war 1941-1945 the poetess, who saw with her own eyes the blockade of Leningrad, creates a cycle of poems full of love for the motherland.
Her poetry takes on a high civic sound. AT last years Akhmatova's life completed "Poem without a Hero", "Requiem". Worked on translations (ancient Korean poetry, Serbian epic). Wrote a cycle of sketches about Pushkin.
Akhmatova's lifetime collections of poems: "Evening", "Rosary", "White Flock", "Plantain", "From Six Books", "Running Time".
