Akhmatova has one. Anna Akhmatova: the fate of the famous poetess
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TwitterAnna Andreevna Akhmatova (nee - Gorenko, after her first husband Gorenko-Gumilyov, after a divorce she took the surname Akhmatova, after her second husband Akhmatova-Shileiko, after Akhmatov's divorce). She was born on June 11 (23), 1889 in the Odessa suburb of Bolshoi Fountain - she died on March 5, 1966 in Domodedovo, Moscow Region. Russian poetess, translator and literary critic, one of the most significant figures of Russian literature of the 20th century.
Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was hushed up, censored and harassed (including the decision of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946, which was not canceled during her lifetime), many works were not published in her homeland, not only during the author's lifetime, but and for more than two decades after her death. At the same time, the name of Akhmatova, even during her lifetime, was surrounded by fame among admirers of poetry both in the USSR and in exile.
Three people close to her were subjected to repressions: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930s and 1940s and in the 1940s and 1950s.
Akhmatova's ancestors on her mother's side, according to family tradition, ascended to the Tatar Khan Akhmat (hence the pseudonym).
Father is a mechanical engineer in the Navy, occasionally engaged in journalism.
As a one-year-old child, Anna was transferred to Tsarskoe Selo, where she lived until she was sixteen. Her first memories are those of Tsarskoye Selo: "The green, damp splendor of the parks, the pasture where the 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 Tsarskoe Selo in 1903 she met N. S. Gumilyov and became a constant recipient of his poems.
In 1905, after the divorce of her parents, she moved to Evpatoria. The last class was held at the Fundukleevskaya gymnasium in Kyiv, which she graduated in 1907.
In 1908-10 she studied at the law department of the Kyiv Higher Women's Courses. Then she attended the women's historical and literary courses of N.P. Raev in St. Petersburg (early 1910s).
In the spring of 1910, after several refusals, Akhmatova agreed to become a wife.
From 1910 to 1916 she lived with him in Tsarskoye Selo, for the summer she went to the Gumilyov estate Slepnevo in the Tver province. On her honeymoon, she made her first trip abroad, to Paris. I visited there for the second time in the spring of 1911.
In the spring of 1912, the Gumilyovs traveled around Italy; in September their son Leo () was born.
Anna Akhmatova, Nikolai Gumilyov and son Leo
In 1918, having divorced Gumilyov (in fact, the marriage broke up in 1914), Akhmatova married the Assyriologist and poet V. K. Shileiko.
Vladimir Shileiko - the second husband of Akhmatova
Writing poetry from the age of 11, and publishing from the age of 18 (the first publication in the Sirius magazine published by Gumilyov in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience (Ivanov, M. A. Kuzmin) in the summer of 1910. Defending from the very the beginning of family life, spiritual independence, she makes an attempt to publish without the help of Gumilyov, in the fall of 1910 she sends poems to V. Ya. , Apollo, which, unlike Bryusov, publish them.
Upon Gumilyov's return from an African trip (March 1911), Akhmatova reads to him everything she had written during the winter and for the first time received full approval of her literary experiments. Since that time, she has become a professional writer. Released a year later, her collection "Evening" found a very quick success. In the same 1912, members of the newly formed "Shop of Poets", of which Akhmatova was elected secretary, announced the emergence of a poetic school of acmeism.
Akhmatova's life in 1913 proceeds under the sign of growing metropolitan fame: she speaks to a crowded audience at the Higher Women's (Bestuzhev) Courses, artists paint her portraits, poets turn to her with poetic messages (including Alexander Blok, which gave rise to the legend of their secret romance ). There are new, more or less long-term intimate attachments of Akhmatova to the poet and critic N. V. Nedobrovo, to the composer A. S. Lurie, and others.
In 1914 the second collection was published. "Beads"(reprinted about 10 times), which brought her all-Russian fame, gave rise to numerous imitations, and established the concept of "Akhmatov's line" in the literary mind. In the summer of 1914 Akhmatova writes a poem "By the Sea" going back to childhood experiences during summer trips to Chersonese near Sevastopol.
With the outbreak of World War I, Akhmatova severely limited her public life. At this time, she suffers from tuberculosis, a disease that did not let her go for a long time. An in-depth reading of the classics (A. S. Pushkin, E. A. Baratynsky, Rasin, etc.) affects her poetic manner, the sharply paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism guesses in her collection "White Flock"(1917) the growing "sense of personal life as a national, historical life" (B. M. Eikhenbaum).
Inspiring in her early poems the atmosphere of "mystery", the aura of autobiographical context, Akhmatova introduces free "self-expression" as a stylistic principle into high poetry. The seeming fragmentation, disintegration, spontaneity of lyrical experience is more and more clearly subject to a strong integrating principle, which gave Vladimir Mayakovsky reason to remark: "Akhmatova's poems are monolithic and will withstand the pressure of any voice without cracking."
The first post-revolutionary years in Akhmatova's life were marked by hardships and complete estrangement from the literary environment, but in the fall of 1921, after the death of Blok, the execution of Gumilyov, she, having parted with Shileiko, returned to active work, participated in literary evenings, in the work of writers' organizations, published in periodicals. In the same year, two of her collections were published. "Plantain" And "Anno Domini. MCMXXI".
In 1922, for a decade and a half, Akhmatova joined her fate with the art critic N. N. Punin.
Anna Akhmatova and third husband Nikolai Punin
In 1924, Akhmatova's new poems were published for the last time before a long break, after which an unspoken ban was imposed on her name. Only translations appear in the press (Rubens' letters, Armenian poetry), as well as an article about Pushkin's "The Tale of the Golden Cockerel". In 1935, her son L. Gumilyov and Punin were arrested, but after a written appeal from Akhmatova to Stalin, they were released.
In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities.
In 1938, Akhmatova's son was again arrested. The experiences of these painful years clothed in verses constituted a cycle "Requiem", which she did not dare to put down on paper for two decades.
In 1939, after a half-interested remark by Stalin, the publishing authorities offered Akhmatova a number of publications. Her collection "From Six Books" (1940) was published, which included, along with the old poems that had undergone a strict censorship selection, new works that arose after many years of silence. Soon, however, the collection is subjected to ideological scrutiny and withdrawn from libraries.
In the first months of the Great Patriotic War, Akhmatova wrote poster poems (later "Oath", 1941, and "Courage", 1942 became popularly known). By order of the authorities, she is evacuated from Leningrad before the first blockade winter, she spends two and a half years in Tashkent. He writes many poems, works on "A Poem without a Hero" (1940-65), a baroque-complicated epic about the St. Petersburg 1910s.
In 1945-46, Akhmatova incurs the wrath of Stalin, who learned about the visit to her by the English historian I. Berlin. The Kremlin authorities make Akhmatova, along with M. M. Zoshchenko, the main object of party criticism. The decree of the Central Committee of the All-Union Communist Party of Bolsheviks directed against them "On the magazines Zvezda and Leningrad" (1946) tightened the ideological dictate and control over the Soviet intelligentsia, misled by the liberating spirit of national unity during the war. Again there was a ban on publications; an exception was made in 1950, when Akhmatova feigned loyal feelings in her poems, written for the anniversary of Stalin in a desperate attempt to alleviate the fate of her son, once again subjected to imprisonment.
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 was published "Running Time". 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).
March 5, 1966 in Domodedovo (near Moscow) Anna Andreevna Akhmatova died. The very fact of Akhmatova's existence was a defining moment in the spiritual life of many people, and her death meant the breaking of the last living connection with a bygone era.
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 both on the personality of the great woman and on 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 an early biography, the girl's personal life was quite eventful. 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.
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.
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 Nikolayevich Gumilyov, the child of the love of two great poets, was arrested and some time later sentenced to long-term imprisonment 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.
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 with 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 Gumilyov (junior) were once a 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 other famous people of art. In honor of the Great Victory, she wrote her most wonderful poems (years of writing - approximately 1945-1946).
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
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.
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, interesting moments in their own way. 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.
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
Anna Gorenko was born on June 23, 1889 on the outskirts of Odessa in the family of an engineer-captain of the 2nd rank Andrei Antonovich Gorenko and Inna Erazmovna, whose family descended from the Tatar Khan Akhmat.
“My ancestor Khan Akhmat,” Anna Akhmatova wrote later, “was killed at night in his tent by a bribed Russian assassin, and this, as Karamzin narrates, ended the Mongol yoke in Rus'. On this day, as in memory of a happy event, a religious procession was going from the Sretensky Monastery in Moscow. This Akhmat, as is known, was a Chingizid. One of the princesses Akhmatova - Praskovya Egorovna - in the XVIII century married a rich and noble Simbirsk landowner Motovilov. Egor Motovilov was my great-grandfather. His daughter Anna Yegorovna is my grandmother. She died when my mother was 9 years old, and in honor of her I was named Anna ... ”It should also be mentioned that the mother of Anna Akhmatova in her youth was somehow involved in the activities of Narodnaya Volya.
Akhmatova said almost nothing about her father, who was somewhat distant from the family and took little care of the children, except for bitter words about the collapse of the family hearth after his departure: “In 1905, my parents broke up, and my mother and children went south. We lived for a whole year in Yevpatoria, where I took the course of the penultimate class of the gymnasium at home, yearned for Tsarskoe Selo and wrote a great many helpless poems ... "
In her autobiography, entitled “Briefly About Myself,” Anna Akhmatova wrote: “I was born on June 23, 1889, near Odessa (Big Fountain). My father was a retired Navy mechanical engineer at the time. As a one-year-old child, I was transported to the north - to Tsarskoye Selo. I lived there until I was sixteen. 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 little motley 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. I learned to read according to the alphabet of Leo Tolstoy. At the age of five, listening to how the teacher worked with older children, I also began to speak French. I wrote my first poem when I was eleven years old. Poems began for me not with Pushkin and Lermontov, but with Derzhavin (“On the Birth of a Porphyritic Child”) and Nekrasov (“Frost the Red Nose”). My mother knew these things by heart. I studied at the Tsarskoye Selo Women's Gymnasium ... "
Anna had sisters Irina, Inna, Iya, as well as brothers Andrei and Victor.
The mother was closest to the children - apparently, an impressionable nature, who knew literature and loved poetry. Subsequently, Anna Akhmatova, in one of the "Northern Elegies" dedicated to her heartfelt lines:
...a woman with transparent eyes
(Such a deep blue that the sea
It is impossible not to remember, looking at them),
With a rare name and a white pen,
And kindness, which is inherited
I seem to have received from her
An unnecessary gift of my cruel life...
Among relatives on the mother's side, Anna had people who were engaged in literature. For example, the now forgotten, but once famous Anna Bunina, called Anna Akhmatova "the first Russian poetess." She was an aunt to her mother's father, Erasmus Ivanovich Stogov, who left the interesting "Notes", published at one time in "Russian Antiquity" in 1883.
In 1900, Anna Gorenko entered the Tsarskoye Selo Mariinsky Gymnasium. She wrote: “I did everything that was supposed at that time for a well-bred young lady. She knew how to fold her hands in the shape, make a curtsy, politely and briefly answer in French the question of an old lady, she spoke on Strastnaya in the gymnasium church. Occasionally, my father ... took with him to the opera (in a gymnasium dress) to the Mariinsky Theater (box). I have been to the Hermitage, to the Museum of Alexander III. In spring and autumn in Pavlovsk for music - Station ... Museums and art exhibitions ... In winter, often at the skating rink in the park ... "
When the father found out that his daughter wrote poetry, he expressed displeasure, calling her a "decadent poetess." According to her father, it was completely unacceptable to engage in poems for a noble daughter, and even more so - to print them. “I was a sheep without a shepherd,” Akhmatova recalled in a conversation with Lydia Chukovskaya. - And only a seventeen-year-old crazy girl could choose a Tatar surname for a Russian poetess ... That's why it occurred to me to take a pseudonym for myself, because dad, having learned about my poems, said: "Do not shame my name." - I don't need your name! - I said..."
The childhood of Anna Akhmatova fell at the very end of the 19th century. Subsequently, she was proud that she happened to catch the edge of the century in which Pushkin lived. Many years later, Akhmatova returned to Tsarskoye Selo more than once, both in poetry and prose. It, according to her, is the same as Vitebsk for Chagall - the source of life and inspiration.
This willow leaves faded in the nineteenth century,
To silver in the line of the verse a hundredfold fresh.
Wild roses have become purple wild roses,
And the lyceum hymns still sound toasty.
Half a century has passed ... Generously exacted by wondrous fate,
In the unconsciousness of days I forgot the course of years, -
And I won't go back! But I'll take Lethe with me
The living outlines of my Tsarskoye Selo gardens.
This willow, the leaves in the nineteenth century withered ...
In the same place in Tsarskoe Selo, young Anna in 1903 met Nikolai Gumilyov on Christmas Eve. 14-year-old Anya Gorenko was a slender girl with huge gray eyes that stood out sharply against the background of a pale face and straight black hair, and when he saw her chiseled profile, an ugly 17-year-old boy realized that from now on and forever this girl would become his muse, his Beautiful Lady for which he will live, write poetry and perform feats. The coldish reception did not at all lessen the ardor of the poet in love - here it is, that same fatal and unrequited love that will bring him the desired suffering! And Nikolai with passion rushed to win the heart of his Beautiful Lady. However, Anna was in love with another. Vladimir Golenishchev-Kutuzov - a tutor from St. Petersburg - was the main character in her girlish dreams. In 1906, Gumilyov left for Paris, where he hoped to forget his fatal love and return in the form of a disappointed tragic character, but then Anya Gorenko suddenly realized that she lacked the blind adoration of the young poet (Akhmatova’s parents learned about their daughter’s love for a St. Petersburg tutor and from sin further separated Anya and Volodya). Nikolai's courtship flattered Akhmatova's pride so much that she was even going to marry him, despite the fact that she was in love with a St. Petersburg tutor.
After a divorce from her husband in 1905, Inna Erazmovna took the children and moved to Evpatoria, where Anna, due to aggravated tuberculosis, was forced to take a gymnasium course at home, walked a lot and enjoyed the open spaces of the sea. She learned to swim so well, as if the sea element was her own.
I don't need my legs anymore
Let them turn into a fish tail!
I swim, and the coolness is joyful,
The distant bridge turns white ...
Watch how deep I dive
I hold on to the seaweed with my hand,
I do not repeat any words
And I will not be captivated by anyone's longing ...
I don't need my legs anymore...
If you re-read her early poems, including those collected in the first book, "Evening", which was considered to be St. Petersburg through and through, one might be surprised at how many southern, maritime reminiscences there are in them. It can be said that throughout her long life, with her inner ear of grateful memory, she constantly caught the echo of the Black Sea that never completely died away for her.
From 1906 to 1907, Anna lived with relatives in Kyiv, where she entered the last class of the Fundukleevskaya gymnasium. After graduation, she signed up for the law department of the Higher Kyiv Women's Courses, and began a correspondence with Gumilyov, who had left for Paris. At the same time, the first publication of her poem "There are many brilliant rings on his hand ..." in the Parisian Russian weekly "Sirius", the publisher of which was Gumilyov. Akhmatova once said that she did not love Kiev, but speaking objectively and accurately, she most likely did not like her then everyday environment - constant control by adults (and this was after the Chersonese freemen!), And the petty-bourgeois family way of life.
And yet Kyiv forever remained in her creative heritage with beautiful poems:
The ancient city seems to have died out
My arrival is strange.
Over the river Vladimir
Raised the black cross.
Noisy lindens and elms
Dark gardens,
Star needle diamonds
Uplifted to God.
My path is sacrificial and glorious
I will finish here.
And with me only you, my equal,
Yes my love.
The ancient city seems to have died out...
In 1909, Anna accepted Gumilyov's official proposal to become his wife, and on April 25, 1910, Anna Gorenko and Nikolai Gumilyov were married in the St. Nicholas Church in the village of Nikolskaya Slobodka near Kiev. None of Gumilyov's relatives were present at the wedding, as they believed that this marriage would not last long. And in May, the couple went on their honeymoon trip to Paris, after which they spent the summer in Slepnev, the Tver estate of the mother-in-law A.I. Gumilyova. Anna Akhmatova recalled Paris with irony: “... The poems were in complete desolation, and they were bought only because of the vignettes of more or less famous artists. Even then I understood that Parisian painting ate French poetry ... "
In 1911, Akhmatova and Gumilyov returned to St. Petersburg, where Anna entered the St. Petersburg women's courses. Soon her first publication came out under the pseudonym ANNA AKHMATOVA - the poem "Old Portrait" in the "General Journal" in 1911. About that time, Anna later wrote: “... I spent the spring of 1911 in Paris, where I witnessed the first triumphs of Russian ballet. In 1912 she traveled through Northern Italy (Genoa, Pisa, Florence, Bologna, Padua, Venice). The impression of Italian painting and architecture was enormous: it is like a dream that you remember all your life ... "
Soon the first public performance in the literary cabaret "Stray Dog" brought fame to the young poetess. Petersburg literary public was favorably received by Akhmatova's first collection of poems "Evening", published in early March 1912.
Anna Akhmatova's relationship with her husband was difficult. Marriage to Anna Gorenko did not become a victory for Nikolai Gumilyov. As one of Akhmatova's friends of that period put it, she had her own complex "life of the heart", in which her husband was given a more than modest place. And for Gumilyov it turned out to be not at all easy to combine in the mind the image of the Beautiful Lady with the image of his wife and mother. And two years after the marriage, Gumilyov started a serious romance. Gumilyov had light hobbies before, but in 1912 Gumilyov fell in love for real. Immediately after returning from Africa, Gumilyov visited his mother's estate, where he ran into his niece, the young beauty Masha Kuzmina-Karavaeva. His feeling did not go unanswered. However, this love bore the tinge of tragedy - Masha was mortally ill with tuberculosis, and Gumilyov again entered the image of a hopelessly in love. Akhmatova had a hard time - she was used to being a goddess for Nikolai, and therefore it was hard for her to be overthrown from her pedestal, realizing that her husband was capable of experiencing the same high feelings for another woman. Meanwhile, Mashenka's health was rapidly deteriorating, and soon after the beginning of their affair with Gumilyov, Kuzmina-Karavaeva died. But her death did not return Akhmatova's former adoration of her husband, and then Anna Andreevna decided on a desperate step - on September 18, 1912, she gave birth to Gumilyov's son, who was named Leo. Gumilyov took the birth of a child ambiguously. He immediately staged a "demonstration of independence" and continued to spin novels on the side. Subsequently, Akhmatova said: “Nikolai Stepanovich was always single. I can't imagine him being married." Anna did not feel like a good mother and almost immediately sent the child to her mother-in-law.
1913 was a year filled with joint performances by Akhmatova with Alexander Blok. In this time period, the name of the young Akhmatova was closely associated with acmeism, a poetic movement that began to take shape around 1910, that is, around the same time that she began to publish her first poems. The founders of acmeism were Gumilyov and Gorodetsky, they were also joined by O. Mandelstam, V. Narbut, M. Zenkevich, N. Otsup and some other poets who proclaimed the need for a partial rejection of some precepts of "traditional" symbolism. In a certain sense, they considered themselves to have come to replace him, because in their eyes, symbolism as an artistic trend had already exhausted itself, breaking up into separate and independent masters separated from each other. The acmeists set themselves the goal of reforming symbolism, the main misfortune of which, from their point of view, was that he "directed his main forces into the realm of the unknown" and "alternately fraternized with mysticism, then with theosophy, then with the occult." Therefore - no mysticism: the world must appear as it is - visible, material, carnal, living and mortal, colorful and sounding. Akhmatova took this side of the acmeistic "program", transforming it in her own way in accordance with the nature of her talent. She always seemed to take into account that the world exists in two forms - visible and invisible, and often really approached the "very edge" of the unknowable, but always stopped where the world was still visible and solid. The lyrics of Akhmatova during the period of her first books (“Evening”, “Rosary”, “White Flock”) are almost exclusively lyrics of love. Her innovation as an artist initially manifested itself precisely in this traditionally eternal, repeatedly and, it would seem, played out theme to the end.
The novelty of Akhmatova's love lyrics caught the eye of her contemporaries almost from her first poems, published in Apollo, but, unfortunately, the heavy banner of acmeism, under which the young poetess stood, for a long time draped in the eyes of many her true, original appearance and forced to constantly correlate her poems with either acmeism, or symbolism, or with certain linguistic or literary theories that for some reason came to the fore.
Speaking in Moscow in 1924 at the evening of Akhmatova, Leonid Grossman wittily and rightly remarked: “For some reason it has become fashionable to test new theories of linguistics and the latest trends in versification on the Rosary and the White Pack. Questions of all sorts of complex and difficult disciplines - semantics, semasiology, speech articulation, verse intonation - began to be resolved by specialists on the fragile and delicate material of these wonderful examples of love elegy. Blok's woeful verse could be applied to the poetess: her lyrics became "the property of an associate professor." This, of course, is an honor and absolutely inevitable for any poet; but it is the least of all that captures that unique expression of a poetic face, which is dear to countless generations of readers.
The spring of 1913 was marked for Akhmatova by a meeting and the beginning of a loving friendship with Nikolai Vladimirovich Nedobrovo. In the meantime, in March 1914, the second collection of Akhmatova's "Rosary" was released, and in August Gumilyov volunteered for the Life Guards Ulansky Regiment, and went to the front. In the autumn of 1915, due to the exacerbation of a chronic tuberculous process in the lungs, she was treated in Finland, and in the summer of 1916, at the insistence of doctors, she spent it in the south, in Sevastopol, where her last meeting with Nikolai Nedobrovo took place. In March 1917, she accompanied Gumilyov abroad, to the Russian Expeditionary Corps, and recovered for the whole summer in Slepnevo, where she wrote poems, which were later included in the White Pack collection. Akhmatova also spent a lot of time with her son and mother-in-law.
Akhmatova's third collection, The White Flock, was released in September. When Gumilyov returned to Russia in 1918, Akhmatova told him the stunning news: she loves another, and therefore they will have to part forever. Despite the cool relationship between the spouses, the divorce was a real blow for Gumilyov - it turns out that he still loved his Beautiful Lady Anya Gorenko. However, Akhmatova was adamant, and moved to the well-known expert on Ancient Egypt, Vladimir Shileiko - it was he who managed to win the heart of the great poetess, while her husband dangled along the fronts, winning awards (for his courage, Gumilev was awarded two St. George's crosses). Son Leo remains in the care of his father and mother-in-law, and Gumilyov subsequently visited Akhmatova and Shileiko more than once in their apartment in the Marble Palace, bringing his son there.
Akhmatova's poems of the pre-revolutionary and revolutionary years objectively contained the possibility of directly opposite interpretations and rethinking, since they really contained the history of the wanderings of their own soul, which, as it turned out, was going into the revolution, and what was dear to the other side - the counter-revolution, which dreamed of restoration of the "trampled" noble and bourgeois rights. In our time, the topicality and severity of the disputes around the "White Pack" or "Anno Domini" has long faded away, turning into a problem that has a predominantly historical and literary character. The readers of these stanzas have changed. Anna Akhmatova herself changed over the years, having passed a huge life and creative path, saying: “... Readers and criticism are unfair to this book. For some reason, it is believed that she had less success than the Rosary. This collection appeared under even more formidable circumstances. Transport stopped - the book could not even be sent to Moscow, it was all sold out in Petrograd. Magazines were closed, newspapers too. Therefore, unlike the Rosary, the White Flock did not have a noisy press. Hunger and devastation grew every day. Oddly enough, now all these circumstances are not taken into account ... "
It was then - in the lyrics of those terrible years, especially in the "White Pack", Akhmatova appeared the motive of an inflamed, hot and self-torturing conscience:
We are all thugs here, harlots,
How sad we are together!
Flowers and birds on the walls
They languish on the clouds.
You smoke a black pipe
So strange is the smoke above her.
I put on a tight skirt
To appear even slimmer.
Forever filled windows:
What is there, drizzle or a thunderstorm?
Into the eyes of a cautious cat
Look like your eyes.
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.
We are all thugs here, harlots...
The year 1921 was full of many events. Akhmatova worked in the library of the Agronomic Institute, Korney Chukovsky’s article “Akhmatova and Mayakovsky” was published in the House of Arts magazine, in the House of Writers in Petrograd at an evening in memory of Pushkin, Akhmatova listened to Blok’s speech “On the Appointment of a Poet” in the presidium, in April the Plantain "- the fourth collection of poems by Akhmatova.
On the night of August 3-4, 1921, Gumilyov was arrested in the so-called "Tagantsev case." In the article by V. Stavitsky, the “Tagantsev Case” was analyzed in detail, and the full texts of Gumilyov’s interrogations dated August 9, 18, 20 and 23, as well as the sentence of Petrogubchek dated August 24, 1921, were given. Familiarity with these documents does not allow us to conclude that Gumilyov played a "prominent role" in the conspiracy. Rather, his role was passive and hypothetical. It was planned, but did not actually come true: “Interrogated by investigator Yakobson, I show the following: I don’t know any names that could bring any benefit to Tagantsev’s organization by establishing a connection between them, and therefore I can’t name. I feel guilty in relation to the existing authorities in Russia that during the days of the Kronstadt uprising I was ready to take part in the uprising if it spread to Petrograd, and I talked about this with Vyacheslavsky.
In the verdict of Petrogubchek, the main point of the accusation: "promised to associate with the organization at the time of the uprising a group of intellectuals, career officers." As you can see, even the governor did not accuse Nikolai Stepanovich of belonging to the leadership of the organization, but only of promising assistance. The promise remained unfulfilled, since the uprising was crushed in Kronstadt and did not reach Peter. In the list of those executed on August 25, 1921 in the PBO case, Gumilyov is the thirtieth.
Akhmatova herself until the end of her days was sure of Gumilev's absolute innocence.
In October 1921, the fifth collection of poems by Akhmatova "Anno Domini" was published.
Anna Akhmatova said: “... From about the middle of the 20s, I began to study the architecture of old St. Petersburg very diligently and with great interest and study the life and work of Pushkin. The result of my Pushkin's studies were three works - about "The Golden Cockerel", about "Adolf" by Benjamin Sonstan and about "The Stone Guest". All of them were published at one time. The works “Alexandrina”, “Pushkin and the Neva Seaside”, “Pushkin in 1828”, which I have been working on for almost the last twenty years, will apparently be included in the book “The Death of Pushkin”. Since the mid-20s, my new poems have almost ceased to be printed, and the old ones have been reprinted ... "
On June 8, 1927, the marriage between Akhmatova and Shileiko was officially annulled. That same summer, Anna Akhmatova was treated in Kislovodsk at the sanatorium of the Central Commission for the Improvement of the Life of Scientists, where she met with Marshak, Kachalov and Stanislavsky. At the same time, she met the literary critic Nikolai Ivanovich Khardzhiev, whose friendship continued until the last days of her life.
Anna Akhmatova with her son
In October 1933, the book “Peter Pavel Rubens. Letters” translated by Akhmatova.
On the night of May 13-14, 1934, Osip Mandelstam was arrested in his Moscow apartment in front of Anna Akhmatova. And soon the new poems of Anna Akhmatova acquired a completely different depth. Her love lyrics were full of inconsistencies, hints, going into the distant, I would like to say, Hemingway, depth of subtext. The heroine of Akhmatov's poems, most often spoke as if to herself in a state of impulse, semi-delusion or ecstasy, not considering it necessary to further explain and interpret everything that was happening to us.
Only the main signals of feelings were transmitted, without decoding, without comments, hastily - according to the hasty ABC of love.
Somehow managed to separate
And put out the hateful fire.
My eternal enemy, it's time to learn
You really love someone.
I'm free. Everything is fun for me
At night, the Muse will fly to comfort,
And in the morning glory will drag
Rattle over the ear to crackle.
Don't even pray for me
And when you leave, look back...
The black wind will calm me.
Amuses the golden leaf fall.
As a gift, I will accept separation
And oblivion is like grace.
But, tell me, on the cross
Would you dare to send another?
Somehow managed to separate...
In the late 1930s, she reconsiders a lot, rethinks and experiences, and her poems reach a completely different height.
In March 1937, Anna Akhmatova's son, Leo, was expelled from the university and arrested along with Nikolai Punin. Akhmatova urgently left for Moscow, and on October 30, Mikhail Bulgakov helped her write a letter to Stalin with a request to alleviate the fate of her husband and son. L. Seifullina, E. Gershtein, B. Pasternak, B. Pilnyak took an active part in these efforts of Akhmatova. On November 3, Nikolai Punin and Lev Gumilyov were released.
In March 1938, Lev Gumilyov was arrested again, as a student at Leningrad State University, and sentenced to five years. He was involved in the same case with two other students of Leningrad State University - Nikolai Yerekhovich and Teodor Shumovsky. On September 21, 1939, Gumilyov ended up in the 4th camp department of the Norillag. During the entire term of his imprisonment, he managed to work as a digger, a miner at a copper ore mine, a library bookkeeper at Mine 3/6, a technician, a geologist (in the geotechnical and then in the geophysical group of the mining department), and by the end of the term he even became a laboratory chemist. After serving his term, he was left in Norilsk without the right to leave. And in the fall of 1944, the son of Anna Akhmatova joined the Red Army, fought as a private in the 1386th anti-aircraft artillery regiment, which was part of the 31st anti-aircraft artillery division on the First Belorussian Front, and ended the war in Berlin.
On April 14, 1940, on Mayakovsky's birthday, at an anniversary evening in the Leningrad Chapel, Anna Akhmatova read the poem "Mayakovsky in 1913" dedicated to the poet. At the same time, she was sent from Moscow a proofreader of a collection of poems being prepared at the GIHL, but the book was never published. However, in May, Akhmatova's Leningrad collection "From Six Books" was published.
The 1930s turned out to be for Akhmatova sometimes the most difficult trials in her life. She witnessed not only the Second World War unleashed by fascism, but also another, no less terrible war waged by Stalin and his henchmen against their own people. The monstrous repressions of the 1930s, which fell upon almost all of Akhmatova's friends and like-minded people, destroyed her family hearth. Akhmatova lived all these years in constant expectation of arrest. She spent, she said, seventeen months in long and woeful prison lines to hand over the package to her son and find out about his fate. In the eyes of the authorities, she was an extremely unreliable person: the wife, although divorced, of the “counter-revolutionary” Gumilyov, who was shot in 1921, the mother of the arrested “conspirator” Lev Gumilyov, and, finally, the wife (though also divorced) of the prisoner Nikolai Punin.
Husband in the grave, son in prison,
Pray for me...
she wrote in "Requiem", filled with grief and despair.
Akhmatova could not but understand that her life was constantly hanging by a thread, and, like millions of other people, stunned by unprecedented terror, she listened anxiously to any knock on the door.
It would seem that in such conditions it was unthinkable to write, and she really did not write, that is, she did not write down her poems, refusing, in her words, not only from pen and paper, which could become evidence during interrogations and searches, but, of course, and from the "invention of Gutenberg", that is, from printing.
Animals shoot differently
Everyone has a turn
very varied,
But the wolf is all year round.
The wolf loves to live in the wild.
But with the wolf, the calculation is quick:
On ice, in the forest and in the field
Beat the wolf all year round.
Don't cry, O friend,
Kohl in summer or winter
Again from the trail of a wolf
Hear my voice.
You live, but I don't really ...
On September 6, 1941, during the first massive bombing of Leningrad, the Badaev food warehouses burned down, and famine began in the besieged city. On September 28, Akhmatova developed dystrophic edema, and by decision of the authorities, she was evacuated first to Moscow and then to Chistopol. From there, with the family of Korney Chukovsky through Kazan, she moved to Tashkent.
During the war years, along with the journalistic poems “Oath” and “Courage”, Akhmatova wrote several works of a larger plan, in which she comprehended the entire historical bulk of the revolutionary time that had passed, and again returned to the era of 1913, revised it anew, judged, much - before she resolutely discarded the dear and close, and looked for the origins and consequences. It was not a departure into history, but the approach of history to the difficult and difficult day of the war, a peculiar historical and philosophical understanding that was not peculiar to her alone at that time, unfolding before her eyes of a grandiose war. During the war years, readers mostly knew the poems "Oath" and "Courage", which were published in newspapers and attracted general attention, as a kind of rare example of newspaper journalism from such a chamber poet, which Akhmatov was in the perception of the pre-war years. But besides these wonderful journalistic works, full of patriotic enthusiasm and energy, she wrote many other things, no longer journalistic, but also in many ways new to her, such as the poem cycle “The Moon at the Zenith”, “At the Smolensk Cemetery”, “Three autumn", "Where on four high paws...", "Prehistory" and especially fragments from "Poem without a Hero", begun in 1940, but voiced during the war years.
Akhmatova's military lyrics require deep reflection, because, in addition to its undeniable aesthetic and human value, it is also of interest as an important detail of the then literary life, searches and finds of that time.
Olga Berggolts recalled Akhmatova from the very beginning of the Leningrad siege: “On a lined sheet of paper torn from an account book, written under the dictation of Anna Andreevna Akhmatova, and then a radio speech corrected by her hand - to the city and on the air - in the most difficult days of the assault on Leningrad and the offensive to Moscow. As I remember it, near the old wrought iron gate against the background of the cast-iron fence of the Fountain House, the former Sheremetyevo Palace. With a face locked in sternness and anger, with a gas mask over her shoulder, she was on duty as an ordinary air defense fighter. She sewed sandbags, which were lined with shelter trenches in the garden of the same Fountain House, under the maple, sung by her in "A Poem Without a Hero". At the same time, she wrote poetry, fiery, laconic quatrains in Akhmatov's way: "The enemy banner will melt like smoke, the truth is behind us, and we will win!"
It is characteristic that in her military lyrics the broad and happy "we" dominated. “We will save you, Russian speech”, “courage will not leave us”, “the motherland has given us shelter” - she has a lot of such lines, testifying to the novelty of Akhmatova’s worldview and the triumph of the people’s principle. Numerous threads of kinship with the country, previously loudly declaring themselves only at certain turning points in the biography ("I had a voice. It called consolingly ...", 1917; "Petrograd", 1919; "That city, familiar to me since childhood ... ", 1929; "Requiem", 1935-1940), became forever the main, most expensive, defining both life and the sound of verse.
Not only St. Petersburg, not only Tsarskoye Selo, but the whole vast country, spread over the boundless and saving Asian expanses, turned out to be their homeland. “It is strong, my Asian home,” she wrote in one of her poems, recalling that she is also connected with Asia by blood (“Tatar grandmother”) and therefore has the right, no less than Blok, to speak with the West as would and on her behalf.
In May 1943, the Tashkent collection of poems by Akhmatova "My Asiatic" was published.
On May 15, 1944, Akhmatova flew to Moscow, where she lived on Bolshaya Ordynka with old friends of the Ardovs. In the summer she returned to Leningrad, and went to the Leningrad front with poetry reading. Also with great success was her creative evening in the Leningrad House of Writers, and later, starting in 1946, creative evenings followed one after another - in Moscow, in Leningrad, and everywhere she was awaited by the most enthusiastic reception and triumph. But on August 14, the Decree of the Central Committee on the magazines "Zvezda" and "Leningrad" was issued, and Akhmatova's work, as ideologically alien, was anathematized. Immediately, on August 16, a general meeting of the Leningrad creative intelligentsia was held, at which A. Zhdanov made a report. The meeting unanimously approved the line of the Central Committee with regard to alien elements in the person of Anna Akhmatova, Mikhail Zoshchenko and the like. In connection with this decision, Akhmatova's collections “Anna Akhmatova. Poems" and "Anna Akhmatova. Favorites".
On September 1, 1946, the Presidium of the Board of the Union of Writers of the USSR decided: to exclude Anna Akhmatova and Mikhail Zoshchenko from the Union of Soviet Writers. Anna Akhmatova found herself in a distressed situation and without a livelihood. Boris Pasternak, with great difficulty, secured the allocation of 3,000 rubles from the Literary Fund for the starving Akhmatova. And in 1949, Punin and Lev Gumilyov were again arrested. Akhmatova's son was sentenced by a special meeting to 10 years, which he served first in a special purpose camp in Sherubay-Nur near Karaganda, then in a camp near Mezhdurechensk in the Kemerovo region, in the Sayans. On May 11, 1956, he was rehabilitated due to lack of corpus delicti. Anna Akhmatova herself, during his imprisonment, in despair rushed around the offices in fruitless attempts to free her son.
Only on January 19, 1951, at the suggestion of Alexander Fadeev, Akhmatova was reinstated in the Writers' Union. And in May, Akhmatova had her first myocardial infarction. Before leaving for the hospital from the Ardovs, she called E. Gershtein and handed over the manuscripts and documents to her for safekeeping. After being discharged from the hospital, Akhmatova lived in the house of the Ardovs, but soon learned that, together with the Punin family, she had been evicted from the Fountain House on Krasnaya Konnitsa Street. And on June 21, 1953, she received news of the death of Nikolai Punin in the Vorkuta camp in the village of Abez. Shortly before this, on March 4, 1953, on the eve of the anniversary of Stalin's death in 1953, in the presence of Lydia Chukovskaya, Akhmatova uttered a historic phrase: “Now the prisoners will return, and the two Russias will look into each other's eyes: the one that imprisoned, and the one that was imprisoned. A new era has begun."
In 1954, with the assistance of A. Surkov, she handed over to the publishing house "Fiction" a manuscript of poems and translations. And on February 5, 1954, she filed a petition addressed to the Chairman of the Presidium of the USSR Armed Forces Voroshilov to review the case of Lev Gumilyov.
In May 1955, the Leningrad branch of the Literary Fund allocated Akhmatova a summer house in the writer's village of Komarovo; Akhmatova called this her dwelling “The Booth”.
Anna Akhmatova was a great tragic poetess, a great and deep artist who caught the great era of the “change of times”. The explosive, apocalyptic colossal and prophetic image of the Epoch with great revolutionary upheavals that followed one after another, with world wars and an extremely accelerated rhythm of life, all these many-sided and diverse events of the 20th century, each of which could provide a cross-cutting theme for artistic creativity - all voiced her lyrics. Anna Akhmatova has come a long way, realizing the futility of the circle of life and people from which she left, but it was given to her with great difficulty, at the cost of torment and blood. A man of great will and unbending courage, dignity and a militant conscience, she endured severe adversity, reflected both in the Requiem and in some poems of the post-war years.
In the post-war years, she remembered a lot - it was also a tribute to her age, but her memoirs were least of all like memoirs created at her leisure; uncompromisingly and sternly, she judged both in the “Poem Without a Hero” and in the poems accompanying it the former, once glorified and already once imprinted by her era.
The wanderings of Memory and Conscience through the pitch-black expanses of times that have long since reverberated have invariably led her to today, to today's people and today's young trees. The historicism of thinking in relation to the late Akhmatova is, in later poems, if I may say so, the protagonist of poetic reasoning, the main starting point of all whimsical and memoir associations that go in different directions. Boris Pasternak's own illness, persecution and death were reflected in her subsequent poems published by the Literary Gazette: "Muse", "And rummaging in the black memory, you will find ...", "Epigram" and "Shadow".
In October 1961, Anna Akhmatova was hospitalized in the surgical department of the first Leningrad hospital due to an exacerbation of chronic appendicitis. After the operation, she had a third myocardial infarction, and she met the new year 1962 in the hospital.
In August 1962, the Nobel Committee nominated Anna Akhmatova for the Nobel Prize, and in 1963 Anna Akhmatova was nominated for the Etna-Taormina International Literary Prize. Well-deserved fame came to Akhmatova - her poems were published in various publications, her creative evenings were held. On May 30, 1964, a gala evening dedicated to the 75th anniversary of Anna Akhmatova took place in Moscow at the Mayakovsky Museum.
On December 1, 1964, Anna Akhmatova went to Italy to be honored on the occasion of the awarding of the Etna-Taormina Prize, and a reception was held in her honor in Rome. On December 12, in the castle of Ursino Akhmatova, the Etna-Taormina literary prize was awarded for the 50th anniversary of her poetic activity and in connection with the release of a collection of her selected works in Italy. And on December 15, 1964, Oxford University decided to award Anna Andreevna Akhmatova an honorary doctorate in literature.
At that time, Akhmatova lived in Komarovo, where friends came to visit her. In the same place, Lev Shilov made the famous tape recording of "Requium" in the author's reading, promising not to distribute the recording until the seditious poem was published in the homeland of its author.
In early October 1965, her last lifetime collection of poems and poems, the famous "Running Time", was published. And on October 19, 1965, Akhmatova's last public performance took place at a gala evening at the Bolshoi Theater dedicated to the 700th anniversary of Dante's birth.
On November 10, 1965, Akhmatova suffered a fourth myocardial infarction. On February 19, 1966, she moved from the hospital to a cardiological sanatorium near Moscow, where on March 4 she made the last entry in her diary: “In the evening, going to bed, I regretted that I had not taken the Bible with me.”
Anna Akhmatova died on March 5, 1966, and was buried on March 10, according to the Orthodox custom, at the St. Nicholas Naval Cathedral in Leningrad.
Anna Akhmatova was buried at the Komarovsky cemetery near Leningrad.
Akhmatova's centenary was widely celebrated throughout the country, and by decision of UNESCO - throughout the world.
The life path of Anna Akhmatova was difficult and complex. Starting with acmeism, but having turned out to be much wider than this rather narrow direction, she came over the course of her long and intensely lived life to realism and historicism. Titled once with the title of "Sappho of the 20th century", she really wrote new pages in the great Book of Love. Her main achievement and her individual artistic discovery was, above all, love lyrics. The mighty passions raging in Akhmatov's love miniatures, compressed to a diamond hardness, were always depicted by her with the greatest psychological depth and accuracy.
In this incomparable psychologism of constantly intense and dramatic feeling, she was the direct and most worthy heir to the great Russian classical literature. No wonder she so often looked back at the creations of the great Russian masters - from Pushkin to Blok. Akhmatova did not pass by the psychological prose of Gogol, Dostoevsky, Tolstoy... The diversely branched traditions and influences of Western and Eastern literatures also entered Akhmatova's original verse, strengthening and strengthening its universal cultural foundation.
Tvardovsky wrote that Akhmatova's lyrics are least of all the so-called ladies' or women's poetry. Even in the early books of the poetess (in "Evening", in "Rosary", in "The White Flock") we see the universality of the depicted experience, and this is the first sign of genuine, great and high art. The love story, which unfolded dramatically, passionately and always unexpectedly in all her books, in its own way captured the relationship of loving hearts of a certain era.
For all the universal humanity and eternity of the feeling itself, it is always instrumented by Akhmatova with the help of the sounding voices of a specific time: intonations, gestures, syntax, vocabulary - everything tells us about certain people of a certain day and hour. This artistic accuracy in the transmission of the very air of time, which was originally a natural property of talent, then, over the course of many decades, was purposefully and laboriously polished to the degree of that genuine, conscious historicism that amazes all those who read and, as it were, rediscovering the late Akhmatova - the author " Poems without a Hero" and many other poems recreating and interspersing various historical epochs with free precision.
Akhmatova's poetry is an integral part of modern Russian, Soviet and world culture.
In 1988, a documentary film "Requiem" was shot about Anna Akhmatova, in which Lev Nikolaevich Gumilyov took part.
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"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. 1961
Instead of a preface
During the terrible years of the Yezhovshchina, I spent seventeen months in prison queues in Leningrad. Once, someone "identified" me. Then the woman standing behind me, who, of course, had never heard my name, woke up from the stupor characteristic of all of us and asked in my ear (there everyone spoke in a whisper):
Can you describe this?
And I said
Then something like a smile flickered across what had once been her face.
Portrait of Anna Akhmatova by N. Altman. 1914
dedication
Mountains bend before this grief,
The great river does not flow
But the prison gates are strong,
And behind them "convict holes"
And deadly sadness.
For someone the fresh wind blows,
For someone, the sunset basks -
We don't know, we're the same everywhere
We hear only the hateful rattle of the keys
Yes, steps are heavy soldiers.
We got up as if for an early mass,
We walked through the wild capital,
They met there, the dead lifeless,
The sun is lower and the Neva is foggy,
And hope sings in the distance.
The verdict ... And immediately the tears will gush,
Already separated from everyone
As if life is taken out of the heart with pain,
As if rudely overturned,
But it goes... It staggers... Alone...
Where are the unwitting girlfriends now
My two crazy years?
What does it seem to them in the Siberian blizzard,
What does it seem to them in the lunar circle?
To them I send my farewell greetings.
INTRODUCTION
It was when I smiled
Only the dead, happy with peace.
And swayed with an unnecessary pendant
Near the prisons of their Leningrad.
And when, mad with torment,
There were already condemned regiments,
And a short parting song
Locomotive whistles sang,
The death stars were above us
And innocent Rus' writhed
Under the bloody boots
And under the tires of black marus.
They took you away at dawn
Behind you, as if on a takeaway, I walked,
Children were crying in the dark room,
At the goddess, the candle swam.
Icons on your lips are cold,
Death sweat on the brow... Don't forget!
I will be like archery wives,
Howl under the Kremlin towers.
November, 1935. Moscow
The quiet Don flows quietly,
The yellow moon enters the house.
Enters in a cap on one side,
Sees the yellow moon shadow.
This woman is sick
This woman is alone.
Husband in the grave, son in prison,
Pray for me.
No, it's not me, it's someone else suffering.
I couldn't do that, but what happened
Let the black cloth cover
And let them carry the lanterns ...
Night.
I would show you, mocker
And the favorite of all friends,
Tsarskoye Selo merry sinner,
What will happen to your life
Like a three hundredth, with a transmission,
Under the Crosses you will stand
And with my hot tear
New Year's ice to burn.
There the prison poplar sways,
And not a sound - but how much is there
Innocent lives are ending...
I've been screaming for seventeen months
I'm calling you home
I threw myself at the feet of the executioner,
You are my son and my horror.
Everything is messed up,
And I can't make out
Now who is the beast, who is the man,
And how long to wait for the execution.
And only dusty flowers
And the ringing of the censer, and traces
Somewhere to nowhere
And looks straight into my eyes
And threatened with imminent death
Huge star.
Easy weeks fly
What happened, I don't understand.
How do you, son, go to jail
White nights looked
How do they look again?
With a hawk's hot eye,
About your high cross
And they talk about death.
Spring 1939
SENTENCE
And the stone word fell
On my still living chest.
Nothing, because I was ready
I'll deal with it somehow.
I have a lot to do today:
We must kill the memory to the end,
It is necessary that the soul turned to stone,
We must learn to live again.
But not that ... The hot rustle of summer,
Like a holiday outside my window.
I've been anticipating this for a long time.
Bright day and empty house.
TO DEATH
You will come anyway - why not now?
I'm waiting for you - it's very difficult for me.
I turned off the light and opened the door
You, so simple and wonderful.
Take any form for this,
Break in with a poisoned projectile
Or sneak up with a weight like an experienced bandit,
Or poison with a typhoid child.
Or a fairy tale invented by you
And everyone is sickeningly familiar, -
So that I can see the top of the blue hat
And the house manager, pale with fear.
I don't care now. The Yenisei swirls
The polar star is shining.
And the blue sparkle of beloved eyes
The last horror covers.
Already madness wing
Soul covered half
And drink fiery wine
And beckons to the black valley.
And I realized that he
I must give up the victory
Listening to your
Already as if someone else's delirium.
And won't let anything
I take it with me
(No matter how you ask him
And no matter how you bother with a prayer):
Not a son of terrible eyes -
petrified suffering,
Not the day when the storm came
Not an hour of prison rendezvous,
Not the sweet coolness of hands,
Not linden agitated shadows,
Not a distant light sound -
Words of last consolation.
CRUCIFICATION
Do not cry for me, Mati,
in the tomb of the seer.
___
The choir of angels glorified the great hour,
And the heavens went up in flames.
Father said: "Almost left me!"
And mothers: "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.
1940, Fountain House
EPILOGUE
I learned how faces fall,
How fear peeks out from under the eyelids,
Like cuneiform hard pages
Suffering brings out on the cheeks,
Like curls of ashen and black
Suddenly become silver
The smile withers on the lips of the submissive,
And fear trembles in a dry laugh.
And I'm not praying for myself alone
And about everyone who stood there with me,
And in the bitter cold, and in the July heat
Under the blinding red wall.
Again the hour of the funeral approached.
I see, I hear, I feel you:
And the one that was barely brought to the window,
And the one that does not trample the earth, dear,
And the one that beautifully shook her head,
She said: "I come here as if I were home."
I would like to name everyone
Yes, the list was taken away, and there is nowhere to find out.
For them I wove a wide cover
Of the poor, they have overheard words.
I remember them always and everywhere,
I will not forget about them even in a new trouble,
And if my exhausted mouth is clamped,
To which a hundred million people shout,
May they also remember me
On the eve of my memorial day.
And if ever in this country
They will erect a monument to me,
I give my consent to this triumph,
But only with the condition - do not put it
Not near the sea where I was born:
The last connection with the sea is broken,
Not in the royal garden at the treasured stump,
Where the inconsolable shadow is looking for me,
And here, where I stood for three hundred hours
And where the bolt was not opened for me.
Then, as in blissful death I fear
Forget the rumble of black marus,
Forget how hateful the door slammed
And the old woman howled like a wounded animal.
And let from motionless and bronze eyelids
Like tears, melted snow flows,
And let the prison dove roam in the distance,
And the ships are quietly moving along the Neva.
The text was prepared by Tatyana Khalina
Used materials:
A. Akhmatova "Briefly about myself"
A. Pavlovsky “Anna Akhmatova. Life and art"
A. Tyrlova “Anna Akhmatova and Nikolai Gumilyov: “... but people created for each other, alas, so rarely unite ...”
Site materials www.akhmatova.org
Mikhail Ardov, "Legendary Ordynka"
And Anna Akhmatova wrote about herself that she was born in the same year as Charlie Chaplin, Tolstoy's Kreutzer Sonata and the Eiffel Tower. She witnessed the change of eras - she survived two world wars, a revolution and the blockade of Leningrad. Akhmatova wrote her first poem at the age of 11 - from then until the end of her life she did not stop doing poetry.
Literary name - Anna Akhmatova
Anna Akhmatova was born in 1889 near Odessa in the family of a hereditary nobleman, a retired fleet mechanical engineer Andrei Gorenko. The father was afraid that his daughter's poetic hobbies would disgrace his surname, therefore, at a young age, the future poetess took on a creative pseudonym - Akhmatova.
“They called me Anna in honor of Anna Egorovna Motovilova’s grandmother. Her mother was a Genghisid, Tatar princess Akhmatova, whose last name, not realizing that I was going to be a Russian poet, I made my literary name.
Anna Akhmatova
Anna Akhmatova's childhood passed in Tsarskoye Selo. As the poetess recalled, she learned to read from Leo Tolstoy's ABC, spoke French, listening to how the teacher studied with her older sisters. The young poetess wrote her first poem at the age of 11.
Anna Akhmatova in childhood. Photo: maskball.ru
Anna Akhmatova. Photos: maskball.ru
The Gorenko family: Inna Erazmovna and children Viktor, Andrei, Anna, Iya. Photo: maskball.ru
Akhmatova studied at the Tsarskoye Selo Women's Gymnasium “at first badly, then much better, but always reluctantly”. In 1905 she was homeschooled. The family lived in Evpatoria - Anna Akhmatova's mother broke up with her husband and went to the southern coast to treat tuberculosis that had become aggravated in children. In the following years, the girl moved to relatives in Kyiv - there she graduated from the Fundukleevskaya gymnasium, and then enrolled in the law department of the Higher Women's Courses.
In Kyiv, Anna began to correspond with Nikolai Gumilyov, who courted her back in Tsarskoe Selo. At this time, the poet was in France and published the Parisian Russian weekly Sirius. In 1907, the first published poem by Akhmatova, “There are many brilliant rings on his hand…”, appeared on the pages of Sirius. In April 1910, Anna Akhmatova and Nikolai Gumilyov got married - near Kiev, in the village of Nikolskaya Slobodka.
As Akhmatova wrote, "no generation has ever had such a fate". In the 1930s, Nikolai Punin was arrested, and Lev Gumilyov was arrested twice. In 1938 he was sentenced to five years in labor camps. About the feelings of the wives and mothers of "enemies of the people" - victims of the repressions of the 1930s - Akhmatova later wrote one of her famous works - the autobiographical poem "Requiem".
In 1939, the poetess was accepted into the Union of Soviet Writers. Before the war, Akhmatova's sixth collection, "From Six Books," was published. “The Patriotic War of 1941 found me in Leningrad”, - the poetess wrote in her memoirs. Akhmatova was evacuated first to Moscow, then to Tashkent - there she performed in hospitals, read poetry to wounded soldiers and "eagerly caught news about Leningrad, about the front." The poetess was able to return to the Northern capital only in 1944.
“A terrible ghost pretending to be my city struck me so much that I described this meeting with him in prose ... Prose always seemed to me both a mystery and a temptation. I knew everything about poetry from the very beginning - I never knew anything about prose.
Anna Akhmatova
"Decadent" and Nobel Prize nominee
In 1946, a special Decree of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda” and “Leningrad” was issued for “providing a literary platform” for “unprincipled, ideologically harmful works.” It concerned two Soviet writers - Anna Akhmatova and Mikhail Zoshchenko. They were both expelled from the Writers' Union.
Kuzma Petrov-Vodkin. Portrait of A.A. Akhmatova. 1922. State Russian Museum
Natalia Tretyakova. Akhmatova and Modigliani at the unfinished portrait
Rinat Kuramshin. Portrait of Anna Akhmatova
“Zoshchenko depicts the Soviet order and the Soviet people in an ugly caricature form, slanderously representing the Soviet people as primitive, uncultured, stupid, with philistine tastes and mores. Zoshchenko's maliciously hooligan portrayal of our reality is accompanied by anti-Soviet attacks.
<...>
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 tolerated. in Soviet literature.Excerpt from the Decree of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad”
Lev Gumilyov, who, after serving his sentence as a volunteer, went to the front and reached Berlin, was again arrested and sentenced to ten years in labor camps. All his years of imprisonment, Akhmatova tried to achieve the release of her son, but Lev Gumilyov was released only in 1956.
In 1951, the poetess was reinstated in the Writers' Union. Having never had her own home, in 1955 Akhmatova received a country house in the village of Komarovo from the Literary Fund.
“I never stopped writing poetry. For me, they are my connection with the time, with the new life of my people. When I wrote them, I lived by those rhythms that sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal.
Anna Akhmatova
In 1962, the poetess completed work on "A Poem Without a Hero", which she had been writing for 22 years. As the poet and memoirist Anatoly Naiman noted, “A Poem Without a Hero” was written by Akhmatova late about Akhmatova early - she recalled and reflected on the era she found.
In the 1960s, Akhmatova's work received wide recognition - the poetess became a nominee for the Nobel Prize, received the Etna-Taormina literary prize in Italy. Oxford University awarded Akhmatova an honorary doctorate in literature. In May 1964, an evening dedicated to the 75th anniversary of the poetess was held at the Mayakovsky Museum in Moscow. The following year, the last lifetime collection of poems and poems, "The Run of Time", was published.
The illness forced Anna Akhmatova in February 1966 to move to a cardiology sanatorium near Moscow. She passed away in March. The poetess was buried at the Nikolsky Naval Cathedral in Leningrad and buried at the Komarovsky cemetery.
Slavic professor Nikita Struve
It is difficult to imagine the period of the Silver Age in Russian poetry without such a big name as Anna Akhmatova. The biography of this outstanding person is not at all easy. The personality of Akhmatova is shrouded in a halo of mystery. In her personal life there was fame, love, but also great sorrow. This will be discussed in the article.
Biography of Akhmatova: complete
Anna Akhmatova (Gorenko) was born on June 23 according to the new style of 1889 in a noble family. Her biography began in Odessa. Her father worked as a mechanical engineer, her mother belonged to the creative intelligentsia.
A year later, the Gorenko family moved to St. Petersburg, where his father received a higher position. All of Anna's childhood memories were connected with this wonderful city on the Neva. The upbringing and education of the girl was, of course, at the highest level. She and her nanny often walked in the Tsarskoselsky park, enjoyed the beautiful creations of talented sculptors.
She was taught secular etiquette early on. In addition to Anna, there were five more children in the family. She listened to the governess teach French to the older children and learned the language on her own in this way. The girl also learned to read and write by herself, reading the books of Leo Tolstoy.
When Anna was ten years old, she was sent to the Mariinsky Women's Gymnasium. She was reluctant to study. But she loved the summer holidays that the family spent near Sevastopol. There, according to her own recollections, the girl shocked the local young ladies, walking without a hat, barefoot, sunbathing to such an extent that her skin began to peel off. Anna from that time fell in love with the sea, once and for all.
Perhaps this love for the beauty of nature gave rise to poetic inspiration in her. Anna wrote her first poem at the age of eleven. The poetry of Pushkin, Lermontov, Derzhavin, Nekrasov served as role models for her.
After Anna's parents divorced, she moved with her mother and other children to Evpatoria, and then to Kyiv. I had to finish my last year of high school there. Then she entered the Higher Women's Courses at the Faculty of Law. But, as it turned out, jurisprudence is not her calling. Therefore, Anna chose the Women's Literary and History Courses in St. Petersburg.
The beginning of the creative path
In the Gorenko family, no one has ever written poetry. The father forbade the young poetess to sign with the name Gorenko, so as not to disgrace their family. He considered her passion for poetry something unacceptable and frivolous. Anna had to come up with a pseudonym.
It turned out that in their family there was once upon a time the Horde Khan Akhmat. The aspiring poetess began to be called his name.
When Anna was still in high school, a young man named Nikolai Gumilyov met her. He also wrote poetry, even published his own magazine Sirius. Young people began to meet, after Anna moved, they corresponded. Nikolai highly appreciated the poetic talent of the girl. He first published her poems in his journal under the signature of Anna G. This was in 1907.
In 1910-1912, Anna Akhmatova traveled around Europe. She was in Paris, Italy. There was a meeting with the Italian impressionist painter Amadeo Modigliani. This acquaintance, which turned into a stormy romance, left a noticeable mark on her creative biography.
But, unfortunately, the lovers could not be together. They separated in 1911 and never met again. Soon the young artist died of tuberculosis. Love for him, the experience of his untimely death was reflected in the work of the young poetess.
Akhmatova's first poems are lyrical. They reflect the personal life of the poetess, her love, experiences. They are passionate and tender, full of feelings, a little naive, as if written in an album. The poetess herself called the poems of that time "the poor verses of the most empty girl." They are a bit similar to the early work of another outstanding poetess of that time - Marina Tsvetaeva.
In 1911, Anna Akhmatova, for the first time in her creative biography, decides to independently send her poems to the judgment of professionals in the then popular Moscow monthly magazine Russkaya Mysl.
She asked if she should have continued writing poetry. The answer was yes. Her poetry has been published.
Then the poetess was published in other well-known magazines: "Apollo", "General Journal" and others.
Popular recognition of the talent of the poetess
Soon Akhmatova becomes famous in literary circles. Many famous writers and poets of that time notice and appreciate her talent. Also, everyone is struck by the extraordinary beauty of the poetess. Her oriental nose with a pronounced aquiline, half-closed eyes with a large veil, which sometimes had the ability to change color. Some said that her eyes were gray, others said they were green, and still others remembered that they were sky blue.
Also, her sedateness and royal posture spoke for themselves. Despite the fact that Anna was quite tall, she never stooped, she always kept herself very straight. Her manners were exquisite. Mysteriousness and uniqueness reigned in all appearance.
It is said that in her youth, Anna was very flexible. Even ballerinas envied her extraordinary plasticity. Her slender hands, aquiline nose, cloudy eyes were sung by many poets, including, of course, Nikolai Gumilyov.
In 1912, the first book by Anna Akhmatova, entitled "Evening", was published. These were verses exclusively lyrical, touching and melodious. The collection immediately found its admirers. It was a surge of fame in the life of a young poetess. She is invited to perform with her poems, many artists paint her portraits, poets dedicate poems to her, composers write musical works to her.
In bohemian circles, Anna met the poet Alexander Blok. He admired her talent and beauty. And of course, he dedicated his poems to her. Many have already talked about the secret romance of these outstanding people. But whether it was true, no one knows already. She was also friendly with the composer Lurie, critic N. Nedobrovo. With them, too, she had novels, according to the then rumors.
Two years later, the second book of the poetess was published, which was called "Rosary". This was already poetry of the highest professional level, compared with her first book. Here you can already feel the established "Akhmatova" style.
In the same year, Anna Akhmatova wrote her first poem "By the Sea". In it, the poetess displayed her impressions of her youth, memories of the sea, love for him.
At the start of World War I, Akhmatova cut back on her public appearances. Then she fell ill from a terrible disease - tuberculosis.
But there was no break in her personal poetic life. She continued to write her poetry. But more then the poetess was fascinated by the love of reading the classics. And this affected her work of that period.
In the 17th year, a new book by the poetess "The White Flock" was published. The book was published in a huge circulation - 2 thousand copies. Her name became louder than the name of Nikolai Gumilyov. By that time, her own style was clearly visible in Akhmatova's poetry, free, individual, whole. Another famous poet Mayakovsky called it "a monolith that cannot break from any blows." And that was the real truth.
More and more philosophy appears in her poems, less and less naive youthful turns. Before us is a wise, adult woman. Her life experience, deep mind and at the same time simplicity are clearly seen in the lines. The theme of faith in God, Orthodoxy is also an integral part of her work. The words: "prayer", "God", "faith" can often be found in her poems. The poetess is not ashamed of her faith, but speaks openly about it.
Terrible years
After the October revolution in the country, terrible times come not only for Russia, but also for Akhmatova herself. She did not even imagine what kind of torment and suffering she would have to endure. Although in his youth, during a visit to the elder's cell, he predicted a martyr's crown for her and called her "Christ's bride", promising a Heavenly crown for the patience of suffering. Akhmatova wrote about this visit in her poem.
Of course, the new authorities could not like Akhmatova's poems, which were immediately called "anti-proletarian", "bourgeois", etc. In the 1920s, the poetess was under constant supervision of the NKVD. She writes her poems "on the table", forced to give up public speaking.
In 1921, Nikolai Gumilyov was arrested for "anti-Soviet propaganda" and sentenced to death. Akhmatova is having a hard time with his death.
Anna Akhmatova and Nikolai Gumilyov
Alexander Blok dies in 1921. She is divorcing her second husband. All this series of tragic events did not break this woman, strong in spirit. She resumes work in literary societies, publishes again and speaks to the public. A new book of her poems "Plantain" is published.
Then, six months later, Akhmatova's fifth book, AnnoDomini MCMXXI, was published. This name is translated from Latin - in the summer of the Lord 1921. After that, it was not published for several years. Many of her poems of that time were lost during the move.
At the height of the repressions in 1935, two people close to her were arrested: her husband (Nikolai Punin) and her son. She wrote to the government about their release. They were released a week later.
But the troubles didn't end there. Three years later, Lev Gumilyov's son is arrested again and sentenced to five years of hard labor in hard labor. The unfortunate mother often visited her son in prison and gave him parcels. All these events and bitter experiences were reflected in her poem "Requiem".
In 1939, Akhmatova was admitted to the Union of Soviet Writers. In the 40th year, the "Requiem" was written. Then came the collection "From Six Books".
At the beginning of the Great Patriotic War, Akhmatova lived in Leningrad. Her health condition deteriorated sharply. On the advice of doctors, she left for Tashkent. There is a new collection of her poems. In 1944, the poetess decided to return to Leningrad.
After the war in 1946, her work was strongly criticized along with the work of M. Zoshchenko in the magazines Zvezda and Leningrad. They were expelled in disgrace from the Writers' Union.
In 1949, Akhmatova's son was again arrested. She asked for her son, wrote to the government, but she was refused. Then the poetess decides on a desperate step. She wrote an ode to Stalin. The cycle of poems was called "Glory to the World!".
In the 51st year, Fadeev proposed to restore the poetess in the Writers' Union, which was done. In 1954, she took part in the second congress of the Writers' Union.
In 1956, her son was released. He was offended by his mother, because, as it seemed to him, she did not seek his release.
In 1958, her new collection of poems was published. In the 64th year, she received the Italian Prize "Etna-Taormina". The following year, in England, the poetess was awarded a doctorate from Oxford University. In 1966, the last collection of her poems was published. On March 5 of the same year, while in a sanatorium, she died.
On March 10, Akhmatova's funeral was held in Leningrad in an Orthodox church. She was buried at the cemetery in Komarovo, Leningrad Region.
Akhmatova's personal life
The personal life of Anna Akhmatova is of interest to many. She was officially married twice.
The first husband was Nikolai Gumilyov. They met for a long time and corresponded. Nikolai was in love with Anna for a long time, made her a marriage proposal many times. But she refused. Then Anya was in love with her classmate. But he didn't pay any attention to her. Anna desperately tried to commit suicide.
Anna's mother, seeing Gumilyov's persistent courtship and endless marriage proposals, called him a saint. Finally, Anna broke down. She agreed to the marriage. Young people got married in 1910. They went to Paris for their honeymoon.
But, since Anna could not reciprocate her husband in any way and agreed to marriage solely out of pity, then very soon the young artist Amadeo Modigliani took a place in her heart. She met an ardent Italian in Paris. Then Anna came to him again.
He painted her portraits, she wrote poetry to him. A stormy, beautiful romance was forced to end in full swing, because it would not lead to anything good.
Soon Anna and Gumilev broke up. The personal life of Anna Akhmatova in the 18th year changed: she married a second time to the scientist Vladimir Shileiko. But she divorced him three years later.
Changes in the personal life of Anna Akhmatova occurred in the 22nd year. She became the civil wife of N. Punin. I broke up with him in the 38th year. Then she was in an intimate relationship with Garshin.
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