Akhmatova, Anna Andreevna (real name Gorenko) was born on June 11 (23), 1889 near Odessa in the family of a hereditary nobleman, a retired fleet mechanical engineer A.A. Gorenko. From the mother's side, I.E. Stogovoy. A. Akhmatova was distantly related to Anna Bunina, the first Russian poetess. Akhmatova considered the legendary Horde Khan Akhmat to be her maternal ancestor, on whose behalf she formed her pseudonym.

As a one-year-old child, Anna was transferred to Tsarskoye Selo, where she lived until the age of sixteen. Her first memories are from Tsarskoye Selo: "The green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome, where small motley horses galloped, the old station." Every summer she spent near Sevastopol, on the shore of the Streletskaya Bay. She learned to read according to the alphabet of Leo Tolstoy. At the age of five, listening to how the teacher worked with older children, she also began to speak French. Akhmatova wrote her first poem when she was eleven years old. Anna studied at the Tsarskoye Selo Women's Gymnasium, at first badly, then much better, but always reluctantly.

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. In 1912, she gave birth to a son, Lev Nikolaevich, from Gumilyov.

In 1911, Anna arrived in St. Petersburg, where she continued her education at the Higher Women's Courses. During this period, she met Blok, and the first publication appeared under the pseudonym Anna Akhmatova. Fame came to Akhmatova after the publication of the poetry collection "Evening" in 1912, after which the next collection "Rosary" was released in 1914, and in 1917 "The White Flock", Anna Akhmatova's love lyrics take a worthy place in these collections.

After N. Gumilyov left for the front in 1914, Akhmatova withdrew from the “salon life” and spent a lot of time in the Tver province at the Gumilyov estate Slepnevo. In 1918, having divorced Gumilyov, Akhmatova married the Assyriologist and poet V. K. Shileiko.

Gumilyov was shot in 1921 on trumped-up charges of involvement in a counter-revolutionary conspiracy. She broke up with the second in 1922, after which Akhmatova began a relationship with N. Punin. In general, many close people of the poetess suffered a sad fate. So Punin was under arrest three times, and his son Leo spent more than 10 years in prison.
Published in April and October 1921, two collections of Akhmatova's poems ("Plantain" and the fifth book "Anno Domini MCMXXI" ("In the summer of the Lord 1921") were essentially the last before a long period of strict censorship oversight of Akhmatova's poetry.

In the mid 20s. her persecution in criticism begins, they stop publishing her, declaring her a salon poetess, ideologically alien to young proletarian literature. Akhmatova's name disappears from the pages of books and magazines, she lives in poverty.

When Akhmatova wrote "Requiem" (1935-1940), it was a requiem for "my people", the fate of which was shared by her relatives. She recalled the terrible queue at the Leningrad prison of Crosses: she had to stand there for hours, clutching a bundle with a transmission in her stiff fingers - first for her husband, then for her son. A tragic fate united Akhmatova with hundreds of thousands of Russian women. "Requiem" - crying, but crying proudly - became the most famous work of Anna Akhmatova.

1939 - I.V. Stalin in a conversation accidentally speaks positively of Anna Akhmatova. Immediately, several publishers offer her cooperation. However, the poems of the poetess are subjected to strict censorship.

The Patriotic War found her in Leningrad and forced her to leave for Moscow, then evacuate to Tashkent, where she lived until 1944. She performed poetry readings in hospitals in front of the wounded. She was in a lot of pain. In her poems, created during the war years ("Favorites", 1943), there was a deep patriotic theme ("Oath", 1941, "Courage", 1942, "Cracks in the garden dug ...", 1942). In June 1944, Akhmatova returned to Leningrad, where she met (the "terrible ghost") in the prose essay "Three Lilacs".

The year 1946 became memorable for Akhmatova and for all Soviet literature: it was then that the infamous resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the journals Zvezda and Leningrad” was adopted, in which A. Akhmatova and M. Zoshchenko were subjected to harsh and unfair criticism. An expulsion from the Writers' Union followed. This means that no other magazine and no publishing house will undertake to publish their works. The reason for the disgrace is the anger of Stalin, who learned that the English historian I. Berlin came to Akhmatova.

In the next decade, the poetess was mainly engaged in translations. Son, L.N. Gumilyov, served his sentence as a political criminal in forced labor camps, in 1949 he was arrested for the third time.

To rescue her son from Stalin's torture chamber, Akhmatova wrote a series of poems praising Stalin Glory to the World (1950). Such panegyrics were honored and sincerely created by many, including talented poets - K. Simonov, A. Tvardovsky, O. Bergholz. Akhmatova, on the other hand, had to step over herself. Stalin did not accept Akhmatova's sacrifice: Lev Gumilyov was released only in 1956.

In the last decade of Akhmatova's life, her poems gradually, overcoming the resistance of party bureaucrats and the timidity of editors, come to a new generation of readers. In 1965, the final collection "The Run of Time" was published. At the end of her days, Akhmatova was allowed to accept the Italian literary prize Etna-Taormina (1964) and an honorary doctorate from Oxford University (1965).

Autumn 1965 - Anna Akhmatova suffers a fourth heart attack. In the same period, before his death, he compiled his only short autobiography. March 5, 1965 - Anna Andreevna Akhmatova dies in a cardiology sanatorium in the Moscow region. She was buried at the Komarovsky cemetery near Leningrad.

Anna Akhmatova is an outstanding Russian poetess, whose work belongs to the so-called Silver Age of Russian literature, as well as a translator and literary critic. In the sixties, she was nominated for the Nobel Prize in Literature. Her poems have been translated into many languages ​​of the world.

Three beloved people of the famous poetess were subjected to repression: her first and second husbands, as well as her son, died or received long sentences. These tragic moments left an indelible imprint on the personality great woman as well as in her work.

The life and work of Anna Akhmatova is undoubtedly of interest to the Russian public.

Biography

Akhmatova Anna Andreevna, real name - Gorenko, was born in the resort town of Bolshoy Fontan (Odessa region). In addition to Anna, the family had six more children. When the great poetess was little, her family traveled a lot. This was due to the work of the father of the family.

Like early biography, the girl's personal life was quite rich in a variety of events. In April 1910, Anna married the outstanding Russian poet Nikolai Gumilyov. Anna Akhmatova and Nikolai Gumilyov were married in a legal church marriage, and in the early years their union was incredibly happy.

The young spouses breathed the same air - the air of poetry. Nikolay suggested to the girlfriend of his life to think about a literary career. She obeyed, and as a result, the young woman began to publish in 1911.

In 1918, Akhmatova divorced Gumilyov (but they maintained a correspondence until his arrest and subsequent execution) and married a scientist, a specialist in Assyrian civilization. His name was Vladimir Shilenko. He was not only a scientist, but also a poet. She separated from him in 1921. Already in 1922, Anna began to live with art historian Nikolai Punin.

Anna was able to officially change her last name to "Akhmatova" only in the thirties. Prior to that, according to documents, she bore the names of her husbands, and used her well-known and sensational pseudonym only on the pages of literary magazines and in salons at poetry evenings.

A difficult period in the life of the poetess also began in the twenties and thirties, with the coming of the Bolsheviks to power. In this tragic period for the Russian intelligentsia, its close people were arrested one after another, not embarrassed by the fact that they are relatives or friends of a great man.

Also in those years, the poems of this talented woman were practically not published or reprinted at all.

It would seem that they forgot about her - but not about her loved ones. Arrests of relatives and just acquaintances of Akhmatova followed one after another:

• In 1921, Nikolai Gumilyov was captured by the Cheka and shot a few weeks later.
• In 1935 - Nikolai Punin was arrested.
• In 1935, Lev Nikolaevich Gumilyov, the love child of two great poets, was arrested and after some time sentenced to a long term in one of the Soviet labor camps.

Anna Akhmatova cannot be called a bad wife and mother and accused of inattention to the fate of her arrested relatives. The famous poetess did everything possible to alleviate the fate of loved ones who fell into the millstones of the Stalinist punitive and repressive mechanism.

All her poems and all the work of that period, those truly terrible years, are imbued with sympathy for the plight of the people and political prisoners, as well as the fear of a simple Russian woman before the seemingly omnipotent and soulless Soviet leaders who doom the citizens of their own country to death. It is impossible to read without tears this sincere cry of a strong woman - a wife and mother who lost her closest people ...

Anna Akhmatova owns an extremely interesting for historians and literary critics cycle of poems of great historical significance. This cycle was called "Glory to the World!", and in fact it praises the Soviet power in all its creative manifestations.

According to some historians and biographers, Anna, an inconsolable mother, wrote this cycle for the sole purpose of showing her love for the Stalinist regime and loyalty to it, in order to achieve the indulgence of his torturers for her son. Akhmatova and Gumilev (junior) were once really happy family... Alas - only until the moment when ruthless fate trampled on their fragile family idyll.

During the Great Patriotic War the famous poetess was evacuated from Leningrad to Tashkent along with others famous people art. In honor of Great Victory she wrote her most wonderful poems (years of writing - approximately 1945-1946).

Anna Akhmatova died in 1966 in the Moscow region. She was buried near Leningrad, the funeral was modest. The son of the poetess Leo, who had already been released from the camp by that time, together with his friends built a monument on her grave. Subsequently, caring people made a bas-relief for the monument depicting the face of this most interesting and talented woman.

To this day, the grave of the poetess is a place of constant pilgrimage for young writers and poets, as well as countless admirers of the talent of this amazing woman. Admirers of her poetic gift come from different cities of Russia, as well as the CIS countries, near and far abroad.

Contribution to culture

Undoubtedly, the contribution of Anna Akhmatova to Russian literature and, in particular, to poetry, cannot be overestimated. For many people, the name of this poetess, no less, is associated with the Silver Age of Russian literature (along with the Golden Age, the most famous, bright names of which are, without a doubt, Pushkin and Lermontov).

Peru Anna Akhmatova owns well-known collections of poems, among which we can distinguish the most, probably, popular, published during the life of the great Russian poetess. These collections are united by content, as well as by time of writing. Here are some of these collections (briefly):

• "Favorites".
• "Requiem".
• "The Run of Time".
• "Glory to the World!"
• "White Flock".

All the poems of this wonderful creative person, including those not included in the above collections, have great artistic value.

Anna Akhmatova also created poems that are exceptional in their poeticism and height of the syllable - such, for example, is the poem "Alkonost". Alkonost in ancient Russian mythology is mythical creature, an amazing magical bird that sings of light sadness. It is easy to draw parallels between this wonderful creature and the poetess herself, all of whose poems from early youth were imbued with the beautiful, bright and pure sadness of being ...

Many of the poems of this great personality in the history of Russian culture during her lifetime were nominated for a wide variety of prestigious literary awards, including the most famous Nobel Prize among writers and scientists of all stripes (in this case, in literature).

In the sad and, in general, tragic fate of the great poetess, there are many funny, in their own way interesting moments. We invite the reader to learn about at least some of them:

• Anna took a pseudonym because her father, a nobleman and scientist, having learned about the literary experiments of his young daughter, asked her not to dishonor his surname.
• The surname "Akhmatova" was worn by a distant relative of the poetess, but Anna created a whole poetic legend around this surname. The girl wrote that she was descended from the Khan of the Golden Horde - Akhmat. A mysterious, interesting origin seemed to her an indispensable attribute of a great man and guaranteed success with the public.
• As a child, the poetess preferred playing with boys to ordinary girlish activities, which made her parents blush.
• Her mentors at the gymnasium were future outstanding scientists and philosophers.
• Anna was among the first young girls to enroll in the Higher Women's Courses at a time when this was not welcomed, since society saw women only as mothers and homemakers.
• In 1956, the poetess was awarded the Honorary Diploma of Armenia.
• Anna is buried under an unusual headstone. The tombstone for her mother - a reduced copy of the prison wall, near which Anna spent many hours and cried many tears, and also repeatedly described it in poems and poems - Lev Gumilev designed himself and built with the help of his students (he taught at the university).

Unfortunately, some funny and interesting facts from the life of the great poetess, as well as her brief biography, are undeservedly forgotten by descendants.

Anna Akhmatova was a person of art, the owner of an amazing talent, amazing willpower. But that's not all. The poetess was a woman of amazing spiritual power, a beloved wife, a sincerely loving mother. She showed great courage in trying to get the people close to her heart out of prison...

The name of Anna Akhmatova deservedly stands on a par with the outstanding classics of Russian poetry - Derzhavin, Lermontov, Pushkin ...

It remains to be hoped that this woman with a difficult fate will be remembered for centuries, and even our descendants will be able to enjoy her truly extraordinary, melodic and sweet-sounding verses. Author: Irina Shumilova

in girlhood Gorenko, by first husband Gorenko-Gumilyov took a surname after divorce Akhmatova, by second husband Akhmatova-Shileiko, after divorce Akhmatova

Russian poetess of the Silver Age, translator and literary critic, one of the most significant figures of Russian literature of the 20th century; nominee for the Nobel Prize in Literature

Anna Akhmatova

short biography

June 11, 1889 in Odessa, in one of the houses of the Big Fountain, was born Anechka Gorenko, who was to gain fame as one of the most famous Russian poets of the 20th century, a classic during his lifetime, a talented translator, literary critic, and critic. She became the sixth child in the family of a retired naval mechanical engineer, a hereditary nobleman. Anna's childhood and adolescence passed in Tsarskoye Selo, where the family moved in 1980. Here, from 1900 to 1905, she studied at the Mariinsky Gymnasium, and here in 1903 she met Nikolai Gumilyov, her future husband, man, played a special role in her fate.

After her parents divorced in 1905, Anna with her mother and sisters left for Evpatoria: the girls suffering from tuberculosis benefited from the healing climate. She completed her studies at the Fundukleevskaya gymnasium in Kyiv, where in 1906 they moved to live with relatives. Since 1908, Anna Gorenko has been a student of the Kyiv Higher Women's Courses, Faculty of Law. Studying could not instill a love for jurisprudence, but the student enthusiastically studied Latin. In April 1910, Anna agreed to the marriage proposal made by N. Gumilyov. Having got married, the couple first went on a honeymoon trip (Paris, Italian cities), then spent some time in Slepnevo, the estate of N. Gumilyov's mother.

The prospect of becoming a lawyer no longer attracted Anna Gorenko. She arrived in St. Petersburg and in the same 1910 entered the Higher Historical and Literary Courses of Raev. The future celebrity began writing poetry at the age of 11. In 1907, N. Gumilyov, who published the Russian-language magazine Sirius in Paris, first published the poem “There are many brilliant rings on his hand,” signed “Anna G.”, but the publication did not last very long. In 1911, the poems of the beginning poetess began to appear in magazines published in St. Petersburg. It was then that the reading public learned about Anna Akhmatova. Once the father vetoed the use of "Gorenko" in the signature to the poems, so the surname that the maternal great-grandmother wore was used as a creative pseudonym.

Thanks to N. Gumilyov, who by that time was a well-known and authoritative person in literary and artistic circles, Akhmatova herself quickly became a part of this environment. Anna Andreevna's path to fame was not long and thorny. Already her first collection of poems - "Evening", which was released in 1912 - did not go unnoticed by critics and testified that a new name had appeared in Russian poetry. The rapid ascent came as a surprise to many, including N. Gumilyov himself, who once, after reading Anna's poems, gave her advice to take up dancing. When the "Workshop of Poets" was founded, Akhmatova took an active part in its activities, she was a secretary.

In May 1914, the lyric collection Rosary was published, after which real fame came to the poetess. He was favorably received not only by ordinary admirers of her talent, but also by poets who had a significant influence on Akhmatova's early poetics - Alexander Blok and Valery Bryusov. The book went through eight more editions until 1923. Like "Evening", "Rosary" was written in line with acmeism; Anna Akhmatova stood at the origins of this literary movement. They admired her, imitated her, composed dedications, artists were looking for opportunities to paint her portrait ... However, the outbreak of the First World War could not help but amend her biography - the active public activity of the poetess was curtailed, Gumilyov went to the front. Akhmatova increasingly visited his estate Slepnevo, where she discovered a life that had little in common with Petersburg. She was tormented by tuberculosis, a lot of time and effort was spent on treatment.

This period was full of reading Russian classics, which also left a noticeable imprint on her further creative activity. Acquaintance with the artless village life, the loss of a sense of stability, the drama of wartime brought new intonations into her poetry - prayerfulness, solemn grief. The poems of this time formed the basis of the third collection (1917) - "The White Flock". It is generally accepted that he enjoyed less success, but Akhmatova herself explained this by difficult wartime.

After the establishment of Bolshevik power in 1917, the hereditary noblewoman made a choice in favor of the "deaf and sinful" Motherland, remaining where my people, unfortunately, were, without emigrating, as did so many of her entourage. Several years of serious deprivation, dramatic personal events (divorce in 1918 from N. Gumilyov, his execution in 1921, repeated unsuccessful marriage with the poet and scientist V. Shileiko) somewhat distanced Akhmatova from creativity, public activity, but in the fall of 1921 She again began to actively publish, take part in the life of literary associations, and speak. In 1921, two of her collections were published at once. love lyrics- "Plantain" and "Anno Domini".

Since 1923, Akhmatova, as an author, was declared an ideologically alien element, turned into a target for criticism and stopped publishing, forcing her to change the vector of creativity: she plunged into the study of Pushkin's heritage, translated a lot, and became interested in architecture. Her biography at that time was not much different from the lives of thousands of compatriots whose loved ones became innocent victims of Stalin's repressions. Akhmatova's only son, Lev Gumilyov, was arrested three times, exiled to camps; her third husband Nikolai Punin, many friends and acquaintances perished in the Stalinist dungeons. For thirty years the poetess lived, in her own words, "under the wing of death." The suffering and sorrow of a Russian woman who happened to live in terrible times were embodied in the verse cycle "Requiem" (1935-1940), wartime verses. At the whim of Stalin (his daughter really liked Akhmatova’s poems), in 1939 the poetess was allowed into Soviet literature, accepted into the Writers’ Union, and already in 1940 her collection “From Six Books” was published, and in general this year was incredibly fruitful in her creative biography.

In September 1941, Akhmatova, who met the beginning of the Great Patriotic War in Leningrad, was evacuated, until May 1945 she stayed in Tashkent. In 1943 she was awarded the medal "For the Defense of Leningrad". Her poems of that time were not only permeated with sorrow and suffering, but also called for courage, the fulfillment of civic duty, became the personification of the unconquered Russian word and the Russian spirit. In the Hall of Columns in the House of the Unions in April 1946, she was greeted with a standing ovation and a standing ovation. However, the time of triumph, the admiring reception by the public was very short: on August 16, the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines Zvezda and Leningrad was issued, which crossed out the hopes of the intelligentsia for greater freedom and subjected the work of Akhmatova and Zoshchenko to harsh criticism. In 1949, to the disasters (hunger, searches, moral persecution) was added a sentence to his son - 10 years in the camps. Wishing to mitigate the harsh punishment in 1950, the poetess, stepping over herself, wrote a laudatory cycle of poems "Glory to the World", but her hopes were not justified.

On January 19, 1951, thanks to the petition of A. Fadeev, Akhmatova was again included in the Union of Soviet Writers, in May 1955 she was assigned to the village. Komarovo own housing (first in life) - country house, in 1956 the rehabilitated Lev Gumilyov returned from the camp. It was a relatively prosperous period in the life of the poetess, she again got the opportunity to engage in creativity. In 1958, the collection "Poems" was published; in 1962 - completed "Poem without a Hero", begun in 1940, put on paper and finalized the famous autobiographical "Requiem", which will be released after her death, in perestroika 1987.

Despite restrictions in publications, Akhmatova's fame went far beyond the borders of the USSR, the skill of the poetess was recognized at the world level, and became for foreign readers the personification of great Russian culture. In 1962, she was a nominee for the Nobel Prize in Literature. In 1964 in Italy she received the international literary prize "Etna-Taormina", in 1965 in London she tried on the mantle of an honorary doctor of literature from Oxford University. In the same year, 1965, a large collection "The Run of Time" was published, which included poems from different periods. Anna Andreevna died on March 5, 1966 in the Domodedovo sanatorium, where she was on the mend after a fourth heart attack. Her ashes rest in the village of Komarovo near St. Petersburg.

Biography from Wikipedia

Anna Gorenko was born in the Odessa region of Bolshoy Fontan in the family of a hereditary nobleman, a retired naval mechanical engineer A. A. Gorenko (1848-1915), who, after moving to the capital, became a collegiate assessor, an official for special assignments of the State Control. She was the third of six children. Her mother, Inna Erazmovna Stogova (1856-1930), was distantly related to Anna Bunina: in one of her rough notes Anna Akhmatova wrote: was the aunt of my grandfather Erasm Ivanovich Stogov ... ". The grandfather's wife was Anna Egorovna Motovilova - the daughter of Yegor Nikolaevich Motovilov, married to Praskovya Fedoseevna Akhmatova; Anna Gorenko chose her maiden name as a literary pseudonym, creating the image of a “Tatar grandmother”, who allegedly came from the Horde Khan Akhmat. Anna's father was involved in this choice: having learned about the poetic experiences of his seventeen-year-old daughter, he asked not to shame his name.

In 1890, the family moved first to Pavlovsk, and then to Tsarskoe Selo, where in 1899 Anna Gorenko became a student at the Mariinsky Women's Gymnasium. She spent summers near Sevastopol, where, in her own words:

I got the nickname "wild girl" because I went barefoot, wandered without a hat, etc., threw myself from a boat into the open sea, swam during a storm, and sunbathed until my skin came off, and with all this I shocked the provincial Sevastopol young ladies .

Remembering her childhood, Akhmatova wrote:

My first memories are those of Tsarskoye Selo: the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where small, colorful horses galloped, the old railway station, and something else that later became part of the Tsarskoye Selo Ode.

Every summer I spent near Sevastopol, on the shore of the Streletskaya Bay, and there I made friends with the sea. The strongest impression of these years is the ancient Chersonese, near which we lived.

A. Akhmatova. Briefly about yourself

Akhmatova recalled learning to read from Leo Tolstoy's alphabet. At the age of five, listening to how the teacher worked with older children, she learned to speak French. In St. Petersburg, the future poetess found the "edge of the era" in which Pushkin lived; At the same time, she also remembered St. Petersburg "pre-tram, horse, equestrian, equestrian, rattling and grinding, hung from head to toe with signs." As N. Struve wrote, “The last great representative of the great Russian noble culture, Anna Akhmatova absorbed all this culture and turned it into music.”

She published her first poems in 1911 ("New Life", "Gaudeamus", "Apollo", "Russian Thought"). In her youth, she joined the Acmeists (collections Evening, 1912, Rosary, 1914). Characteristic features of Akhmatova's work include fidelity to the moral foundations of life, a subtle understanding of the psychology of feeling, understanding of the nationwide tragedies of the 20th century, associated with personal experiences, attraction to classic style poetic language.

The autobiographical poem "Requiem" (1935-1940; first published in Munich in 1963, in the USSR - in 1987) - one of the first poetry dedicated to the victims of the repressions of the 1930s.

"A Poem Without a Hero" (1940-1965, a relatively complete text was first published in the USSR in 1976) reflects Akhmatova's view of her contemporary era, from the Silver Age to the Great Patriotic War. The poem is of outstanding importance as an example of modern poetry and a unique historical canvas.

In addition to poetic works, Akhmatova wrote articles about the work of A. S. Pushkin and M. Yu. Lermontov, memoirs about contemporaries.

Beginning in 1922, Anna Akhmatova's books were censored. From 1925 to 1939 and from 1946 to 1955 her poetry was not published at all, except for poems from the cycle “Glory to the world!” (1950). According to an old friend of Akhmatova, Jozef Czapsky, her first, since 1914, trip abroad took place, most likely, only in 1964, to the Italian Taormina. Britannica specifies the first date - from 1912.

The first relatively complete and scientifically commented posthumous edition: Akhmatova A. Poems and Poems / Ed. V. M. Zhirmunsky. - L., 1976. - (Large series of the Poet's Library).

Akhmatova's poems have been translated into many languages ​​of the world.

Life and art

Anna Akhmatova with her husband N. S. Gumilyov and son Leo

• 1900-1905 - studied at the Tsarskoye Selo gymnasium, then a year in Evpatoria.
• 1906-1907 - studied at the Kyiv Fundukleevskaya gymnasium. Among the teachers - the future famous philosopher Gustav Shpet, mathematician Julius Kistyakovsky.
• 1908-1910 - studied at the Kyiv Higher Women's Courses and at the Higher Women's Historical and Literary Courses of N.P. Raeva in St. Petersburg. She wrote her first poem at the age of 11. Father forbade signing poems with a surname Gorenko, and she took the maiden name of her great-grandmother from the female line of Praskovya Fedoseevna Akhmatova(in marriage - Motovilova), who died in 1837. Praskovya Fedoseevna came from the old noble family of the princes Chagadaev, known from the 16th century, according to her father, from the old Tatar family of Akhmatovs, who became Russified in the 17th century.
• 1910 - in April she married Nikolai Gumilyov.
• 1910-1912 - was twice in Paris, traveled to Italy. The impressions from these trips, from meeting Amedeo Modigliani in Paris, had a noticeable influence on the work of the poetess.
• 1911 - the first publications under the name "Anna Akhmatova" (earlier, in 1907, under the signature "Anna G." Gumilyov published in Paris her poem "There are many brilliant rings on his hand ..." in the magazine Sirius he published. The magazine was not successful and almost immediately ceased to exist).
• 1912
  • in March, the first book was published - the collection "Evening", in the edition of the "Workshop of Poets" with a circulation of 300 copies.
  • in October, a son was born - Lev Nikolaevich Gumilyov.
• 1914 - for the first time in the spring, "The Rosary" was published by the publishing house "Hyperborey" in a considerable circulation of 1000 copies at that time. Until 1923, the book went through 8 more editions.
• 1917 - the third book, The White Flock, was published by the Hyperborea publishing house with a circulation of 2000 copies.
• 1918
  • in August, a divorce took place with Gumilyov.
  • married the Assyriologist and poet Vladimir Shileiko.
• 1921
  • in April, the publishing house "Petropolis" published the collection "Plantain" with a circulation of 1000 copies.
  • summer - broke up with V. K. Shileiko.
  • on the night of August 3-4, Nikolai Gumilev was arrested, and then, three weeks later, Nikolai Gumilyov was shot.
  • in October, the fifth book, Anno Domini MCMXXI (lat. In the summer of the Lord 1921), was published by the Petropolis publishing house.
• 1922 - became the wife, without official registration of marriage, art historian Nikolai Punin.
• From 1923 to 1934 it was practically not published. According to L. K. Chukovskaya (“Notes on Anna Akhmatova”), many poems of those years were lost during crossings and during evacuation. Akhmatova herself in the article “Briefly About Myself” in 1965 wrote:

“Since the mid-20s, my new poems have almost ceased to be printed, and the old ones have been reprinted.”

• 1924 - settled in the "Fountain House".
• June 8, 1926 - a divorce was filed with Vladimir Shileiko, who was about to enter into a second marriage with V. K. Andreeva. During the divorce, she officially received the surname Akhmatova for the first time (previously, according to the documents, she bore the surnames of her husbands).
• October 22, 1935 - Nikolai Punin and Lev Gumilyov were arrested and released a week later.
• 1938 - son Lev Gumilyov was arrested and sentenced to 5 years in labor camps.
  • broke up with Nikolai Punin.
• 1939 - admitted to the Union of Soviet Writers.
• 1935-1940 - the poem "Requiem" was written.
• 1940 - a new, sixth collection: "From six books."
• 1941 - met the war in Leningrad. On September 28, at the insistence of doctors, she was evacuated first to Moscow, then to Chistopol, not far from Kazan, and from there through Kazan to Tashkent. A collection of her poems was published in Tashkent.
• 1944 - On May 31, Anna Akhmatova was among the first to return from evacuation to Leningrad.
  • summer - a break in relations with Vladimir Garshin.
• 1946 - Decree of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines Zvezda and Leningrad dated August 14, 1946, in which the work of Anna Akhmatova and Mikhail Zoshchenko was sharply criticized. Both of them were expelled from the Union of Soviet Writers.

• 1949 - N. N. Punin was arrested on August 26, L. N. Gumilyov was arrested on November 6. Sentence - 10 years in labor camps. During all the years of her son's arrest, Anna Akhmatova did not stop trying to rescue him. Perhaps an attempt to demonstrate loyalty to the Soviet regime was the creation of a cycle of poems “Glory to the world!” (1950). Lydia Chukovskaya in Notes on Anna Akhmatova writes:

“The cycle “Glory to the World” (in fact, “Glory to Stalin”) was written by Akhmatova as a “petition to the highest name”. This is an act of desperation: Lev Nikolaevich was arrested again in 1949.

• 1951 - On January 19, at the suggestion of Alexander Fadeev, Anna Akhmatova was reinstated in the Union of Soviet Writers.
• 1954 - participated in the Second Congress of the Union of Soviet Writers in December.
• 1956
  • On July 7, she was awarded the Honorary Diploma of Armenia.
  • Lev Gumilyov, rehabilitated after the XX Congress of the CPSU, returned from prison, mistakenly believing that his mother did not make enough efforts to release him. But on April 24, 1950, Akhmatova wrote a letter to Stalin asking him to release her son, which remained unanswered, and on July 14, 1950, USSR Minister of State Security V. S. Abakumov sent Stalin a memorandum “On the need to arrest the poetess Akhmatova”; from that time on, relations between mother and son were strained.

• 1958 - the collection "Poems" was released
• 1962 - completed "A Poem without a Hero", on which she worked for twenty-two years.
• 1964 - in Italy she received the Etna-Taormina award.
• 1965
  • trip to England to receive an honorary doctorate from Oxford University.
  • The collection "The Run of Time" was published.
• 1966
  • March 5 - died in a sanatorium in Domodedovo (Moscow region).
  • March 7 - at 22:00, the All-Union Radio broadcast a message about the death of the outstanding poetess Anna Akhmatova.
  • On March 9, the coffin was delivered from Moscow to Leningrad. On the morning of March 10, 1966, the funeral service was first performed in the lower church of St. Nicholas Cathedral, and at about 3 p.m., a civil memorial service was held at the House of Writers on Voinova Street in the former mansion of A. D. Sheremetev. She was buried on the same day in the village of Komarovo near Leningrad. The authorities planned to install a pyramid typical for the USSR on the grave, but Lev Gumilyov, together with his students, built a monument to his mother on his own, collecting stones where he could, and laying out a wall as a symbol of the “Crosses” wall, under which stood his mother with the transfers to her son. Initially, there was a niche in the wall, similar to a prison window, later this “embrasure” was covered with a bas-relief with a portrait of the poetess. The cross, as Anna Akhmatova bequeathed, was originally made of wood. In 1969, a bas-relief and a cross were installed on the grave according to the project of the sculptor A. M. Ignatiev and the architect V. P. Smirnov.

Decree of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad”

Akhmatova is a typical representative of empty, unprincipled poetry, alien to our people. Her poems, imbued with the spirit of pessimism and decadence, expressing the tastes of the old salon poetry, frozen in the positions of bourgeois-aristocratic aestheticism and decadence, “art for art’s sake”, which does not want to keep pace with its people, harm the cause of educating our youth and cannot be tolerable in Soviet literature.

Member of the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks A. A. Zhdanov August 15-16, 1946 from the reports (generalized transcript):

<…>Not a nun, not a harlot, but rather a harlot and a nun, in whom fornication is mixed with prayer.<…>Such is Akhmatova with her small, narrow personal life, insignificant experiences and religious-mystical eroticism. Akhmatov's poetry is completely far from the people. This is the poetry of ten thousand upper old noble Russia, doomed<…>

According to K. Simonov, “the choice of a sight for striking at Akhmatova and Zoshchenko was connected not so much with themselves, but with that dizzying, partly demonstrative triumph, in the atmosphere of which Akhmatova’s performances in Moscow proceeded,<…>and with that emphatically authoritative position that Zoshchenko occupied after returning to Leningrad.

The decision was canceled as erroneous at a meeting of the Politburo of the Central Committee of the CPSU on October 20, 1988.

Addresses

Odessa

• 1889 - was born at the 11 ½ station of the Bolshoi Fountain in a country house rented by her family. Current address: Fontanskaya road, 78.

Sevastopol

• 1896-1916 - visited her grandfather (Lenin St., 8)

St. Petersburg - Petrograd - Leningrad

The whole conscious life of A. A. Akhmatova was connected with St. Petersburg. She began to write poetry in her gymnasium years, at the Tsarskoye Selo Mariinsky Gymnasium, where she studied. The building has been preserved (2005), this is house 17 on Leontievskaya street.

• 1910-1912 - Tsarskoye Selo, Malaya Street, house number 64. They live with Gumilyov's mother (the house has not been preserved, now it is a section of house number 57 on Malaya Street). The house stood opposite the building of the Nikolaev men's classical gymnasium;
• 1912-1914 - Tuchkov lane, house 17, apt. 29; lived with Nikolai Gumilyov. From Akhmatov's poems you can guess this address:

... I am quiet, cheerful, lived
On a low island that's like a raft
Stopped in the lush Neva Delta
Oh, mysterious winter days,
And sweet work, and slight fatigue,
And roses in the wash-pot!
The lane was snowy and short,
And against the door to us the wall of the altar
The church of St. Catherine was erected.

Gumilyov and Akhmatova affectionately called their small cozy home “Cloud”. They lived then in apartment 29 of house number 17. It was one room with windows on the alley. The lane led to the Malaya Neva ... This is Gumilyov's first independent address in St. Petersburg, before that he lived with his parents. In 1912, when they settled on the Cloud, Anna Andreevna published her first book of poems, Evening. Having already declared herself a poetess, she went to sessions in Altman's workshop, which was located nearby, on Tuchkova Embankment.

Anna Andreevna will leave here. And in the fall of 1913, leaving his son in the care of Gumilyov's mother, he would return here, to the "Cloud", to continue to work on the "snowy and short lane." From "Clouds" she leads Nikolai Stepanovich to the theater of operations of the First World War. He will come on vacation and stop no longer at the "Cloud", but at the Fifth Line, 10, in Shileiko's apartment.

• 1914-1917 - Tuchkova embankment, 20, apt. 29;
• 1915 - Bolshaya Pushkarskaya, 3. In April - May 1915, she rented a room in this house; it is mentioned in her notes that she called this house "Pagoda".
• 1917-1918 - apartment of Vyacheslav and Valeria Sreznevsky - Botkinskaya street, 9 (now - house 17);
• 1919-1921 - Shileiko's apartment - the northern wing of house number 34 on the Fontanka embankment (aka the Sheremetyev Palace or the "Fountain House");
• 1919-1920 - Khalturin street, 5; a two-room corner apartment on the second floor of a service building on the corner of Millionnaya Street and Square;
• spring 1921 - the mansion of E. N. Naryshkina - Sergievskaya street, 7, apt. 12; and then house number 18 on the Fontanka embankment, the apartment of a friend of O. A. Glebova-Sudeikina;
• 1921 - sanatorium - Detskoye Selo, Kolpinskaya street, 1;
• 1922-1923 - tenement house- Kazanskaya street, 4;
• late 1923 - early 1924 - Kazanskaya street, 3;
• summer - autumn 1924-1925 - embankment of the Fontanka River, 2; the house stands opposite the Summer Garden at the source of the Fontanka, which flows from the Neva;
• autumn 1924 - February 1952 - the southern courtyard wing of the palace of D. N. Sheremetev (N. N. Punin's apartment) - embankment of the Fontanka River, 34, apt. 44 ("Fountain House"). Guests of Akhmatova were supposed to receive passes at the entrance of the Institute of the Arctic and Antarctic, which at that time was located there; Akhmatova herself had a permanent pass with the stamp of the Northern Sea Route, where the column “position” indicated “tenant”;
• summer 1944 - Kutuzov Embankment, fourth floor of building No. 12, Rybakov's apartment, during the renovation of an apartment in the Fountain House;
• February 1952-1961 - tenement house - Krasnaya Konnitsa street, 4, apt. 3;
• The last years of his life house number 34 on Lenin Street, where apartments were provided to many poets, writers, literary critics, critics;

Moscow

Arriving in Moscow in 1938-1966, Anna Akhmatova stayed with the writer Viktor Ardov, whose apartment was located at Bolshaya Ordynka, 17, building 1. Here she lived and worked for a long time, and here in June 1941 she first met Marina Tsvetaeva.

Tashkent

• 1941, November - st. Karl Marx, d. 7.
• 1942-1944, March - st. V. I. Zhukovsky (in the 2000s it was renamed Sadyk Azimov Street), 54. In 1966, the house was destroyed by the Tashkent earthquake.

Komarovo

In 1955, when Akhmatova's poems began to appear again in print. The Literary Fund provided her in the village of Komarovo on Osipenko Street, 3 small house, which she herself called "The Booth". The dacha has become a center of attraction for the creative intelligentsia. Dmitry Likhachev, Lidia Chukovskaya, Faina Ranevskaya, Natan Altman, Alexander Prokofiev, Mark Ermler and many others have been here. Young poets also came: Anatoly Naiman, Evgeny Rein, Dmitry Bobyshev, Joseph Brodsky.

While the “booth” was being equipped in 1955, Anna Andreevna lived with her friends Gitovichi at 2nd Dachnaya St., 36.

In 2004 the cottage was restored. In 2008, the building was robbed (no robbery attempts had been recorded before).

In 2013, on June 22 (the next Saturday to his birthday), on Osipenko Street, next to the famous "Budka", where Anna Andreevna lived, the 8th traditional literary and musical evening in memory of the poet took place. Organizers - prose writer and poet Anatoly Naiman and the administration of the municipality of the village. Komarovo.

Akhmatova Readings
in 2013

The sign on the "Booth"

"Booth"

room window
Anna Akhmatova
in "Budka"

portraits

The first (not counting Modigliani's drawings of 1911) graphic portrait of Akhmatova was made by S. A. Sorin (Petersburg, 1913, according to other sources: 1914).

Known for the picturesque portrait of Anna Akhmatova, painted by K. S. Petrov-Vodkin in 1922.

N. I. Altman in 1914 painted a portrait of Anna Andreevna Akhmatova. The artist O. L. Della-Vos-Kardovskaya wrote about Altman’s work: “The portrait, in my opinion, is too scary. Akhmatova there is some kind of green, bony, with cubic planes on her face and background, but behind all this she looks like, looks terribly, somehow disgusting in some negative sense ... ”The artist’s daughter, E. D. Kardovskaya, believes that: “But no matter how much I like the artistic side of Akhmatova’s portrait by my mother, I still think that Akhmatova is the way her friends knew her - poets, admirers of those years, Akhmatova is “clearly” conveyed not in this portrait, but on portrait by Altman.

Akhmatova was painted and painted by many artists, including Amedeo Modigliani (1911; the most beloved portrait of Akhmatova, who was always in her room), N. Ya. Danko (sculptural portraits, 1924, 1926), T. N. Glebova (1934), V. Milashevsky (1921), Yu. Annenkov (1921), L. A. Bruni (1922), N. Tyrsa (1928), G. Vereisky (1929), N. Kogan (1930), B. V. Anrep ( 1952), G. Nemenova (1960-1963), A. Tyshler (1943). Less well known are her lifetime silhouettes, created by S. B. Rudakov in 1936 in Voronezh.

Anna Akhmatova in a drawing by Modigliani. 1911

N. Altman. Portrait of A. A. Akhmatova, 1914. Russian Museum

Portrait of Akhmatova by Olga Kardovskaya, 1914

Portrait of Akhmatova on a postage stamp of Kazakhstan, 2014

Memory

• There are streets named after A. Akhmatova in Pushkin (Akhmatova street), Kaliningrad, Odessa, Kyiv, Donetsk, Tashkent, Moscow, Tyumen, Astrakhan and Maykop, there is Akhmatova lane in Evpatoria (Republic of Crimea).,
• Monument to Akhmatova in the city of Taormina (Sicily, Italy).
• Akhmatova evenings-meetings, evenings of memory dedicated to the birthday of Anna Andreevna - June 25 - have become a tradition in the village of Komarovo. Held on the weekend closest to the date on the threshold of the famous "Budka", where Akhmatova lived
• On November 25, 2011, the premiere of the musical performance "Memory of the Sun" dedicated to Anna Akhmatova took place at the Moscow International House of Music. The performance was created by singer Nina Shatskaya and actress Olga Kabo.
• On July 17, 2007, a memorial plaque was unveiled on the wall of an old mansion in Kolomna in memory of A. Akhmatova’s visit to the city on July 16, 1936, who lived that summer not far from the Shervinskys’ dacha on the banks of the Oka, on the outskirts of the village of Cherkizova. Anna Andreevna dedicated the poem “Under Kolomna” to Shervinsky.
• The motor ship "Anna Akhmatova" runs along the Moscow River. Also, the double-deck passenger ship of project 305 "Danube", built in 1959 in Hungary (former name "Vladimir Monomakh"), is named after Akhmatova.
• At the Crimean Astrophysical Observatory, astronomers L. G. Karachkina and L. V. Zhuravleva named the minor planet they discovered on October 14, 1982, (3067) Akhmatova. The Akhmatova crater on Venus is also named after Anna Akhmatova.

Monuments, museums

Marble bas-relief at the 11 ½ station of the Big Fountain in Odessa

Museum "Anna Akhmatova. Silver Age".
St. Petersburg, Avtovskaya st., 14

Memorial plaque in memory of A. A. Akhmatova's visit to Kolomna

Bezhetsk

In the city of Bezhetsk, where the son of Anna Andreevna Akhmatova, Lev Nikolaevich Gumilyov, spent his childhood, a sculptural composition dedicated to A. A. Akhmatova, N. S. Gumilyov and L. N. Gumilyov was installed.

Kyiv

On the 128th anniversary of the birth of Anna Akhmatova, on June 23, 2017, a monument to the poetess was opened in the Mariinsky Park in Kyiv. The author of the monument is the sculptor Alexander Stelmashenko. It took about two years to make the sculpture. The monument captures the famous profile of Akhmatova, her recognizable bangs and elegance. The height of the statue is almost four and a half meters.

The location of the monument is not accidental. One day, while walking with her sister and nanny near the Mariinsky Palace, little Anya found a pin in the shape of a lyre. The nanny then said to Anya: "That means you will become a poet."

Moscow

On the wall of the house where Anna Akhmatova stayed when she came to Moscow (Bolshaya Ordynka Street, 17, building 1, Viktor Ardov's apartment), there is a memorial plaque; in the courtyard there is a monument made according to a drawing by Amadeo Modigliani. In 2011, an initiative group of Muscovites, headed by Alexei Batalov and Mikhail Ardov, came up with a proposal to open an apartment-museum of Anna Akhmatova here.

Memorial plaque to A. A. Akhmatova in Moscow at st. Bolshaya Ordynka, 17

Odessa

In Odessa, at the beginning of the alley leading to the place where the house where the poetess was born was located, in the mid-80s of the XX century, her memorial bas-relief and a cast-iron bench were installed (stolen by vandals in the mid-1990s, later replaced by marble).

Monument "Silver Age" - a sculptural portrait of the poets Marina Tsvetaeva and Anna Akhmatova. Opened in April 2013.

St. Petersburg

In St. Petersburg, monuments to Akhmatova were erected in the courtyard of the philological faculty of the State University and in the garden in front of the school on Vosstaniya Street.

On March 5, 2006, on the 40th anniversary of the death of the poet, the third monument to Anna Akhmatova by the St. Petersburg sculptor Vyacheslav Bukhaev was unveiled in the garden of the Fountain House (a gift to the museum of Nikolai Nagorsky) and the "Bench of informers" (Vyacheslav Bukhaev) was installed - in memory of surveillance of Akhmatova in the autumn of 1946. On the bench is a sign with the quote:

Someone came to me and offered 1 month<яц>not to leave the house, but to go up to the window so that I could be seen from the garden. A bench was set up in the garden under my window, and agents were on duty around the clock.

In the Fountain House, where the literary and memorial museum of Akhmatova is located, she lived for 30 years, and called the garden near the house "magic". According to her, “Shadows of St. Petersburg history come here” The bench of informers in the garden of the Fountain House. Architect V. B. Bukhaev. 2006

Monument on the Voskresenskaya embankment, opposite the Crosses. 2006

In December 2006, a monument to Anna Akhmatova was opened in St. Petersburg, located across the Neva from the Kresty detention center, where she bequeathed to put it. In 1997, it was planned to lay out Akhmatovsky Square in this place, but the plans were not destined to come true.

In 2013, a monument to Anna Akhmatova, located at the entrance to the Tsarskoye Selo gymnasium of arts named after her, was unveiled in Pushkin near house No. 17B on Leontyevskaya Street. The author of the monument is the St. Petersburg sculptor Vladimir Gorevoy.

Tashkent

At the end of 1999, in Tashkent, with the participation of the Russian Cultural Center of Uzbekistan, the club-museum "Mangalochy Yard" was opened, the name of which was given by one of the first poetic lines of Akhmatova, written upon arrival in the evacuation from Leningrad in the winter of 1942. The club-museum is located in the Palace of Culture of Tractor Builders.

Cinema

On March 10, 1966, shootings of the funeral service, civil memorial service and funeral of Anna Akhmatova were carried out in Leningrad, unauthorized by the authorities. The organizer of these shootings is the director S. D. Aranovich. He was assisted by cameraman A.D. Shafran, assistant cameraman V.A. Petrov and others. In 1989, the footage was used by S. D. Aranovich in the documentary "The Personal File of Anna Akhmatova"

In 2007, the biographical series "Moon at Zenith" was filmed based on Akhmatova's unfinished play "Prologue, or Dream in a Dream." leading role- Svetlana Kryuchkova. The role of Akhmatova in dreams is played by Svetlana Svirko.

In 2012, the series “Anna German. The Secret of the White Angel. In an episode of the series depicting the life of the singer's family in Tashkent, the meeting of Anna's mother with the poetess was shown. In the role of Anna Akhmatova - Yulia Rutberg.

Bibliography

Lifetime editions

• Anna Akhmatova. "Evening" 1912.
• Anna Akhmatova. "Rosary" 1914-1923 - 9 editions.
• Anna Akhmatova. "White Pack" 1917, 1918, 1922

Anna Akhmatova. By the very sea. Poem. Alkonost. 1921

• Anna Akhmatova. "Plantain" 1921.
• Anna Akhmatova. "Anno Domini MCMXXI" ed. "Petropolis", P., 1922; Berlin, 1923
• Anna Akhmatova. Of six books. L. 1940.
• Anna Akhmatova. Favorites. Poems. Tashkent. 1943.
• Anna Akhmatova. Poems. M. GIKHL, 1958.
• Anna Akhmatova. Poems. 1909-1960. M. 1961.
• Anna Akhmatova. Requiem. Tel Aviv. 1963. (without the knowledge of the author)
• Anna Akhmatova. Requiem. Munich. 1963.
• Anna Akhmatova. The run of time. M.-L. 1965.

Major posthumous editions

• Akhmatova A. Favorites / Comp. and intro. Art. N. Bannikova. - M.: Fiction, 1974.
• Akhmatova A. Poetry and prose / Comp. B. G. Druyan; intro. article by D. T. Khrenkov; prepared texts by E. G. Gershtein and B. G. Druyan. - L.: Lenizdat, 1977. - 616 p.
• Akhmatova A. Poems and poems / Compiled, prepared text and notes by V. M. Zhirmunsky. - L.: Sov writer, 1976. - 558 p. Circulation 40,000 copies. - (Library of the poet. Large series. Second edition)
• Akhmatova A. Poems / Comp. and intro. Art. N. Bannikova. - M.: Sov. Russia, 1977. - 528 p. - (Poetic Russia)
• Akhmatova A. Poems and poems / Comp., entry. st., note. A. S. Kryukova. - Voronezh: Central-Chernozem. book. publishing house, 1990. - 543 p.
• Akhmatova A. Works: In 2 vols. / Comp. and preparation of the text by M. M. Kralin. - M.: Pravda, 1990. - 448 + 432 p.
• Akhmatova A. Collected works: In 6 vols. / Comp. and preparation of the text by N. V. Koroleva. - M.: Ellis Luck, 1998-2002.
• Akhmatova A. Notebooks. 1958-1966. - M. - Torino: Einaudi, 1996.

Musical works

• Opera "Akhmatova", premiere in Paris at the Bastille Opéra (Opéra Bastille) March 28, 2011. Music by Bruno Mantovani, libretto by Christophe Ghristi
• "Rosary": vocal cycle by A. Lurie, 1914
• “Five poems by A. Akhmatova”, vocal cycle by S. S. Prokofiev, Op. 27, 1916 (No. 1 "The sun filled the room"; No. 2 "Real tenderness ..."; No. 3 "Memory of the sun ..."; No. 4 "Hello!"; No. 5 "Gray-eyed king")
• "Venice" is a song from the album Masquerade by Caprice, dedicated to the poets of the Silver Age. 2010
• "Anna": ballet-mono-opera in two acts (music and libretto - Elena Poplyanova. 2012)
• "White Stone" - vocal cycle by M. M. Chistova. 2003
• “Sorceress” (“No, Tsarevich, I’m not the one ...”) (music - Zlata Razdolina), performer - Nina Shatskaya (Video Sorceress - Nina Shatskaya)
• "Confusion" (music - David Tukhmanov, performer - Lyudmila Barykina, album "On the Wave of My Memory", 1976)
• “I stopped smiling” (music and performer - Alexander Matyukhin)
• “My heart beats”, poem “I see, I see a moon bow” (music - Vladimir Evzerov, performer - Aziza)
• “Instead of wisdom - experience, insipid” (music and performer - Alexander Matyukhin)
• “The culprit”, the poem “And in August the jasmine bloomed” (music - Vladimir Evzerov, performer - Valery Leontiev)
• “Dear traveler”, poem “Dear traveler, you are far away” (performer - “Surganova and the Orchestra”)
• “Ah, I didn’t lock the door” (music and performer - Alexander Matyukhin)
• "Loneliness" (music -?, performer - trio "Meridian")
• "The Gray-Eyed King" (music and performer - Alexander Vertinsky)
• “It would be better for me to call ditties provocatively” (music and performer - Alexander Vertinsky)
• "Confusion" (music - David Tukhmanov, performer - Irina Allegrova)
• “As simple courtesy dictates” (music and performer - Alexander Matyukhin)
• "I've gone crazy, oh strange boy" (music - Vladimir Davydenko, performer - Karina Gabriel, song from the television series "Captain's Children")
• "The Gray-Eyed King" (music and performer - Alexander Matyukhin)
• "That Night" (music - V. Evzerov, performer - Valery Leontiev)
• "Confusion" (music and performer - Alexander Matyukhin)
• "Shepherd", poem "Above the Water" (music - N. Andrianov, performer - Russian folk-metal group "Kalevala")
• “I didn’t cover the window” (music and performer - Alexander Matyukhin)
• "Above the Water", "Garden" (music and performer - Andrey Vinogradov)
• “You are my letter, dear, do not crumple” (music and performer - Alexander Matyukhin)
• “Oh, life without tomorrow” (music - Alexey Rybnikov, performer - Diana Polentova)
• “Love conquers deceitfully” (music and performer - Alexander Matyukhin)
• “Do not return” (music - David Tukhmanov, performer - Lyudmila Gurchenko)
• "Requiem" (music by Zlata Razdolin, performer Nina Shatskaya) Video Fragment of "Requiem" - Nina Shatskaya
• "Requiem" (music - Vladimir Dashkevich, performer - Elena Kamburova)
• "Requiem" for soprano, choir and orchestra (music - Elena Firsova, performers - Claudia Barainsky, conductor Vasily Sinaisky)
• "Grey-eyed king" (music and performer - Lola Tatlyan) Video "Madrigal" (Gray-eyed king)
• “Pipe”, poem “Above the Water” (music - V. Malezhik, performer - Russian ethno-pop singer Varvara)
• “Come see me” (music by V. Bibergan, performer - Elena Kamburova)

Anna Akhmatova.
North Star

Biography

Text: Vitaly Wolf. Recording: Serafima Chebotar.
Magazine "L" Officiel "Russian edition. No. 44 February 2003.

She was called the "Northern Star", although she was born on the Black Sea. She lived a long and very rich life in which there were wars, revolutions, losses and very little simple happiness. All of Russia knew her, but there were times when even her name was forbidden to be mentioned. great poet with a Russian soul and a Tatar surname - Anna Akhmatova.

The one whom all of Russia later recognizes under the name of Anna Akhmatova was born on June 11 (24), 1889 in the suburbs of Odessa, Bolshoi Fontan. Her father, Andrei Antonovich Gorenko, was a marine engineer, her mother, Inna Erazmovna, devoted herself to her children, of whom there were six in the family: Andrei, Inna, Anna, Iya, Irina (Rika) and Viktor. Rika died of tuberculosis when Anya was five years old. Rika lived with her aunt, and her death was kept secret from the rest of the children. Nevertheless, Anya felt what happened - and as she later said, this death lay like a shadow through her entire childhood.
When Anya was eleven months old, the family moved north: first to Pavlovsk, then to Tsarskoye Selo. But every summer was invariably spent on the Black Sea coast. Anya was an excellent swimmer - according to her brother, she swam like a bird.
Anya grew up in an atmosphere rather unusual for a future poet: there were almost no books in the house, except for the thick volume of Nekrasov, which Anya was allowed to read during the holidays. Mother had a taste for poetry: she recited poems by Nekrasov and Derzhavin to children by heart, she knew a lot of them. But for some reason, everyone was sure that Anya would become a poetess - even before she wrote the first line of poetry.
Anya began to speak French quite early - she learned by watching the classes of older children. At the age of ten she entered the gymnasium in Tsarskoye Selo. A few months later, Anya fell seriously ill: she lay unconscious for a week; thought she would not survive. When she came to, she remained deaf for some time. Later, one of the doctors suggested that this was smallpox - which, however, left no visible traces. The trace remained in the soul: it was from then that Anya began to write poetry.
Anya's closest friend in Tsarskoe Selo was Valeria Tyulpanova (married Sreznevskaya), whose family lived in the same house as Gorenko. On Christmas Eve 1903, Anya and Valya met Sergey's acquaintances, Valya's brother, Mitya and Kolya Gumilev, who shared a music teacher with Sergey. The Gumilyovs saw the girls home, and if this meeting did not make any impression on Valya and Anya, then for Nikolai Gumilyov that day began his very first - and most passionate, deep and long feeling. He fell in love with Anya at first sight.
She struck him not only with her extraordinary appearance - but Anya was beautiful with a very unusual, mysterious, bewitching beauty that immediately attracted attention: tall, slender, with long thick black hair, beautiful white hands, with radiant gray eyes on an almost white face, her profile was reminiscent of antique cameos. Anya stunned him with her complete dissimilarity to everything that surrounded them in Tsarskoye Selo. For ten whole years, she occupied the main place in the life of Gumilyov and in his work.
Kolya Gumilyov , only three years older than Ani, even then he was aware of himself as a poet, was an ardent admirer of the French symbolists. He hid self-doubt behind arrogance, tried to compensate for external ugliness with mystery, did not like to yield to anyone in anything. Gumilyov asserted himself, consciously building his life according to a certain pattern, and fatal, unrequited love for an extraordinary, impregnable beauty was one of the necessary attributes of his chosen life scenario.
He bombarded Anya with poems, tried to impress her imagination with various spectacular follies - for example, on her birthday he brought her a bouquet of flowers plucked under the windows of the imperial palace. On Easter 1905, he tried to commit suicide - and Anya was so shocked and frightened by this that she stopped seeing him.
In the same year, Anya's parents broke up. The father, having retired, settled in St. Petersburg, and the mother and children left for Evpatoria. Anya had to urgently prepare for admission to the last class of the gymnasium - due to moving, she was far behind. Classes were brightened up by the fact that a romance broke out between her and the tutor - the first in her life, passionate, tragic - as soon as everything became known, the teachers immediately calculated - and far from the last.
In the spring of 1906, Anya entered the Kyiv gymnasium. For the summer, she returned to Evpatoria, where Gumilev called on her - on the way to Paris. They reconciled and corresponded all winter while Anya was studying in Kyiv.
In Paris, Gumilyov took part in the publication of a small literary almanac "Sirius", where he published one poem by Anya. Her father, having learned about his daughter's poetic experiences, asked not to shame his name. “I don’t need your name,” she replied and took the name of her great-grandmother, Praskovya Fedoseevna, whose family descended from the Tatar Khan Akhmat. So the name of Anna Akhmatova appeared in Russian literature.
Anya herself took her first publication completely lightly, believing that an eclipse had "found an eclipse" on Gumilyov. Gumilyov also did not take the poetry of his beloved seriously - he appreciated her poems only a few years later. When he first heard her poems, Gumilyov said: "Maybe you'd better dance? You're flexible..."
Gumilyov constantly came from Paris to visit her, and in the summer, when Anya and her mother lived in Sevastopol, he settled in a neighboring house in order to be closer to them.
Returning to Paris, Gumilyov first goes to Normandy - he was even arrested for vagrancy, and in December he again tries to commit suicide. A day later, he was found unconscious in the Bois de Boulogne...
In the autumn of 1907, Anna entered the law faculty of the Higher Women's Courses in Kyiv - she was attracted by the history of law and Latin. In April of the following year, Gumilev, having stopped in Kyiv on his way from Paris, again unsuccessfully makes her an offer. The next meeting was in the summer of 1908, when Anya arrived in Tsarskoe Selo, and then - when Gumilyov, on his way to Egypt, stopped in Kyiv. In Cairo, in the garden of Ezbekiye, he made one more, last, suicide attempt. After this incident, the thought of suicide became hateful to him.
In May 1909, Gumilyov came to Anya in Lustdorf, where she then lived, caring for her sick mother, and was again refused. But in November, she suddenly - unexpectedly - gave in to his persuasion. They met in Kyiv at the artistic evening "Island of Arts". Until the end of the evening, Gumilyov did not leave Ani for a single step - and she finally agreed to become his wife.
Nevertheless, as Valeria Sreznevskaya notes in her memoirs, at that time Gumilyov was far from the first role in the heart of Akhmatova. Anya was still in love with that same tutor, St. Petersburg student Vladimir Golenishchev-Kutuzov - although he had not made himself felt for a long time. But agreeing to marry Gumilyov, she accepted him not as love - but as her Destiny.
They got married on April 25, 1910 in Nikolskaya Slobodka near Kyiv. Akhmatova's relatives considered the marriage obviously doomed to failure - and none of them came to the wedding, which deeply offended her.
After the wedding, the Gumilevs left for Paris. Here she meets Amedeo Modigliani - then an unknown artist who makes many portraits of her. Only one of them survived - the rest died in the blockade. Something similar to an affair even begins between them - but as Akhmatova herself recalls, they had too little time for anything serious to happen.
At the end of June 1910, the Gumilyovs returned to Russia and settled in Tsarskoye Selo. Gumilyov introduced Anna to his poet friends. As one of them recalls, when it became known about Gumilev's marriage, at first no one knew who the bride was. Then they found out: an ordinary woman ... That is, not a black woman, not an Arab, not even a Frenchwoman, as one might expect, knowing Gumilyov's exotic predilections. Having met Anna, we realized - an extraordinary ...
No matter how strong the feelings were, no matter how stubborn the courtship was, but soon after the wedding, Gumilyov began to be burdened by family ties. On September 25, he again leaves for Abyssinia. Akhmatova, left to herself, plunged headlong into poetry. When Gumilyov returned to Russia at the end of March 1911, he asked his wife, who met him at the station: "Did you write?" she nodded. "Then read!" - and Anya showed him what she had written. He said, "Good." And since that time began to treat her work with great respect.
In the spring of 1911, the Gumilyovs again went to Paris, then spent the summer at the estate of Gumilyov's mother, Slepnevo, near Bezhetsk in the Tver province.
In the autumn, when the couple returned to Tsarskoe Selo, Gumilyov and his comrades decided to organize an association of young poets, calling it the "Poets' Workshop". Soon Gumilyov, on the basis of the Workshop, founded the movement of acmeism, opposed to symbolism. There were six followers of acmeism: Gumilyov, Osip Mandelstam, Sergei Gorodetsky, Anna Akhmatova, Mikhail Zenkevich and Vladimir Narbut.
The term "acmeism" comes from the Greek "acme" - the peak, the highest degree of perfection. But many noted the consonance of the name of the new movement with the name of Akhmatova.
In the spring of 1912, the first collection of Akhmatova's "Evening" was published, with a circulation of only 300 copies. Criticism met him very favorably. Many of the poems in this collection were written during Gumilyov's travels in Africa. The young poetess became very famous. Glory literally fell upon her. They tried to imitate her - many poetesses appeared who wrote poems "under Akhmatova" - they began to be called "podakhmatovki". In a short time, Akhmatova from a simple, eccentric, laughing girl became that majestic, proud, regal Akhmatova, who was remembered by everyone who knew her. And after her portraits began to be published in magazines - and they painted her a lot, and many - they began to imitate her appearance: the famous bangs and "false classic" shawl appeared in every second.
In the spring of 1912, when the Gumilyovs went on a trip to Italy and Switzerland, Anna was already pregnant. She spends the summer with her mother, and Gumilev - in Slepnev.
The son of Akhmatova and Gumilyov, Lev, was born on October 1, 1912. Almost immediately, Nikolai's mother, Anna Ivanovna, took him to her place, and Anya did not resist too much. As a result, Leva lived with his grandmother for almost sixteen years, seeing his parents only occasionally ...
Already a few months after the birth of his son, in the early spring of 1913, Gumilyov went to his last trip in Africa - as head of an expedition organized by the Academy of Sciences.
In his absence, Anna leads an active social life. A recognized beauty, an adored poet, she literally bathes in glory. Artists draw her, her fellow poets dedicate poems to her, she is overwhelmed by fans...
At the beginning of 1914, the second collection of Akhmatova's Rosary was published. Although critics took it somewhat cool - Akhmatova was blamed for the fact that she repeats herself - the collection was a resounding success. Even despite the wartime, it was reprinted four times.
Akhmatova was universally recognized as one of the greatest poets of that time. She was constantly surrounded by crowds of admirers. Gumilyov even told her: "Anya, more than five is indecent!" She was worshiped for talent, and for intelligence, and for beauty. She was friends with Blok, an affair with which she was stubbornly attributed (the reason for this was the exchange of poems that were published), with Mandelstam (who was not only one of her closest friends, but in those years tried to court her - however, unsuccessfully) , Pasternak (according to her, Pasternak proposed to her seven times, although he was not truly in love). One of the closest people to her then was Nikolai Nedobrovo, who wrote an article about her work in 1915, which Akhmatova herself considered the best of what had been written about her in her entire life. Nedobrovo was desperately in love with Akhmatova.
In 1914, Nedobrovo introduced Akhmatova to his best friend, poet and artist Boris Anrep. Anrep, who lived and studied in Europe, returned to his homeland to participate in the war. A stormy romance began between them, and soon Boris ousted Nedobrovo both from her heart and from her poems. Nedobrovo took this very hard and broke up with Anrep forever. Although Anna and Boris rarely managed to meet, this love was one of the strongest in Akhmatova's life. Before the final departure to the front, Boris presented her with a throne cross, which he found in a destroyed church in Galicia.
Gumilyov also left for the front. In the spring of 1915, he was wounded, and Akhmatova constantly visited him in the hospital. She spent the summer, as usual, in Slepnev - there she wrote most of the poems for the next collection. Her father died in August. By this time, she herself was seriously ill - tuberculosis. Doctors advised her to immediately leave for the south. She lives in Sevastopol for some time, visits Nedobrovo in Bakhchisarai - as it turned out, this was their last meeting; in 1919 he died. In December, doctors allowed Akhmatova to return to St. Petersburg, where she again continues to meet with Anrep. Meetings were rare, but Anna in love waited all the more for them.
In 1916, Boris left for England - he was going for a month and a half, stayed for a year and a half. Before leaving, he visited Nedobrovo with his wife, who then had Akhmatova. They said goodbye and he left. In parting, they exchanged rings. He returned the day before February Revolution. A month later, Boris, at the risk of his life, under bullets, crossed the Neva ice - to tell Anna that he was leaving for England forever.
Over the following years, she received only a few letters from him. In England, Anrep became known as a mosaic artist. On one of his mosaics, he depicted Anna - he chose her as a model for the figure of compassion. The next time - and the last - they saw each other only in 1965, in Paris.
Most of the poems from the collection The White Flock, published in 1917, are dedicated to Boris Anrep.
Meanwhile, Gumilyov, although he is at the front - for his valor he was awarded the St. George Cross - leads an active literary life. He publishes a lot, constantly delivers critical articles. In the summer of the 17th, he ended up in London, and then in Paris. Gumilyov returned to Russia in April 1918.
The next day, Akhmatova asked him for a divorce, saying that she was marrying Vladimir Shileiko.
Vladimir Kazimirovich Shileiko He was a renowned Assyrologist and poet. The fact that Akhmatova would marry this ugly, completely unsuitable for life, insanely jealous person was a complete surprise to everyone who knew her. As she later said, she was attracted by the opportunity to be useful to a great man, and also by the fact that there would be no rivalry with Shileiko that she had with Gumilyov. Akhmatova, having moved to him in the Fountain House, completely subordinated herself to his will: for hours she wrote his translations of Assyrian texts under his dictation, cooked for him, chopped firewood, made translations for him. He literally kept her under lock and key, not allowing her to go anywhere, forced her to burn all the letters received unopened, and did not allow her to write poetry.
Her friend, the composer, helped her Arthur Lurie with whom she became friends in 1914. Under his leadership, Shileiko, as if to treat sciatica, was taken to the hospital, where they were kept for a month. During this time, Akhmatova entered the service in the library of the Agronomic Institute - they gave firewood and a government apartment. When Shileiko was released from the hospital, Akhmatova invited him to move in with her. There, Akhmatova herself was already the mistress, and Shileiko calmed down. They finally parted in the summer of 1921.
Then one funny circumstance was discovered: when Akhmatova moved in with him, Shileiko promised to formalize their marriage himself - good, then you just had to make an entry in the house book. And when they got divorced, Lurie, at the request of Akhmatova, went to the house committee to cancel the record - and it turned out that she never happened.
Many years later, she laughingly explained the reasons for this absurd union: "It's all Gumilyov and Lozinsky, they repeated in one voice - an Assyrian, an Egyptian! Well, I agreed."
From Shileiko Akhmatova moved to her old friend, dancer Olga Glebova-Sudeikina - the ex-wife of the artist Sergei Sudeikin, one of the founders of the famous Stray Dog, whose star was the beautiful Olga. Lurie, whom Akhmatova resigned for being frivolous, became friends with Olga, and soon they left for Paris.
In August 1921, Alexander Blok died. At his funeral, Akhmatova learned terrible news - Gumilyov was arrested in the so-called Tagantsev case. Two weeks later he was shot. His only fault was that he knew about the impending conspiracy, but did not inform.
In the same August, Anna's brother Andrei Gorenko committed suicide in Greece.
The impressions of these deaths resulted in Akhmatova's collection of poems "Plantain", which then, supplemented, became known as "Anno Domini MCMXXI".
After this collection, Akhmatova did not release collections for many years, only individual poems. New Mode did not favor her work - for intimacy, apoliticality and "noble roots". Even the opinion of Alexandra Kollontai - in one of her articles she said that Akhmatova's poetry is attractive to young workers in that it truthfully depicts how badly a man treats a woman - did not save Akhmatova from critical persecution. A series of articles branded Akhmatova's poetry as harmful because she writes nothing about work, the team and the struggle for a brighter future.
At this time, she was left practically alone - all her friends either died or emigrated. Akhmatova herself considered emigration completely unacceptable for herself.
Printing became more and more difficult. In 1925, an unofficial ban was placed on her name. It has not been published for 15 years.
In early spring In 1925, Akhmatova again had an exacerbation of tuberculosis. When she was lying in a sanatorium in Tsarskoye Selo - together with Mandelstam's wife Nadezhda Yakovlevna - she was constantly visited by Nikolai Nikolaevich Punin , historian and art critic. About a year later, Akhmatova agreed to move in with him at the Fountain House.
Punin was very handsome - everyone said that he looked like a young Tyutchev. He worked in the Hermitage, was engaged in modern graphics. He loved Akhmatova very much - although in his own way.
Punin officially remained married. He lived in the same apartment with his ex-wife Anna Arens and their daughter Irina. Although Punin and Akhmatova had separate room, dined all together, and when Arens went to work, Akhmatova looked after Irina. The situation was extremely tense.
Unable to print poetry, Akhmatova delved into scientific work. She took up the study of Pushkin, became interested in the architecture and history of St. Petersburg. She helped Punin a lot in his studies, translating French, English and Italian scientific works. In the summer of 1928, her son Leva moved to Akhmatova, who by that time was already 16 years old. The circumstances of his father's death prevented him from continuing his studies. It was hardly possible to attach him to a school where Nikolai Punin's brother Alexander was the director. Then Leo entered the Faculty of History of Leningrad University.
In 1930, Akhmatova tried to leave Punin, but he managed to convince her to stay by threatening suicide. Akhmatova remained to live in the Fountain House, leaving it only briefly.
By this time, the extreme poverty of Akhmatova's life and clothes were already so conspicuous that they could not go unnoticed. Many found Akhmatova's special elegance in this. In any weather, she wore an old felt hat and a light coat. Only when one of her old friends died did Akhmatova put on the old fur coat bequeathed to her by the deceased and did not take it off until the war itself. Very thin, still with the same famous bangs, she knew how to impress, no matter how poor her clothes were, and walked around the house in bright red pajamas in a time when it was not yet accustomed to see a woman in trousers.
Everyone who knew her noted her unsuitability for everyday life. She didn't know how to cook and never cleaned up after herself. Money, things, even gifts from friends never stayed with her - almost immediately she distributed everything to those who, in her opinion, needed them more. She herself managed the bare minimum for many years - but even in poverty she remained a queen.
In 1934, Osip Mandelstam was arrested - Akhmatova at that moment was visiting him. A year later, after the murder of Kirov, Lev Gumilyov and Nikolai Punin were arrested. Akhmatova rushed to Moscow to work, she managed to send a letter to the Kremlin. They were soon released, but that was only the beginning.
Punin began to be clearly weary of his marriage to Akhmatova, who now, as it turned out, was also dangerous for him. He showed her his infidelity in every possible way, said that he was bored with her - and yet he did not let her leave. In addition, there was nowhere to go - Akhmatova did not have her own house ...
In March 1938, Lev Gumilyov was again arrested, and this time he spent seventeen months under investigation and was sentenced to death. But at this time, his judges were themselves repressed, and his sentence was replaced with exile.
In November of the same year, Akhmatova finally managed to break with Punin - but Akhmatova only moved to another room in the same apartment. She lived in extreme poverty, often making do with only tea and black bread. Every day she stood in endless queues to give her son a package. It was then, in line, that she began writing the Requiem cycle. The poems of the cycle were not written down for a very long time - they were kept in the memory of Akhmatova herself and several of her closest friends.
Quite unexpectedly, in 1940, Akhmatova was allowed to publish. First, several separate poems were published, then he allowed the release of a whole collection of "From Six Books", which, however, mainly included selected poems from previous collections. Nevertheless, the book caused a stir: it was swept away from the shelves for several hours, people fought for the right to read it.
However, after a few months, the publication of the book was considered a mistake, it began to be withdrawn from libraries.
When the war began, Akhmatova felt a new surge of strength. In September, during the heaviest bombings, she speaks on the radio with an appeal to the women of Leningrad. Together with everyone, she is on duty on the roofs, digging trenches around the city. At the end of September, by decision of the city committee of the party, she was evacuated by plane from Leningrad - ironically, now she was recognized as an important enough person to save ... Through Moscow, Kazan and Chistopol, Akhmatova ended up in Tashkent.
In Tashkent, she settled with Nadezhda Mandelstam, constantly communicated with Lydia Korneevna Chukovskaya, made friends with Faina Ranevskaya, who lived nearby - they carried this friendship through their whole lives. Almost all Tashkent poems were about Leningrad - Akhmatova was very worried about her city, for everyone who stayed there. It was especially hard for her without her friend, Vladimir Georgievich Garshin . After parting with Punin, he began to play a big role in the life of Akhmatova. By profession, a pathologist, Garshin was very concerned about her health, which Akhmatova, according to him, criminally neglected. Garshin was also married, his wife, a seriously ill woman, demanded his constant attention. But he was a very intelligent, educated, interesting interlocutor, and Akhmatova became very attached to him. In Tashkent, she received a letter from Garshin about the death of his wife. In another letter, Garshin asked her to marry him, and she accepted his offer. She even agreed to take his last name.
In April 1942, Punin and his family were evacuated through Tashkent to Samarkand. And although the relationship between Punin and Akhmatova after parting was very bad, Akhmatova came to see him. Punin wrote to her from Samarkand that she was the main thing in his life. Akhmatova kept this letter as a shrine.
In early 1944, Akhmatova left Tashkent. First, she came to Moscow, where she performed at an evening arranged in the hall of the Polytechnic Museum. The reception was so stormy that she was even frightened. When she appeared, the hall stood up. They say that when Stalin found out about this, he asked: "Who organized the uprising?"
She told all her friends that she was going to Leningrad to her husband, she dreamed of how she would live with him ... And the more terrible was the blow that awaited her there.
Garshin, who met her on the platform, asked: "And where to take you?" Akhmatova was dumbfounded. As it turned out, he, without saying a word to anyone, married a nurse. Garshin destroyed all her hopes of finding a home that she had not had for a long time. She never forgave him for this.
Subsequently, Akhmatova said that, apparently, Garshin went crazy from hunger and the horrors of the blockade.
Garshin died in 1956. On the day of his death, the brooch that he once presented to Akhmatova split in half...
This was the tragedy of Akhmatova: next to her, a strong woman, there were almost always weak men who tried to shift their problems onto her, and there was never a person who could help her cope with her own troubles ...
After returning from Tashkent, her demeanor changed - it became simpler, calmer, and at the same time more distant. Akhmatova abandoned her famous bangs, after suffering typhus in Tashkent, she began to gain weight. It seemed that Akhmatova was reborn from the ashes for a new life. In addition, it was again recognized by the authorities. For her patriotic poems, she was awarded the medal "For the Defense of Leningrad". Her research on Pushkin, a large selection of poems, were being prepared for publication. In 1945, to the great joy of Akhmatova, Lev Gumilyov returned. From the exile, which he had been serving since 1939, he managed to get to the front. Mother and son lived together. It seemed that life was getting better.
In the fall of 1945, Akhmatova was introduced to a literary critic Isaiah Berlin , at the time an employee of the British Embassy. During their conversation, Berlin was horrified to hear someone in the courtyard calling his name. As it turned out, it was Randolph Churchill, son of Winston Churchill, a journalist. The moment was a nightmare for both Berlin and Akhmatova. Contacts with foreigners - especially employees of embassies - at that time, to put it mildly, were not welcome. A face-to-face meeting might not yet be seen - but when the prime minister's son yells in the yard, it is unlikely to go unnoticed.
Nevertheless, Berlin visited Akhmatova several more times.
Berlin was the last of those who left a mark on Akhmatova's heart. When Berlin himself was asked about whether they had something with Akhmatova, he said: “I can’t decide how best to answer ...”
On August 14, 1946, the resolution of the Central Committee of the CPSU "On the magazines Zvezda and Leningrad" was issued. The magazines were stigmatized for lending their pages to two ideologically harmful writers, Zoshchenko and Akhmatova. Less than a month later, Akhmatova was expelled from the Writers' Union, deprived of ration cards, her book, which was in print, was destroyed.
According to Akhmatova, many writers who wanted to return to Russia after the war changed their minds after the decision. Thus, she considered this decision the beginning of the Cold War. She was convinced of this as absolutely as that the Cold War itself was caused by her meeting with Isaiah Berlin, which she found fatal, of cosmic significance. She was firmly convinced that all further troubles were caused by her.
In 1956, when he was again in Russia, she refused to meet with him - she did not want to again incur the wrath of the authorities ...
After the decision, she found herself in complete isolation - with those who did not turn away from her, she herself tried not to meet, so as not to harm. Nevertheless, people continued to come to her, bring food, and food cards were constantly sent to her by mail. Criticism took up arms against her - but for her it was much less terrible than complete oblivion. She called any event only a new fact in her biography, and she was not going to refuse her biography. At this time, she is working with might and main on her central work, "A Poem without a Hero."
In 1949, Nikolai Punin was again arrested, and then Lev Gumilyov. Lev, whose only crime was that he was the son of his parents, was to spend seven years in the camp, and Punin was destined to die there.
In 1950, Akhmatova, breaking herself, in the name of saving her son, wrote a cycle of poems "Glory to the World", glorifying Stalin. However, Leo returned only in 1956 - and then, it took a long time to get him released ... He left the camp with the conviction that his mother did nothing to alleviate his plight - after all, she, so famous, could not be refused! While they lived together, their relationship was very strained, then, when Leo began to live separately, they almost completely stopped.
He became a famous orientalist. He became interested in the history of the East while in exile in those parts. His works are still considered among the most important in historical science. Akhmatova was very proud of her son.
Since 1949, Akhmatova began to translate - Korean poets, Victor Hugo, Rabindranath Tagore, Rubens' letters ... Previously, she refused to do translations, believing that they take time from her own poems. Now I had to - it gave both earnings and a relatively official status.
In 1954, Akhmatova accidentally earned herself forgiveness. The delegation from Oxford wished to meet the disgraced Zoshchenko and Akhmatova. She was asked what she thought about the decision - and she, sincerely believing that it was not the business of foreigners who did not understand the true state of affairs to ask such questions, answered simply that she agreed with the decision. No more questions were asked of her. Zoshchenko, on the other hand, began to explain something at length - and by this he hurt himself even more.
The ban on the name of Akhmatova was again lifted. She was even allocated from the Writers' Union - although Akhmatova was expelled from it, as a translator she could be considered a "writer" - a summer house in the writers' village of Komarovo near Leningrad; she called this house the Booth. And in 1956 - largely due to the efforts of Alexander Fadeev - Lev Gumilyov was released.
The last ten years of Akhmatova's life were completely different from previous years. Her son was free, she finally got the opportunity to publish. She continued to write - and wrote a lot, as if in a hurry to express everything that she was not allowed to say before. Now only illnesses interfered: there were serious problems with the heart, because of her fullness it was difficult for her to walk. Before recent years Akhmatova was regal and majestic, wrote love poems and warned young people who came to her: "Just don't fall in love with me! I don't need it anymore." She was surrounded by young people - the children of her old friends, admirers of her poetry, students. She especially became friends with young Leningrad poets: Yevgeny Rein, Anatoly Naiman, Dmitry Bobyshev, Gleb Gorbovsky and Joseph Brodsky.
Akhmatova got the opportunity to travel abroad. In 1964, she was awarded the international poetic prize "Etna-Taormina" in Italy, and in 1965 for her scientific work in Pushkin Studies, Oxford University awarded her an honorary Doctor of Literature degree. In London and Paris, where she stopped on her way back, she was able to meet again with the friends of her youth - Salome Galpern, Yuri Annenkov, who once painted her, Isaiah Berlin, Boris Anrep ... She said goodbye to her youth, to her life.
Akhmatova died on March 5, 1966 - ironically, on the anniversary of Stalin's death, which she loved to celebrate. Before being sent to Leningrad, her body lay in the Moscow morgue at the hospital, located in the building of the old Sheremetev Palace, on which, like on the Fountain House, there was a coat of arms with the motto sounded in "Poem Without a Hero": "Deus conservat omnia" - " God saves everything."
After the funeral service in St. Nicholas Cathedral in Leningrad, Anna Andreevna Akhmatova was buried in Komarovo - not far from her only real home for many years. Crowds of people accompanied her on her last journey - the path to Eternity ...

Anna Andreevna Akhmatova: how she died, place of death, date of death of Akhmatova, reason.

How did Akhmatova die?

The poetess of the Silver Age, whose poems, like blades, pierced to the core, ringing, pulled out the strained strings of the soul, Anna Akhmatova, died March 5, 1966. Although it is customary to start biographies from the date of birth, today's topic is devoted to the mystery of the death of the poetess. Why do we need to know this? In order not to repeat mistakes, to honor the memory and understand the motive of the poems. For example, another great poet, Brodsky, apathy and death have always accompanied in the works -, - being born, thanks to the way of life and influencing it. - a vivid example of a rebellious life on the edge, tragic experiences and the search for great hope.

Akhmatova - how much is in this word

The pseudonym "Akhmatova" was taken from the name of the great-grandmother of Tatar origin Anna, nee Gorenko, at the beginning of her career. Not a single verse was signed real name, and in the pseudonym, as it seems to us, there was a hidden power that gave movement to the wheel of fame of the poetess. The Gorenko family did not pay due attention to their daughter's poetic career - none of the representatives even took up the pen. Poetry was read in free time, recited at celebrations and family evenings, as was customary - at leisure. Anna Akhmatova gained poetic fame back in Kyiv, during her studies - the collection “Evening” was published, but a star lit up in the northern capital. After moving to St. Petersburg, Akhmatova felt that she had found herself - powerful poetry was born, raised on love, tragedy and patriotism. Get acquainted with Nikolai Gumilyov, later marry him, and even later - get a divorce. Despite parting, respect and deep affection, she always felt for her first husband. The first tragic blow that affected the nature - execution of Nikolai Gumilyov. Personal experiences are clearly visible in every line of the Requiem.

The last years of Anna Akhmatova

Akhmatova survived the siege of Leningrad, post-war devastation, traveling abroad and nothing foreshadowed a tragic outcome. In 1951, she was reinstated in the Writers' Union, 10 years later she was awarded the prestigious Italian literary prize, a new collection "The Run of Time" was released, she received a doctorate in literature from Oxford University, and received a dacha in Komarovo from the Literary Fund as a gift. Old age gives recognition and honor, but takes away health as a payment for "golden years". Akhmatova was ill for a long time and was constantly treated in a sanatorium near Moscow. On March 7, the All-Union Radio announced the death of the poetess that like thunder among clear sky, marked the end of the era of verse-stretched-nerves and subtle psychologism of lines.

Shortly before her death, Akhmatova asked her relatives to bring the New Testament to study the psalms - she worked on Qumran manuscripts. Relatives note that the poetess still had a lot of vital fuse, but, unfortunately, a weak heart. The cause of Akhmatova's death is heart failure. On March 9, the body of the poetess was brought to Leningrad for burial at the Komarovsky cemetery, fearing dissident unrest. Neither relatives nor fans could believe what had happened for a long time. Lev Nikolaevich Gumilyov, the son of the poetess, laid out a stone wall on his mother's grave, which became a place of pilgrimage for many years.

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