How I got cancer. Rami Blekt Intro to number four...
The female soul has always remained a mystery to men. But they always strive for this, because to understand a woman means to understand the world. Reading the lyrics of Akhmatova, you can learn more about this distant and unknown galaxy - the female soul.
The expression of the female worldview in Akhmatova's work, of course, is the lyrical heroine, who grows up and grows wiser along with the author.
Turning to early work poetess, we can note in the lyrical heroine of that period some very character traits. When comparing two poems - “She squeezed her hands under dark veil…” and “The Song of the Last Meeting” - the common theme of parting for them immediately stands out, or rather, the experience of a woman due to a break with her loved one. The lyrical heroine here is still a very young girl.
Both poems allow us to lift the veil over the mystery female soul. The first feature that catches the eye is the contradictory, even paradoxical, thinking of the heroine. In the first poem, she considers herself the culprit of the breakup, it was she who “drunk him with tart sadness.” But, bringing the matter to separation, she runs after him to the gate and shouts: “Joke // Everything that happened. If you leave, I'll die."
In the poem “She squeezed her hands under a dark veil ...” the heroine runs after the hero leaving her house through the gate - the door from the enclosed space to the common Big world- forever and ever. In "The Song of the Last Meeting" the heroine herself leaves the once close, but now a stranger's house for her. The excitement that covers the heroine is given out by only one phrase: “I am on right hand put on // The glove on the left hand.
Since both poems have a plot, that is, a climax. In “She squeezed her hands under a dark veil ...” this is a conversation between the hero and the heroine in the last stanza, in “The Song of the Last Meeting” - the dialogue of the heroine with the “autumn whisper”. Dialogue is rather characteristic not of poetry, but of an epic work. It brings plot and conveys the intensity of passions.
In both cases, the detachment of the heroine and the hero from each other is emphasized. In response to a request for forgiveness, the hero answers the girl “Don’t stand in the wind”, deliberately emphasizing his concern for her. But, at the same time, he shows that he no longer needs either her feelings or her confessions. In another poem, a replica of the autumn breeze finds a response in the soul of the heroine:
I'm deceived by my despondent
Changeable, evil fate.
She also feels deceived, unfairly offended. The hero himself is not shown, he does not speak to the heroine - all the words have already been said where the candles burn with an “indifferent yellow fire”, in the house where he stayed, but his presence is clearly and tangibly. This is what creates the mood of the heroine and the mood of the whole poem.
At the moment of climax and in the second poem, it sounds: “Die with me!” The aura of death gives a special sound to the motive of separation: the experiences of the heroine become as dramatic as possible, bring the whole situation described in the poem to a completely new emotional level.
A completely different hypostasis of the lyrical heroine is revealed in the poem “Ah, you thought I was like that too ...” The same theme of separation is played up by the author in a completely different way. And the heroine experiences separation differently: it causes her anger and anger, a desire to express everything that is sore. The heroine asks a rhetorical question: "Oh, you thought - I'm like that too, // Why can you forget me?"
The answer to this question is already known. No, he can't forget. Evil irony permeates the last lines of the first quatrain. The heroine seems to be mocking her beloved:
Ah, you thought….
... that I will throw myself, praying and sobbing.
Under the hooves of a bay horse.
It is no coincidence that motives for love conspiracies also appear in the poem:
Or I'll ask the healers
In spoken water spine
And I will send you a terrible gift -
My treasured fragrant handkerchief.
The heroine again mocks the hero. But in the second part, suddenly the tone becomes serious and even harsh. For the murder of love, she curses the hero. The heroine calls his soul "cursed". And swearing by the most holy and bright thing that she has in life: "an angelic garden", " miraculous icon", A child of" fiery nights ", the lyrical heroine promises:" I will never return to you.
This promise is made rather to oneself. There are two striking points in the poem. Firstly, carnal love and Christian love are equivalent for the heroine. And secondly, the extremely emotional poem does not contain a single exclamation point. What does this mean? That the decision made by the heroine is rational and cold. Ten years have passed between the poems “She squeezed her hands under a dark veil” and “Ah, you thought I was like that too ...”, but the lyrical heroine has matured a lot.
It is absolutely clear that, despite the possibility of a variety of interpretations of these poems, all of them are possible only within the framework of a single plot, which is beyond doubt, and come from the mystery of the female character, the mystery of life itself. But this mystery is not mystical, but ordinary, characteristic of life in general and women's life in particular, the mystery of love, which no one denies or questions.
Akhmatova's poems reveal the world of the female soul, passionate, tender and proud. The framework of this world was outlined by love - a feeling that constitutes the content of human life in Akhmatova's poems. There seems to be no such shade of this feeling, which would not have been mentioned here: from inadvertent slips of the tongue, betraying something deeply hidden (“And as if by mistake I said: “You ...” to “white-hot passion”.
The state of mind in Akhmatova's poems is not told - it is reproduced as being experienced now, even if it is experienced by memory. It is reproduced accurately, subtly, and here every - even the most insignificant - detail is important, allowing, having caught, to convey the overflows of spiritual movement, which could not be directly spoken about. These details, the details are sometimes defiantly visible in the verses, talking about what is happening in the heart of their heroine more than lengthy descriptions could say. An example of such a striking psychological richness of a verse, the capacity of a verse word can be the lines of the "Song of the Last Meeting":
So helplessly my chest went cold,
But my steps were light.
I put on my right hand
Left hand glove.
Akhmatova's poetry is like a novel, saturated with the subtlest psychologism. There is a “plot” here, which is not difficult to restore by following how it arises, develops, is resolved by a fit of passion and leaves, a feeling becomes the property of memory, which in Akhmatova’s early poems determines the main thing in a person’s life. Here is just a premonition of love, still unclear languor that makes the heart tremble: “Eyes are asking for mercy involuntarily. What should I do with them When they say a short, sonorous name in front of me? It is replaced by another feeling, which sharply speeds up the heartbeat, already ready to flare up with passion: “It was stuffy from the burning light, And his views were like rays. I just shuddered: this one can tame me. This state is conveyed with physical tangibility, the burning light here has a strange - and frighteningly - attractive power, and the last word in the verses betrays a measure of helplessness in front of her. The angle of vision in these verses is perhaps not wide, but the vision itself is concentrated. And this is because here we are talking about what constitutes the value of human existence, in a love duel the dignity of a person is tested. Humility will also come to the heroine of the poems, but first she will burst out proudly: “You humble? You are crazy! I am obedient to the will of the Lord alone. I do not want any trembling or pain, My husband is an executioner, and his house is a prison. But the main words here are those that appear after the ones just given: “Ho, you see! After all, I came on my own ... ”Submission - and in love too - is possible in Akhmatova's lyrics only of her own free will.
A lot has been written about Akhmatova's love, and, probably, no one in Russian poetry has recreated this sublime and beautiful feeling so completely, so deeply.
In the early poems of the poetess, the power of passion turned out to be irresistible, fatal, as they liked to say then. Hence the piercing sharpness of the words that escape from a heart scorched by love: “Don’t you love, don’t you want to watch? Oh, how beautiful you are, damned! And further here: "My eyes are obscured by fog." And there are many of them, lines that capture the almost sorrowful helplessness that comes to replace defiant rebelliousness, comes in spite of the obvious. As it is seen - ruthlessly, precisely: “Half-affectionately, half-lazily I touched the hand with a kiss ...”, “How unlike the hugs The touches of these hands are.”
And this is also about love, which Akhmatova's lyrics speak of with that boundless frankness that allows the reader to treat the poems as lines addressed to him personally.
Love in Akhmatova bestows both joy and grief, but it is always happiness, because it allows you to overcome everything that separates people (“You breathe the sun, I breathe the moon, but we are alive with love alone”), allows their breath to merge, echoing in the verses born of this :
Only your voice sings in my poems,
In your poems my breath blows.
And there is a fire that dare not
Touch neither oblivion nor fear.
And if you knew how I love you now
Your dry, rosy lips.
In Akhmatova's poems, life unfolds, the essence of which in her first books is love. And when she leaves a person, leaves, even just reproaches of conscience cannot stop her: “My flesh languishes in a sorrowful illness, And a free spirit will already rest peacefully.” Only this seeming serenity, it is devastating, giving rise to a sad realization that in the house abandoned by love "not quite well."
Akhmatova does not seek to arouse sympathy in the reader, and even more so pity: the heroine of her poems does not need this. "Abandoned! Made up word - Am I a flower or a letter? And the point here is not at all the notorious strength of character - in Akhmatova's poems every time a moment is captured: not stopped, but slipping away. A feeling, a state, only when it is outlined, changes. And perhaps it is precisely in this change of states - their fragility, instability - that the charm, the charm of what is embodied in early lyrics Akhmatova character: “Joyfully and clearly Tomorrow will be morning. This life is beautiful, Heart, be wise.” Even the appearance of the heroine of the poems is outlined with a light stroke, we can hardly catch it: “I have only one smile. So, the movement is slightly visible lips. But this fluctuation, uncertainty is balanced by an abundance of details, details that belong to life itself. The world in Akhmatova's poems is not conditionally poetic - it is real, written out with tangible authenticity: “A worn rug under the icon, It's dark in a cool room ...”, “You smoke a black pipe, How strange the smoke above it. I put on a tight skirt, To appear even slimmer. And the heroine of the poems appears here "in this gray everyday dress, on worn-out heels ...". However, the feeling of being grounded does not arise - here it is different: "... There is no earthly from the earth And there was no liberation."
Immersing the reader in life, Akhmatova allows you to feel the flow of time, which powerfully determines the fate of a person. However, at first this found expression in the attachment of what was happening to an exactly - by the clock - designated moment, so often found in Akhmatova: "I went crazy, oh strange boy, Veredu at three o'clock." Later, the feeling of moving time will truly materialize:
What is war, what is plague? The end is in sight for them;
Their verdict is nearly pronounced.
How are we to deal with the horror that
Was once called the run of time.
About how poems are born, Akhmatova told in the cycle "Secrets of the Craft". The connection of these two words, the combination of the innermost and the ordinary is noteworthy - one of them is literally inseparable from the other when it comes to creativity. For Akhmatova, it is a phenomenon of the same series as life, and its process proceeds according to the will of the forces that dictate the course of life. The verse arises as a "peal of subsiding thunder", as a sound that wins "in the abyss of whispers and ringing". And the task of the poet is to catch it, to hear the “signal bells” breaking through from somewhere.
The process of creativity, the birth of poetry in Akhmatova is equated with the processes that occur in life, in nature. And the duty of the poet, it would seem, is not to invent, but only, having heard, write down. But it has long been noticed that the artist in his work strives not to do as in life, but creates as life itself. Akhmatova also enters into a rivalry with life: “I have not cleared up my scores With fire and wind and water ...” However, here, perhaps, it is more accurate to talk not about rivalry, but about co-creation: poetry allows you to get to the innermost meaning of what is done and done by life. It was Akhmatova who said: “If only you knew from what rubbish Poems grow, knowing no shame, Like a yellow dandelion near a fence, Like burdocks and quinoa.” Ho earthly rubbish becomes the soil on which poetry grows, raising a person with it: "... My drowsiness Suddenly such gates will open wide And lead behind the morning star." That is why in Akhmatova's lyrics the poet and the world have an equal relationship - the happiness of being gifted by him is inseparable in poetry from the realization of the opportunity to bestow generously, royally:
Much more probably wants
To be sung by my voice:
That which is wordless rumbles
Or in the darkness the underground stone sharpens,
Or breaks through the smoke.
For Akhmatova, art is able to absorb the world and thereby make it richer, and this determines its effective force, the place and role of the artist in people's lives.
With the feeling of this - bestowed upon her - power, Akhmatova lived her life in poetry. “Condemned - and we know it ourselves - We squander, not save,” she said at the very beginning of her poetic path, in the fifteenth year. This is what allows the verse to gain immortality, as it is said aphoristically precisely:
Gold rusts and steel rots,
The marble crumbles. Everything is ready for death.
The strongest thing on earth is sadness
And more durable - the royal word.
When meeting with Akhmatova's poems, the name of Pushkin is involuntarily recalled: classical clarity, intonational expressiveness of Akhmatova's verse, a clearly expressed position of accepting the world that opposes man - all this allows us to talk about Pushkin's beginning, which clearly reveals itself in Akhmatova's poetry. The name of Pushkin was the most precious for her - the idea of what constitutes the essence of poetry was associated with him. There are almost no direct echoes with Pushkin's poems in Akhmatova's poetry, Pushkin's influence affects here on a different level - the philosophy of life, the persistent desire to be faithful to only one poetry, and not to the power of power or the demands of the crowd.
It is with the Pushkin tradition that Akhmatova’s characteristic scale of poetic thought and the harmonic accuracy of verse are associated, the ability to reveal the universal significance of a unique spiritual movement, to correlate a sense of history with a sense of modernity, and finally, the variety of lyrical themes held together by the personality of the poet, who is always a contemporary of the reader.
Poetry of the female soul. She was considered perfect. Her poems were read, Her hook-nosed, surprisingly harmonious profile evoked comparisons with ancient sculpture. In her later years, she received an honorary doctorate from Oxford. The name of this woman is Anna Akhmatova. “Akhmatova is a jasmine bush, charred by gray mist,” that is what her contemporaries said about her. According to the poetess herself, Alexander Pushkin and Benjamin Constant, the author of the sensational novel of the 19th century Adolf, had a great influence on her. It was from these sources that Akhmatova drew the subtlest psychologism, that aphoristic brevity and expressiveness that made her lyrics the object of endless love of readers and the subject of research by several generations of literary critics.
I learned to live simply, wisely, -
Look up to the sky and pray to God
And wander long before evening,
To relieve unnecessary anxiety.
Such is the result of this wise, suffering life.
She was born at the turn of two centuries - the nineteenth, "iron" according to Blok's definition, and the twentieth - a century, equal to which in fear, passions and suffering was not in the history of mankind. She was born on the verge of centuries, to connect them with a living, quivering thread of her destiny.
A great influence on her poetic development was the fact that Akhmatova spent her childhood in Tsarskoe Selo, where the very air was saturated with poetry. This place became for her one of the most expensive on earth for life. Because "here lay his (Pushkin's) cocked hat and a disheveled volume of Guys." Because for her, seventeen years old, it was there that “the dawn was alley itself, in April the smell of decay and earth, and the first kiss. ". Because there, in the park, there were dates with Nikolai Gumilyov, another tragic poet of the era, who became the fate of Akhmatova, about whom she would later write in lines that were terrible in their tragic sound:
Husband in the grave, son in prison,
Pray for me...
Akhmatova's poetry is the poetry of the female soul. And although literature is universal, Akhmatova could rightfully say about her poems:
Could Bice create like Dante,
Or Laura glorify the heat of love?
I taught women to speak.
In her works there is a lot of personal, purely feminine, what Akhmatova experienced with her soul, which is why she is dear to the Russian reader.
Akhmatova's first poems are love lyrics. In them, love is not always bright, often it carries grief. More often, Akhmatova's poems are psychological dramas with sharp plots based on tragic experiences. The lyrical heroine of A Shatova is rejected, falling in love. But he experiences it with dignity, with proud humility, without humiliating himself or his beloved.
In the fluffy muff, the hands went cold.
I was scared, I was kind of confused.
Oh how to get you back, fast weeks
His love, airy and minute!
The swarm of Akhmatov's poetry is complex and multifaceted. He is a lover, brother, friend, appearing in different situations. Then a wall of misunderstanding arises between Akhmatova and her lover, and he leaves her; then they part because they cannot see each other; then she mourns her love and mourns; but always loves Akhmatova.
All to you: and a daily prayer,
And insomnia melting heat,
And my white flock of poems,
And my eyes are blue fire.
But Akhmatova's poetry is not only a confession of a woman's soul in love, it is also a confession of a man living with all the troubles and passions of the 20th century. And also, according to O. Mandelstam, Akhmatov “brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the 20th century”:
Walked a friend to the front
Standing in golden dust
From the bell tower nearby
Important sounds flowed.
Thrown! Invented word -
Am I a flower or a letter?
And the eyes are already looking sternly
In a darkened dressing table.
The most important love in the life of A. Akhmatova was love for her native land, about which she will write later that “we lay down in it and become it, that’s why we call it so freely ours.”
During the difficult years of the revolution, many poets emigrated from Russia abroad. No matter how hard it was for Akhmatova, she did not leave her country, because she could not imagine her life without Russia.
I had a voice. He called comfortingly
He said, "Come here
Leave your land deaf and sinful,
Leave Russia forever."
But Akhmatova “indifferently and calmly closed her hearing with her hands” so that “the mournful spirit would not be defiled by this unworthy speech.”
Akhmatova's love for the Motherland is not a subject of analysis or reflection. There will be a Motherland - there will be life, children, poems. There is no her - there is nothing. Akhmatova was a sincere spokesman for the troubles and misfortunes of her age, over which she was ten years older.
Akhmatova was worried about the fate of the spiritually impoverished people, and the anxiety of the Russian intelligentsia after the seizure of power in the country by the Bolsheviks. She conveyed the psychological state of the intellectuals in those inhuman conditions:
In the circle of bloody day and night
A cruel languor hurts ...
Nobody wanted to help us
Because we stayed at home.
During the Stalinist era, Akhmatova was not subjected to repressions, but these were difficult years for her. Her only son was arrested, and she decided to leave a monument to him and all the people who suffered during this time. Thus the famous "Requiem" was born. In it, Akhmatova talks about the difficult years, about the misfortunes and sufferings of people:
The death stars were above us
And innocent Russia writhed
Under the bloody boots
And under the tires of black marus.
Despite all the hardship and tragic life, for all the horror and humiliation she experienced during the war and after, Akhmatova did not have despair and confusion. No one has ever seen her with her head bowed. Always direct and strict, she was a person of great courage. In her life, Akhmatova knew glory, infamy and glory again.
I am your voice, the heat of your breath,
I am the reflection of your face.
Such is the lyrical world of Akhmatova: from the confession of a woman's heart, insulted, indignant, but loving, to the soul-shaking "Requiem", with which "a hundred million people" shout.
Once in her youth, clearly anticipating her poetic fate, Akhmatova uttered, referring to the Tsarskoye Selo statue of A. S. Pushkin:
Cold, white, wait
I, too, will become a marble.
And, probably, opposite the Leningrad prison - where she wanted - there should be a monument to a woman holding a bundle with a transfer for her only son, whose only fault was that he was the son of Nikolai Gumilyov and Anna Akhmatova - two great poets who did not please the authorities.
Or maybe marble sculptures are not needed at all, because there is already a miraculous monument that she erected to herself after her predecessor in Tsarskoye Selo - these are her poems.
The writing
The second great lyric poetess after Sappho...
1912 can be called revolutionary in Russian poetry. At this time, the first collection of Anna Akhmatova, "Evening", was released. After its release, critics unanimously placed this poetess next to the first poets of Russia. Moreover, contemporaries recognized that it was Akhmatova who “unquestionably holds the first place among Russian poets after the death of Blok.” The Evening was followed by The Rosary (1914) and The White Flock (1917).
All three of these collections of the poetess were devoted to one theme - love. The revolutionary nature of Akhmatova's lyrics was that she opened the world to the Universe of the female soul. The poetess brought her lyrical heroine to the stage and exposed all her emotional experiences, her feelings, emotions, dreams, fantasies.
In her poems, Akhmatova not only created a universal female character. She showed him various forms and manifestations: a young girl (“I pray to the window beam”, “Two poems”), a mature woman (“How many requests ...”, “As simple courtesy commands”, “Walk”), a cheating wife(“The gray-eyed king”, “My husband whipped me patterned ...”). In addition, the heroine of Akhmatova is a homemaker, a harlot, a wanderer, an Old Believer, and a peasant woman. In her poems, the poetess also draws the fate of her sister and mother (“Magdalene fought and sobbed”, “Requiem” and others).
In the poem "we are all thugs here, harlots ..." the lyrical heroine experiences the pangs of jealousy. Her love for the hero is so strong that it drives a woman crazy:
Oh, how my heart yearns!
Am I waiting for the hour of death?
And the one that's dancing now
It will definitely go to hell.
The heroine is trying to return the departed feeling. She wants to attract her lover with beauty: "I put on a tight skirt, To appear even slimmer." Or is the heroine already celebrating a wake for a departed love? After all, she perfectly understands that "windows are forever clogged." Love is gone, you can't get it back. It remains only to yearn and wish for death, but nothing can be corrected.
And the poem "The boy said to me:" How it hurts! depicts the opposite situation. The heroine of Akhmatova, a mature woman, inspired the love of a young man. The age of the heroine is indicated by her appeal to the young man: “boy”. Now this woman refuses love. She sees what she does young man unbearable pain, but can not do otherwise:
I know he can't handle his pain
With the bitter pain of first love.
How helplessly, greedily and hot strokes
My cold hands.
The contrast in the last lines of the poem conveys the intensity of the feelings of the characters. The young man “greedily and hotly” loves the lyrical heroine, the same one is cold to him.
In general, hands are a very significant detail in Akhmatova's lyrics. They are, in my opinion, a reflection of the soul, feelings and emotions of the characters. So, in the poem “She squeezed her hands under a dark veil ...” Akhmatova conveys all the grief of separation through this line. She clenched her hands under a veil - this means she squeezed her soul under the blackness of longing and misfortune. The heroine said something to her lover, confessed something to him. These words "drunk the hero with sadness. Realizing what she did, the heroine tries to return everything, because she cannot live without her lover:
Breathless, I shouted: "Joke
All that has gone before. If you leave, I'll die."
But... it's too late. The hero is already "poisoned" by sadness. His last words were casual and indifferent: "Don't stand in the wind."
Hands also play a large role in the poem “The Song of the Last Meeting”. In it, the heroine experienced a very difficult moment: parting with her beloved. Her condition conveys one, but very weighty, detail:
But my steps were light.
I put on my right hand
Left hand glove.
In general, in the life of the lyrical heroine Akhmatova, love plays a colossal role. This is the main thing both for her and for the poetess herself. But, unfortunately, in the lyrics of A. Akhmatova is very rare happy love. This feeling of the poetess is always bitterness, separation, sadness, the desire for death. We can say that the heroine of Akhmatova dies with each parting and is reborn with each new love in her life.
Another hypostasis of the lyrical heroine is a woman poet. She perceives her talent not as a gift, but as a cross that she must carry throughout her life. In the poem "Muse" the heroine reproaches her "muse-sister":
Muse! you see how happy everyone is -
Girls, women, widows...
I'd rather die on the wheel
Just not these chains.
For the lyrical heroine, God's gift is the opportunity to live the life of an ordinary woman, not to honor the troubles and hardships of all women on earth. But such happiness is not available to the heroine. She must endure all the world's pain and express it in her poems.
In the poem "Song" the heroine of Akhmatova is a simple peasant woman. Her harsh life, her heavy “torment-share” is drawn. The fate of this heroine is associated with the image of a quinoa, which was traditionally considered a sign of misfortune: "I sing about love - a quinoa field." The voice of this simple woman, who has endured many troubles and grief, is intertwined with the voice of a woman poet. The key image of the last stanza of the poem is "a stone instead of bread." This is an “evil reward” for the heroine-poetess and the heroine of a simple woman for everything: for their life, for their actions. The woman in this poem by Akhmatova is lonely. She remains one on one with the universe, with God:
All I need is the sky
The lyrical heroine of Akhmatova is a mother who has lost her child (“Husband in the grave, son in prison - pray for me ...”), and a Russian woman suffering along with her country (“Requiem”):
No, and not under an alien sky,
And not under the protection of alien wings,
I was then with my people,
Where my people, unfortunately, were.
Thus, the lyrical heroine of Akhmatova is a Woman in all her earthly incarnations, in all her incarnations. It was thanks to this poetess that the richest and deepest world of the female soul, the world of Love and Sorrow, Grief and Joy, was opened ...
The world of the female soul is most fully revealed in love lyrics A. Akhmatova and occupies a central place in her poetry. The genuine sincerity of Akhmatova's love lyrics, combined with strict harmony, allowed her contemporaries to call her Russian Sappho immediately after the release of the first collections of poetry.
The early love lyrics of Anna Akhmatova were perceived as a kind of lyrical diary. However, the depiction of romantically exaggerated feelings is not characteristic of her poetry. Akhmatova talks about simple human happiness and earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone is able to experience and understand.
Love in the lyrics of A. Akhmatova appears as a “fateful duel”, it is almost never portrayed serenely, idyllically, but, on the contrary, in an extremely crisis expression: at the moment of breakup, separation, loss of feeling or the first stormy blindness with passion.
Usually her poems are the beginning of a drama or its climax. “The torment of a living soul” is paid by her lyrical heroine for love. The combination of lyricism and epicness brings A. Akhmatova's poems closer to the genres of the novel, short story, drama, lyrical diary.
One of the secrets of her poetic gift lies in the ability to fully express the most intimate in herself and the world around her. In her poems, the string tension of experiences and the unmistakable accuracy of their sharp expression are striking. This is the strength of Akhmatova.
The theme of love and the theme of creativity are closely intertwined in Anna Akhmatova's poems. In the spiritual image of the heroine of her love lyrics one can guess "wingedness" creative personality. The tragic rivalry between Love and the Muse has been reflected in many works since early 1911. However, Akhmatova foresees that poetic glory cannot replace earthly love and happiness.
The intimate lyrics of A. Akhmatova are not limited to the depiction of loving relationships. It always contains the poet's inexhaustible interest in the inner world of man. The originality of Akhmatov's poems about love, the originality of the poetic voice, conveying the most intimate thoughts and feelings of the lyrical heroine, the fullness of the verses with the deepest psychologism cannot but arouse admiration.
Like no one else, Akhmatova knows how to reveal the most hidden depths inner peace a person, his experiences, states, moods. Amazing psychological persuasiveness is achieved by using a very capacious and laconic technique of an eloquent detail (a glove, a ring, a tulip in a buttonhole ...).
“Earthly love” by A. Akhmatova also implies love for the “earthly world” surrounding a person. Image human relations inseparable from love for the native land, for the people, for the fate of the country. The idea of a spiritual connection with the Motherland that permeates the poetry of A. Akhmatova is expressed in the readiness to sacrifice even happiness and intimacy with the dearest people (“Prayer”) for her sake, which later so tragically came true in her life.
She rises to biblical heights in the description maternal love. The suffering of a mother, doomed to see her son's agony on the cross, is simply amazing in Requiem:
The choir of angels glorified the great hour,
And the heavens went up in flames.
He said to his father: “Almost left me!”
And Mother: “Oh, don’t cry for Me…”
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
Thus, the poetry of A. Akhmatova is not only a confession of a woman in love, it is a confession of a man who lives with all the troubles, pains and passions of his time and his land.
Anna Akhmatova, as it were, combined "female" poetry with the poetry of the main stream. But this association is only apparent - Akhmatova is very smart: having retained the theme and many techniques women's poetry, she radically reworked both in the spirit of not female, but universal poetics.
The world of deep and dramatic experiences, the charm, richness and originality of the personality are imprinted in the love lyrics of Anna Akhmatova.
