The creative path of A. A. Akhmatova. The life and creative path of A. A. Akhmatova

26.09.2019

Anna Andreevna Akhmatova is one of the most prominent poets of the 20th century. Her writing talent has captured every heart and inspired many people.

Anna Akhmatova was born on June 11, 1889 in Odessa. Yours elementary education Anna received her studies at the Mariinsky Gymnasium in Tsarskoe Selo. Anna Akhmatova continued her further education in Kyiv, at the famous Fundukleevskaya women's gymnasium. I attended women’s courses, as well as historical and literary lectures.

Anna Akhmatova began writing in 1911, presenting her first poem to the public. Her first collection was published in 1912, a year after her debut, and it was called “Evening”. Her native surname was Gorenko, however, for the pseudonym Anna Andreevna used the surname of her great-grandmother because of disagreements with her father on this basis.

The second collection was not long in coming and in 1914 she published her second book, a collection called “Rosary Beads”. The circulation was huge - 1000 copies - which was already wonderful news for a young, aspiring poetess. It was “The Rosary” that helped Anna Akhmatova gain real popularity and acquire admirers of her talent, hard work and singing soul.

Three years later, without keeping you waiting for a relatively long time, it is released new collection, to which Anna Akhmatova gave the name “White Flock”. By this time, the poetess had reached the peak of her creativity, tours began, literary readings, Anna performed a lot, met famous people, acquired loyal friends into my circle, gained new experience.

In 1910, as is known, Anna Akhmatova became engaged to the poet Nikolai Gumilev. Their noble, intelligent couple was replenished in 1912 with a son, Lev Nikolaevich, who in the conscious years of his life formulated philosophical concepts and worked in the scientific field.

The marriage with Nikolai Gumilyov did not last long: in 1918 they divorced. The sad events of the war took her ex-husband to the front. In the works of Anna Akhmatova you can find many poems that were dedicated to her ex-husband, there is even a hint of sadness and longing for the old days.

Her next husband was the scientist V. Shileiko, with whom she did not live very long, and after the execution of Nikolai Gumilyov in 1921, she separated. But the poetess’s heart could not be free, and in 1922 she began an amazingly warm relationship with the art critic Punin, with whom she spent a lot of time happy years. Her last collection was published in 1925.

The life and work of Anna Akhmatova amazes with experiences, difficult moments, but with the extraordinary beauty of talent, which was able to grow on this seemingly unfavorable soil. Anna Akhmatova was remembered for her extremely soul-quivering poem “Requiem”, dedicated to fate Russian people, whom she loved with all her heart.

The poetess died on March 5, 1966 in a sanatorium near Moscow, where she was undergoing treatment. She was buried at the Komarovskoye cemetery near Leningrad, however, she was not buried for a moment in the hearts of her beloved followers and admirers.

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Akhmatova was born on June 11, 1889 near Odessa. Her youth was spent in Tsarskoe Selo, where she lived until she was 16 years old. Anna studied at Tsarskoye Selo and Kyiv gymnasiums, and then studied law in Kyiv and philology in St. Petersburg. In the first poems written by the schoolgirl at the age of 11, the influence of Derzhavin was felt. The first publications occurred in 1907. Since the beginning of the 1910s, Akhmatova regularly published in St. Petersburg and Moscow publications. In 1911, the literary association “Workshop of Poets” was formed, whose “secretary” was Anna Andreevna. 1910-1918 – years of marriage to Nikolai Gumilyov, Akhmatova’s acquaintance from the time of studying at the Tsarskoe Selo gymnasium. In 1910-1912, Anna Akhmatova traveled to Paris, where she met the artist Amedeo Modigliani , who painted her portrait, and also to Italy. 1912 became the most significant and fruitful year for the poetess. This year, “Evening,” her first collection of poems, was published, and her son, Lev Nikolaevich Gumilyov, was born. In the poems of “Evening” there is a precise precision of words and images, aestheticism, poeticization of feelings, but at the same time a realistic view of things. In contrast to the symbolistic craving for the “superreal”, the metaphorical nature, ambiguity and fluidity of Akhmatova’s illustrations, she restores the original meaning of the word. The fragility of spontaneous and fleeting “signals”, glorified by symbolist poets, gave way to precise verbal images and strict compositions. I.F. are considered to be the mentors of Akhmatova’s poetic style. Annensky and A.A. Blok, master symbolists. However, Anna Andreevna’s poetry was immediately perceived as original, different from symbolism, acmeistic. N.S. Gumilev, O.E. Mandelstam and A.A. Akhmatova became the fundamental core of the new movement. In 1914, a second collection of poems entitled “The Rosary” was published. In 1917, The White Flock, Akhmatov's third collection, was published. The October Revolution greatly influenced the life and attitude of the poetess, as well as her creative destiny. While working in the library of the Agronomic Institute, Anna Andreevna managed to publish the collections “Plantain” (1921) and “Anno Domini” (“In the Year of the Lord,” 1922). In 1921, her husband was shot, accused of participating in a counter-revolutionary conspiracy. Soviet criticism did not accept Akhmatova’s poems, and the poetess plunged into a period of forced silence. Only in 1940 did Anna Akhmatova publish the collection “From Six Books,” which for a short time returned her “face” as a modern writer. During the Great Patriotic War she was evacuated to Tashkent. Returning to Leningrad in 1944, Akhmatova faced unfair and cruel criticism from the Central Committee of the All-Union Communist Party of Bolsheviks, expressed in the resolution “On the magazines “Zvezda” and “Leningrad”. She was expelled from the Writers' Union and deprived of the right to publish. Her only son served his sentence in correctional camps as a political prisoner. “Poem without a Hero,” created by the poetess for 22 years and becoming the central link of Akhmatova’s lyrics, reflecting the tragedy of the era and her personal tragedy, was completed in 1962. Anna Andreevna Akhmatova died on March 5, 1966 and was buried near St. Petersburg. A tragic hero in tune with her time, St. Petersburg, the Empire, Pushkin, suffering, the Russian people - she lived with these themes and sang about them, being a nonverbal witness of the terrible and monstrously unfair pages of Russian history. Anna Akhmatova carried these “tones” throughout her life: both personal pain and a “socially significant” cry can be heard in them.

Her creative destiny falls into three stages, three biographical circles.

The lyrics of the first books (1912) are almost exclusively love lyrics. The miniature poems were lyrical and internally dramatic, sometimes even plot-driven (“Confusion”). In her early poems, the combination of tenderness and fragility of feeling with the firmness and clarity of the verse was striking. Contemporaries talked about the “mystery” of Akhmatova. Her love lyrics are extremely intimate and extremely frank and sensual. “The Duel of Fatal Passions” is close to Tyutchev. Love is the main nerve of Akhmatova’s early lyrics. It is given in extreme moments of crisis - rise and fall, breakup and meeting, recognition and refusal.

In the pre-revolutionary years, biblical and historical associations appeared in the poems, and the theme of Russia asserted itself more and more powerfully (“You know, I am languishing in captivity”). For Akhmatova, Russia was often associated with Tsarskoe Selo, where “a dark-skinned youth wandered through the alleys,” where everything was permeated with the spirit of Pushkin’s poetry. Her Russia is also St. Petersburg - a city of culture and sovereign greatness. The theme of the Motherland and its interpretation during the First World War differed from the jingoistic views of many poets. Akhmatova understood that war is murder, death, a great evil. Her poetry is anti-war, pacifist in nature, based on a religious basis (“Consolation”, “Prayer”).

The second period of Akhmatova’s work covers the years from the revolution to the end of the 1930s. Poetry is filled with universal human content. All the difficult years of devastation, hunger, and deprivation, Akhmatova did not leave her homeland and did not emigrate. The poems “I had a voice, it called comfortingly...” and “I am not with those who abandoned the earth...” expresses the true patriotism and courage of the poet, who considers it a shame to leave the country in difficult times.

The main result of the 1930s was the poem “Requiem”. With it, Anna Akhmatova fulfilled her civic duty to those who had been standing in line at the prison window for many months. The poem conveys a suffocating atmosphere of general stupor. A surprisingly capacious image of the City has been created here, which differs sharply from the former Blok-Akhmatov Petersburg. Now this is not a city of beauty and harmony, but an “unnecessary” appendage to the gigantic prison into which the whole country has turned. “Requiem” is a cry not only for one’s own son, but for everyone who was “taken away at dawn.” In the 1940s - during the Great Patriotic War - Akhmatova's poems were heard on the radio. “Oath”, “Courage” are imbued with the confidence that “no one will force us to submit”, that “we will protect you, Russian speech, the great Russian word.” Akhmatova’s poems, collected in the final collection “The Running of Time,” are elegiac, imbued with a philosophical attitude to life, wise and majestic. Akhmatova’s poetic “sun” was Pushkin. She inherits the traditions of Pushkin's poetry, its laconicism, accuracy, simplicity and harmony.

She clenched her hands under a dark veil... “Why are you pale today?” - Because I made him drunk with tart sadness. How can I forget? He came out staggering, his mouth twisted painfully... I ran away, without touching the railing, I ran after him to the gate. Gasping, I shouted: “It’s a joke That’s all it was. If you leave, I’ll die.” He smiled calmly and terribly and told me: “Don’t stand in the wind.” 1911

The flowering of creativity which occurred in silver Age Russian poetry. Famous poetess, translator, nominee for Nobel Prize- she made an invaluable contribution to the development of Russian literature, becoming one of its brightest representatives. But few will remember that Akhmatova’s real name is completely different.

The poetess's childhood and adolescence

Anna Andreevna's real name was Gorenko. Her father was an engineer navy retired, and his mother was a distant relative of the poetess Anna Bunina. Later, this circumstance that no one in the family wrote poetry except Bunina will be reflected in Akhmatova’s notes alone. A year after the girl was born, in 1890, the whole family moved to Tsarskoye Selo. And Anna, from an early age, begins to “absorb” into herself all the beauty of Tsarskoye Selo life that Pushkin wrote about.

She always spent her summer at sea near Sevastopol, where she was brought every year. Anna Andreevna adored the sea: she could swim in any weather, loved to run barefoot and sunbathe in the sun, which amazed the Sevastopol girls, who nicknamed her “wild” for these habits. Akhmatova learned to read using the famous ABC of L.N. Tolstoy, and at the age of five she already spoke French, simply by listening to how it was taught to older children.

In 1900, the girl began studying at the Mariinsky Gymnasium in Tsarskoe Selo. IN primary school Her academic performance was poor, but she was able to catch up, but the girl was reluctant to study. Anna studied at this gymnasium for only 5 years, because in 1905 her parents divorced, and she left with her mother for Evpatoria. But Akhmatova did not like this city, and a year later they moved to Kyiv, where in 1907 she completed her studies at the gymnasium.

In 1908, Anna Andreevna continued her studies at the Kyiv Higher Women's Courses and entered the law department. But the girl failed to become a lawyer. But she was able to learn Latin, which later helped her master Italian. And Akhmatova was able to read Italian works.

Literature always occupied a special place in Akhmatova’s life. She made her first attempts at poetry at the age of 11. And while studying in Tsarskoe Selo, Anna met her future husband and famous poet Nikolai Gumilyov. It was he who later influenced and helped take the first steps in the literary field. The girl's father was skeptical about her literary hobby and did not encourage it.

In 1907, Gumilyov published Anna’s first poem, “There are many shiny rings on his hand...” in his magazine published in Paris. In 1910, the girl marries Nikolai Gumilyov, and they leave for Honeymoon in Paris. After him they came to St. Petersburg, and the period from 1910 to 1916. Anna spends in Tsarskoe Selo. On June 14, 1910, the girl’s first poetic performance took place; V. Ivanov listened and evaluated her poems. His verdict was as follows: “What dense romanticism...”.

In 1911 Anna Gorenko began publishing her poems under new name- Akhmatova. This decision was influenced by the girl’s father: who disapproved of his daughter’s poetic experiments, he asked to sign the poems with a different surname so as not to disgrace his name. Where did this interesting surname come from?

This is the maiden name of Anna Andreevna’s great-grandmother, Praskovya Fedoseevna Akhmatova. The poetess decided to create the image of a Tatar grandmother, who traces her origins to the Horde Khan Akhmat. Subsequently, the poetess never changed this surname, even when getting married, she always added Akhmatova to her husband’s.

This was the beginning of the formation of a great poetess, whose work is a subject of admiration and admiration for many. Her poetry became famous all over the world, and even at a time when they refused to publish it, she did not give up and continued to be creative. It doesn’t even matter what Akhmatova’s real name was. Because she became known for her gift, soulful poetry, which touched on all the most subtle things that could be. Anna Andreevna was a talented poetess and became one of the brightest and famous representatives era of the Silver Age.

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

She, whom all of Russia would later recognize as Anna Akhmatova, was born on June 11 (24), 1889 in the suburbs of Odessa, Bolshoy Fontan. Her father, Andrei Antonovich Gorenko, was a marine engineer, her mother, Inna Erasmovna, devoted herself to the children, of whom there were six in the family: Andrei, Inna, Anna, Iya, Irina (Rika) and Victor. Rika died of tuberculosis when Anya was five years old. Rika lived with her aunt, and her death was kept secret from the other children. Nevertheless, Anya felt what had happened - and as she later said, this death cast a shadow throughout her entire childhood.

When Anya was eleven months old, the family moved north: first to Pavlovsk, then to Tsarskoye Selo. But every summer they invariably spent on the shores of the Black Sea. Anya swam beautifully - according to her brother, she swam like a bird.

Anya grew up in an atmosphere quite unusual for a future poet: there were almost no books in the house, except for the thick volume of Nekrasov, which Anya was allowed to read during the holidays. The mother had a taste for poetry: she read the poems of Nekrasov and Derzhavin to the children by heart, she knew a lot of them. But for some reason everyone was sure that Anya would become a poetess - even before she wrote the first line of poetry.

Anya started speaking French quite early - she learned it by watching her older children's classes. At the age of ten she entered the gymnasium in Tsarskoe Selo. A few months later, Anya became seriously ill: she lay unconscious for a week; They thought she wouldn't survive. When she came to, she remained deaf for some time. Later, one of the doctors suggested that it was smallpox - which, however, left no visible traces. The mark remained in my soul: it was from then on that Anya began writing poetry.

Anya’s closest friend in Tsarskoye Selo was Valeria Tyulpanova (married Sreznevskaya), whose family lived in the same house as Gorenko. On Christmas Eve 1903, Anya and Valya met acquaintances of Sergei, Valya's brother - Mitya and Kolya Gumilyov, who shared a music teacher with Sergei. The Gumilyovs escorted the girls home, and if this meeting did not make any impression on Valya and Anya, then for Nikolai Gumilyov on this day his very first - and most passionate, deep and long-lasting feeling began. He fell in love with Anya at first sight.

She struck him not only with her extraordinary appearance - but Anya was beautiful with a very unusual, mysterious, bewitching beauty that immediately attracted attention: tall, slender, with long thick black hair, beautiful white hands, with radiant gray eyes on an almost white face, her profile resembled antique cameos.

Anya stunned him and was completely different from everything that surrounded them in Tsarskoye Selo. For ten whole years she occupied the main place both in Gumilyov’s life and in his work.

Kolya Gumilev, only three years older than Anya, even then recognized himself as a poet and was an ardent admirer of the French symbolists. He hid his self-doubt behind arrogance, tried to compensate for external ugliness with mystery, and did not like to concede to anyone in anything. Gumilyov asserted himself, consciously building his life according to a certain model, and fatal, unrequited love for an extraordinary, unapproachable beauty was one of the necessary attributes of his chosen life scenario.

He bombarded Anya with poems, tried to capture her imagination with various spectacular follies - for example, on her birthday he brought her a bouquet of flowers picked under the windows of the imperial palace. On Easter 1905, he tried to commit suicide - and Anya was so shocked and frightened by this that she stopped seeing him.

That same year, Anya’s parents separated. The father, having retired, settled in St. Petersburg, and the mother and children went to Evpatoria. Anya had to urgently prepare to enter the last grade of the gymnasium - due to moving, she fell far behind. The classes were brightened up by the fact that a romance broke out between her and the tutor - the first in her life, passionate, tragic - as soon as everything became known, the teachers immediately calculated - and far from the last.

In 1906, Anya entered the Kyiv gymnasium. For the summer she returned to Yevpatoria, where Gumilyov stopped by to see her on his way to Paris. They reconciled and corresponded all winter while Anya was studying in Kyiv.

In Paris, Gumilyov took part in the publication of a small literary almanac “Sirius”, where he published one poem by Ani. Her father, having learned about his daughter’s poetic experiments, asked not to disgrace his name. “I don’t need your name,” she replied and took the surname of her great-grandmother, Praskovya Fedoseevna, whose family went back to Tatar Khan Akhmat. This is how the name of Anna Akhmatova appeared in Russian literature.

Anya herself took her first publication completely lightly, believing that Gumilyov had “been hit by an eclipse.” Gumilyov also did not take his beloved’s poetry seriously - he appreciated her poems only a few years later. When he first heard her poems, Gumilyov said: “Or maybe you’d rather dance? You are flexible..."

Gumilyov constantly came from Paris to visit her, and in the summer, when Anya and her mother lived in Sevastopol, he settled in a neighboring house to be closer to them.

In Paris, Gumilev first goes to Normandy - he was even arrested for vagrancy, and in December he again tries to commit suicide. A day later he was found unconscious in the Bois de Boulogne...

In the fall of 1907, Anna entered the law faculty of the Higher Women's Courses in Kyiv - she was attracted by legal history and Latin. In April of the following year, Gumilyov, stopping in Kyiv on the way from Paris, again unsuccessfully proposed to her. The next meeting was in the summer of 1908, when Anya arrived in Tsarskoe Selo, and then when Gumilev, on the way to Egypt, stopped in Kyiv. In Cairo, in the Ezbekiye garden, he made another, final attempt at suicide. After this incident, the thought of suicide became hateful to him.

In May 1909, Gumilev came to see Anya in Lustdorf, where she was then living, caring for her sick mother, and was again refused. But in November she suddenly - unexpectedly - gave in to his persuasion. They met in Kyiv at the artistic evening “Island of Arts”. Until the end of the evening, Gumilev did not leave Anya one step - and she finally agreed to become his wife.

Nevertheless, as Valeria Sreznevskaya notes in her memoirs, at that time Gumilyov was not the first role in Akhmatova’s heart. Anya was still in love with that same tutor, St. Petersburg student Vladimir Golenishchev-Kutuzov - although he had not made himself known for a long time. But, agreeing to marry Gumilyov, she accepted him not as love - but as her Fate.

They got married on April 25, 1910 in Nikolskaya Slobodka near Kiev. Akhmatova's relatives considered the marriage obviously doomed to failure - and none of them came to the wedding, which deeply offended her.

After the wedding, the Gumilevs left for Paris. Here she meets Amedeo Modigliani - then no one famous artist, who takes many of her portraits. Only one of them survived - the rest died during the siege. Something similar to a romance even begins between them - but as Akhmatova herself recalls, they had too little time for anything serious to happen.

At the end of June 1910, the Gumilevs returned to Russia and settled in Tsarskoe Selo. Gumilyov introduced Anna to his poet friends. As one of them recalls, when it became known about Gumilyov’s marriage, no one at first knew who the bride was. Then they found out: an ordinary woman... That is, not a black woman, not an Arab, not even a Frenchwoman, as one might expect, knowing Gumilyov’s exotic preferences. Having met Anna, we realized that she was extraordinary...

No matter how strong the feelings were, no matter how persistent the courtship was, soon after the wedding Gumilyov began to be burdened by family ties. On September 25, he again leaves for Abyssinia. Akhmatova, left to her own devices, plunged headlong into poetry. When Gumilev returned to Russia at the end of March 1911, he asked his wife, who met him at the station: “Did you write?” she nodded. “Then read!” - and Anya showed him what she had written. He said, "Okay." And from that time on I began to treat her work with great respect.

In the spring of 1911, the Gumilyovs again went to Paris, then spent the summer on the estate of Gumilyov’s mother Slepnevo, near Bezhetsk in the Tver province.

In the fall, when the couple returned to Tsarskoe Selo, Gumilyov and his comrades decided to organize an association of young poets, calling it the “Workshop of Poets.” Soon, on the basis of the Workshop, Gumilyov founded the movement of Acmeism, opposed to symbolism. There were six followers of Acmeism: Gumilev, Osip Mandelstam, Sergei Gorodetsky, Anna Akhmatova, Mikhail Zenkevich and Vladimir Narbut.

The term "acmeism" comes from the Greek "acme" - peak, highest degree perfection. But many noted the consonance of the name of the new movement with the name of Akhmatova.

In the spring of 1912, Akhmatova’s first collection “Evening” was published, with a circulation of only 300 copies. Criticism greeted him very favorably. Many of the poems in this collection were written during Gumilyov's travels across Africa. The young poetess became very famous. Fame literally fell on her. They tried to imitate her - many poetesses appeared, writing poems “like Akhmatova” - they began to be called “Podakhmatovkas”. Behind a short time Akhmatova, from a simple, eccentric, funny girl, became that majestic, proud, regal Akhmatova, who was remembered by everyone who knew her. And after her portraits began to be published in magazines - and many, many people painted her - they began to imitate her appearance: the famous bangs and the “false classic” shawl appeared on every second one.

In 1912, when the Gumilevs went on a trip to Italy and Switzerland, Anna was already pregnant. She spends the summer with her mother, and Gumilyov spends the summer in Slepnev.

The son of Akhmatova and Gumilyov, Lev, was born on October 1, 1912. Almost immediately, Nikolai’s mother, Anna Ivanovna, took him in - and Anya did not resist too much. As a result, Leva lived with his grandmother for almost sixteen years, seeing his parents only occasionally...

Just a few months after the birth of his son, in the early spring of 1913, Gumilyov went to his last trip in Africa - as the head of an expedition organized by the Academy of Sciences.

In his absence, Anna is active social life. A recognized beauty, an adored poet, she is literally basking in fame. Artists paint her, her fellow poets dedicate poems to her, and she is overwhelmed by fans...

At the beginning of 1914, Akhmatova’s second collection “The Rosary” was published. Although the critics received it somewhat coolly - Akhmatova was accused of repeating herself - the collection was a resounding success. Even despite the wartime, it was reprinted four times.

Akhmatova is universally recognized as one of greatest poets that time. She was constantly surrounded by crowds of admirers. Gumilyov even told her: “Anya, more than five is indecent!” She was worshiped for her talent, and for her intelligence, and for her beauty. She was friends with Blok, with whom an affair was persistently attributed to her (the basis for this was the exchange of poems that were published), with Mandelstam (who was not only one of her closest friends, but in those years tried to court her - however, unsuccessfully) , Pasternak (according to her, Pasternak proposed to her seven times, although he was not truly in love). One of the people closest to her at that time was Nikolai Nedobrovo, who wrote an article about her work in 1915, which Akhmatova herself considered the best of what had been written about her in her entire life. Nedobrovo was desperately in love with Akhmatova.

In 1914, Nedobrovo introduced Akhmatova to his best friend, poet and artist Boris Anrep. Anrep, who lived and studied in Europe, returned to his homeland to participate in the war. It started between them whirlwind romance, and soon Boris ousted Nedobrovo both from her heart and from her poems. Nedobrovo took this very hard and parted ways with Anrep forever. Although Anna and Boris managed to meet infrequently, this love was one of the strongest in Akhmatova’s life. Before the final departure to the front, Boris gave her a throne cross, which he found in a destroyed church in Galicia.

Gumilyov also went to the front. In the spring of 1915, he was wounded, and Akhmatova constantly visited him in the hospital. She spent the summer, as usual, in Slepnev - there she wrote most of the poems for the next collection. Her father died in August. By this time she herself was already seriously ill - tuberculosis. Doctors advised her to immediately leave for the south. She lives in Sevastopol for some time, visits Nedobrovo in Bakhchisarai - as it turned out, it was their last meeting; in 1919 he died. In December, doctors allowed Akhmatova to return to St. Petersburg, where she again continues to meet with Anrep. Meetings were rare, but Anna in love looked forward to them all the more.

In 1916, Boris left for England - he planned to stay for a month and a half, but stayed for a year and a half. Before leaving, he visited Nedobrovo and his wife, who then had Akhmatova. They said goodbye and he left. They exchanged rings goodbye. He returned the day before February Revolution. A month later, Boris, at the risk of his life, under bullets, crossed the ice of the Neva - to tell Anna that he was leaving for England forever.

Over the following years, she received only a few letters from him. In England, Anrep became known as a mosaic artist. In one of his mosaics he depicted Anna - he chose her as a model for a figure of compassion. The next time - and the last - they saw each other only in 1965, in Paris.

Most of the poems from the collection “The White Flock,” published in 1917, are dedicated to Boris Anrep.

Meanwhile, Gumilev, although he is active at the front - he was awarded the St. George Cross for valor - is actively literary life. He publishes a lot and constantly speaks critical articles. In the summer of 17th he ended up in London and then in Paris. Gumilev returned to Russia in April 1918.

The next day, Akhmatova asked him for a divorce, saying that she was marrying Vladimir Shileiko.

Vladimir Kazimirovich Shileiko was a famous Assyrian scientist, as well as a poet. The fact that Akhmatova would marry this ugly, completely unadapted to life, insanely jealous man became a complete surprise for everyone who knew her. As she later said, she was attracted by the opportunity to be useful to a great man, and also by the fact that with Shileiko there would not be the same rivalry that she had with Gumilyov. Akhmatova, having moved to his Fountain House, completely subordinated herself to his will: she spent hours writing his translations of Assyrian texts under his dictation, cooking for him, chopping wood, making translations for him. He literally kept her under lock and key, not allowing her to go anywhere, forced her to burn all the letters she received unopened, and did not allow her to write poetry.

Her friend, composer Arthur Lurie, with whom she became friends back in 1914, helped her. Under his leadership, Shileiko was taken to the hospital, as if for treatment of sciatica, where she was kept for a month. During this time, Akhmatova entered the service of the library of the Agronomic Institute - they provided firewood and a government apartment. When Shileiko was released from the hospital, Akhmatova invited him to move in with her. There Akhmatova herself was the hostess, and Shileiko calmed down. They finally separated in the summer of 1921.

Then one funny circumstance was discovered: when Akhmatova moved in with him, Shileiko promised to formalize their marriage himself - fortunately, then it was only necessary to make an entry in the house register. And when they were getting divorced, Lurie, at Akhmatova’s request, went to the house committee to cancel the entry - and it turned out that it never existed.

Many years later, she, laughing, explained the reasons for this absurd union: “It’s all Gumilyov and Lozinsky, they repeated with one voice - an Assyrian, an Egyptian! Well, I agreed.”

From Shileiko Akhmatova moved to her longtime friend, dancer Olga Glebova-Sudeikina - ex-wife artist Sergei Sudeikin, one of the founders of the famous “Stray Dog”, whose star was the beautiful Olga. Lurie, whom Akhmatova dismissed for frivolity, became friends with Olga, and soon they left for Paris.

In August 1921, Alexander Blok died. At his funeral, Akhmatova learned the terrible news - Gumilev was arrested in the so-called Tagantsev case. Two weeks later he was shot. His only fault was that he knew about the impending conspiracy, but did not report it.

In the same August, Anna’s brother Andrei Gorenko committed suicide in Greece.

Akhmatova’s impressions of these deaths resulted in a collection of poems, “The Plantain,” which was then expanded and became known as “Anno Domini MCMXXI.”

After this collection, Akhmatova did not publish collections long years, only individual poems. New mode did not favor her work - for its intimacy, apoliticality and “noble roots”. Even the opinion of Alexandra Kollontai - in one of her articles she said that Akhmatova’s poetry is attractive to young working women because it truthfully depicts how poorly a man treats a woman - did not save Akhmatova from critical persecution. A series of articles branded Akhmatova’s poetry as harmful, since she writes nothing about work, the team and the struggle for a bright future.

At this time, she was left practically alone - all her friends either died or emigrated. Akhmatova herself considered emigration completely unacceptable for herself.

It became more and more difficult. In 1925, an unofficial ban was placed on her name. It hasn't been published for 15 years.

In the early spring of 1925, Akhmatova again experienced an exacerbation of tuberculosis. When she was lying in a sanatorium in Tsarskoe Selo - together with Mandelstam's wife Nadezhda Yakovlevna - Nikolai Nikolaevich Punin, a historian and art critic, constantly visited her. About a year later, Akhmatova agreed to move to his Fountain House.

Punin was very handsome - everyone said that he looked like the young Tyutchev. He worked at the Hermitage, doing modern graphics. He loved Akhmatova very much - although in his own way.

Officially, Punin remained married. He lived in the same apartment with his ex-wife Anna Arens and their daughter Irina. Although Punin and Akhmatova had a separate room, they all dined together, and when Arens went to work, Akhmatova looked after Irina. The situation was extremely tense.

Unable to publish poetry, Akhmatova delved into scientific work. She began researching Pushkin and became interested in the architecture and history of St. Petersburg. She helped Punin a lot in his research, translating French, English and Italian for him scientific works. In the summer of 1928, her son Leva, who by that time was already 16 years old, moved in with Akhmatova. The circumstances of his father's death prevented him from continuing his studies. It was with difficulty that he was placed in a school where Nikolai Punin’s brother Alexander was the director. Then Lev entered the history department of Leningrad University.

In 1930, Akhmatova tried to leave Punin, but he managed to convince her to stay by threatening suicide. Akhmatova remained to live in Fountain House, leaving him only briefly.

By this time, the extreme poverty of Akhmatova’s life and clothing was already so obvious that it could not go unnoticed. Many found Akhmatova’s special elegance in this. In any weather, she wore an old felt hat and a light coat. Only when one of her old friends died did Akhmatova put on the old fur coat bequeathed to her by the deceased and did not take it off until the war. Very thin, still with the same famous bangs, she knew how to make an impression, no matter how poor her clothes were, and walked around the house in bright red pajamas at a time when they were not yet accustomed to seeing a woman in trousers.

Everyone who knew her noted her unsuitability for everyday life. She didn't know how to cook and never cleaned up after herself. Money, things, even gifts from friends never lingered with her - almost immediately she distributed everything to those who, in her opinion, needed them more. For many years she made do with the bare minimum - but even in poverty she remained a queen.

In 1934, Osip Mandelstam was arrested - Akhmatova was visiting him at that moment. A year later, after the murder of Kirov, Lev Gumilyov and Nikolai Punin were arrested. Akhmatova rushed to Moscow to work, she managed to deliver a letter to the Kremlin. They were soon released, but this was only the beginning.

Punin became clearly burdened by his marriage to Akhmatova, which now, as it turned out, was also dangerous for him. He demonstrated his infidelity to her in every possible way, said that he was bored with her - and yet he did not let her leave. Moreover, there was nowhere to go - Akhmatova did not have her own home.

In March 1938, Lev Gumilev was arrested again, and this time he spent seventeen months under investigation and was sentenced to death. But at this time his judges themselves were repressed, and his sentence was replaced by exile.

In November of the same year, Akhmatova finally managed to break with Punin - but Akhmatova only moved to another room in the same apartment. She lived in extreme poverty, often getting by with only tea and black bread. Every day I stood in endless lines to give my son a parcel. It was then, in line, that she began writing the Requiem cycle. The poems of the cycle were not written down for a very long time - they were kept in the memory of Akhmatova herself and several of her closest friends.

Quite unexpectedly, in 1940, Akhmatova was allowed to publish. At first, several individual poems were published, then he allowed the release of an entire collection, “From Six Books,” which, however, mainly included selected poems from previous collections. Nevertheless, the book caused a stir: it was taken off the shelves for several hours, and people fought for the right to read it.

However, after a few months, the publication of the book was considered a mistake, and it began to be withdrawn from libraries.

When the war began, Akhmatova felt a new surge of strength. In September, during the heaviest bombings, she spoke on the radio with an appeal to the women of Leningrad. Together with everyone else, she is on duty on the roofs, digging trenches around the city. At the end of September, by decision of the city party committee, she was evacuated from Leningrad by plane - ironically, she was now recognized as an important enough person to be saved... Through Moscow, Kazan and Chistopol, Akhmatova ended up in Tashkent.

She settled in Tashkent with Nadezhda Mandelstam, constantly communicated with Lydia Korneevna Chukovskaya, and became friends with Faina Ranevskaya, who lived nearby - they carried this friendship throughout their lives. Almost all Tashkent poems were about Leningrad - Akhmatova was very worried about her city, about everyone who remained there. It was especially difficult for her without her friend, Vladimir Georgievich Garshin. After breaking up with Punin, he began to play a big role in Akhmatova’s life. A pathologist by profession, Garshin was very concerned about her health, which Akhmatova, according to him, criminally neglected. Garshin was also married; his wife, a seriously ill woman, required his constant attention. But he was very intelligent, educated, most interesting conversationalist, and Akhmatova became very attached to him. In Tashkent, she received a letter from Garshin about the death of his wife. In another letter, Garshin asked her to marry him, and she accepted his proposal. She even agreed to take his last name.

In April 1942, Punin and his family were evacuated through Tashkent to Samarkand. And although the relationship between Punin and Akhmatova after the breakup was very bad, Akhmatova came to see him. From Samarkand, Punin wrote to her that she was the main thing in his life. Akhmatova kept this letter like a shrine.

At the beginning of 1944, Akhmatova left Tashkent. First she came to Moscow, where she performed at an evening held in the hall of the Polytechnic Museum. The reception was so stormy that she even got scared. When she appeared, the audience stood up. They say that when Stalin found out about this, he asked: “Who organized the rise?”

She told everyone she knew that she was going to Leningrad to see her husband, dreamed of how she would live with him... And the more terrible was the blow that awaited her there.

Garshin, who met her on the platform, asked: “And where should we take you?” Akhmatova was speechless. As it turned out, without saying a word to anyone, he married a nurse. Garshin destroyed all her hopes of finding a home that she had not had for a long time. She never forgave him for this. Subsequently, Akhmatova said that, apparently, Garshin had gone crazy from hunger and the horrors of the blockade. Garshin died in 1956. On the day of his death, the brooch that he once gave to Akhmatova split in half.

Anna Akhmatova lyrics requiem

This was Akhmatova’s tragedy: next to her, strong woman, there were almost always weak men who tried to shift their problems onto her, and there was never a person who could help her cope with her own troubles.

After returning from Tashkent, her demeanor changed - it became simpler, calmer, and at the same time more distant. Akhmatova abandoned her famous bangs; after suffering typhus in Tashkent, she began to gain weight. It seemed that Akhmatova had been reborn from the ashes for a new life. In addition, she was again recognized by the authorities. For her patriotic poems, she was awarded the medal “For the Defense of Leningrad.” Her research on Pushkin was being prepared for publication, large selection poems. In 1945, Lev Gumilev returned to Akhmatova’s great joy. From exile, which he served since 1939, he managed to get to the front. Mother and son lived together. It seemed that life was getting better.

In the fall of 1945, Akhmatova was introduced to the literary critic Isaiah Berlin, then an employee of the British embassy. During their conversation, Berlin was horrified to hear someone in the yard calling his name. As it turned out, it was Randolph Churchill, the son of Winston Churchill, a journalist. The moment was terrible for both Berlin and Akhmatova. Contacts with foreigners - especially embassy employees - were, to put it mildly, not welcome at that time. A personal meeting might still not be seen - but when the prime minister's son is yelling in the yard, it is unlikely to go unnoticed. Nevertheless, Berlin visited Akhmatova several more times.

Berlin was the last of those who left a mark on Akhmatova’s heart. When Berlin himself was asked whether he had something with Akhmatova, he said: “I can’t decide how best to answer...”

On August 14, 1946, a decree of the CPSU Central Committee “On the magazines Zvezda and Leningrad” was issued. The magazines were branded for providing their pages to two ideologically harmful writers - Zoshchenko and Akhmatova. Less than a month later, Akhmatova was expelled from the Writers' Union, deprived of food cards, and her book, which was in print, was destroyed.

According to Akhmatova, many writers who wanted to return to Russia after the war changed their minds after the decree. Thus, she considered this ruling to be the beginning of the Cold War. She was as absolutely convinced of this as she was that the Cold War itself was caused by her meeting with Isaiah Berlin, which she found fatal and of cosmic significance. She was firmly convinced that all further troubles were caused by her.

In 1956, when he was again in Russia, she refused to meet with him - she did not want to incur the wrath of the authorities again.

After the ruling, she found herself in complete isolation - she herself tried not to meet with those who did not turn away from her, so as not to cause harm. Nevertheless, people continued to come to her, bring food, and she was constantly sent food cards by mail. Criticism turned against her - but for her it was much less scary than complete oblivion. She called any event only a new fact in her biography, and she was not going to give up her biography. At this time she is working on her central work, “A poem without a hero.”

In 1949, Nikolai Punin was arrested again, and then Lev Gumilev. Lev, whose only crime was that he was the son of his parents, was to spend seven years in the camp, and Punin was destined to die there.

In 1950, Akhmatova, breaking herself, in the name of saving her son, wrote a cycle of poems “Glory to the World,” glorifying Stalin. However, Lev returned only in 1956 - and even then, it took a long time to get his release... He left the camp with the conviction that his mother did nothing to alleviate his fate - after all, she, so famous, could not be refused! While they lived together, their relationship was very strained, then, when Leo began to live separately, it almost completely ceased.

He became a famous orientalist. He became interested in the history of the East while in exile in those parts. His works are still considered one of the most important in historical science. Akhmatova was very proud of her son.

Since 1949, Akhmatova began to engage in translations - Korean poets, Victor Hugo, Rabindranath Tagore, Rubens' letters... Previously, she refused to engage in translations, believing that they took time away from her own poems. Now I had to - it provided both income and relatively official status.

In 1954, Akhmatova quite by accident earned herself forgiveness. The delegation that arrived from Oxford wished to meet with the disgraced Zoshchenko and Akhmatova. She was asked what she thought about the resolution - and she, sincerely believing that it was not the place of foreigners who do not understand the true state of affairs to ask such questions, simply answered that she agreed with the resolution. They didn't ask her any more questions. Zoshchenko began to explain something at length - and this damaged himself even more.

The ban on Akhmatova’s name was again lifted. She was even allocated from the Writers' Union - although Akhmatova was expelled from it, as a translator she could be considered a "writer" - a dacha in the writers' village of Komarovo near Leningrad; She called this house Booth. And in 1956, largely thanks to the efforts of Alexander Fadeev, Lev Gumilyov was released.

The last ten years of Akhmatova’s life were completely different from the previous years. Her son was free, she finally had the opportunity to publish. She continued to write - and wrote a lot, as if in a hurry to express everything that she was not allowed to say before. Now the only obstacles were illnesses: she had serious heart problems, and her obesity made it difficult for her to walk. Until her last years, Akhmatova was regal and stately, wrote love poems and warned young people who came to her: “Just don’t fall in love with me! I don’t need this anymore.” She was surrounded by young people - the children of her old friends, fans of her poetry, students. She especially became friends with young Leningrad poets: Evgeny Rein, Anatoly Naiman, Dmitry Bobyshev, Gleb Gorbovsky and Joseph Brodsky.

Akhmatova received the opportunity to travel abroad. In 1964 she was awarded the international poetry prize "Etna-Taormina" in Italy, and in 1965 for her scientific works in the field of Pushkin studies, Oxford University awarded her an honorary degree of Doctor of Literature. In London and Paris, where she stopped on the way back, she was able to meet again with the friends of her youth - Salome Halpern, Yuri Annenkov, who once painted her, Isaiah Berlin, Boris Anrep... She said goodbye to her youth, to her life.

Akhmatova died on March 5, 1966 - ironically, on the anniversary of Stalin's death, which she loved to celebrate. Before being sent to Leningrad, her body lay in the Moscow morgue at the hospital, located in the building of the old Sheremetev Palace, which, like the Fountain House, depicted a coat of arms with the motto heard in the “Poem without a Hero”: “Deus conservat omnia” - “ God preserves everything."

After the funeral service in St. Nicholas Cathedral in Leningrad, Anna Andreevna Akhmatova was buried in Komarovo - not far from her only real home for many years. Crowds of people accompanied her on her last journey.

Anna Akhmatova, according to her confession, wrote her first poem at the age of 11, and first appeared in print in 1907. Her first collection of poetry, Evening, was published in 1912.

Anna Akhmatova belonged to the group of Acmeists, but her poetry, dramatically intense, psychologically profound, extremely laconic, alien to self-valued aesthetics, in essence did not coincide with the programmatic guidelines of Acmeism.

The connection between Akhmatova’s poetry and the traditions of Russian classical lyric poetry, primarily Pushkin’s, is obvious. From modern poets closest to her were Innokenty Annensky and Alexander Blok.

Anna Akhmatova's creative activity lasted almost six decades. During this time, her poetry experienced a certain evolution, while maintaining quite stable aesthetic principles, formed in the first decade of his creative career. But for all that, the late Akhmatova undoubtedly had a desire to go beyond the range of themes and ideas that are present in the early lyrics, which was especially clearly expressed in the poetic cycle “Wind of War”, in “Poem without a Hero”.

Speaking about my poems, Anna Akhmatova stated: “For me, they contain a connection with time, with new life my people. When I wrote them, I lived by the rhythms that sounded in heroic story my country. I am happy that I lived during these years and saw events that had no equal.”

Anna Andreevna Akhmatova

Born near Odessa in the family of a naval engineer. Real name Gorenko, but... her father did not approve of her passion for poetry, she began to sign the name of her great-grandmother - the Tatar princess Akhmatova.

Her childhood was spent in Tsarskoe Selo, where she met the love of her life - N. Gumilyov.

She graduated from the Higher Women's Courses in Kyiv, and then from the Higher Historical and Literary Courses in St. Petersburg.

In 1910, she married Gumilyov and joined the Acmeists.

In 1912-1922. released collections: “Evening”, “Rosary”, “White Flock”, “Plantain”, “Anno Domini MCM XXI”.

Despite her critical attitude towards the October Revolution of 1917, she did not leave Russia, but was persecuted by the new government. During the Great Patriotic War she wrote a number of patriotic poems.

In 1948, she became the target of attacks by the country's main ideologist Zhdanov and was expelled from the Union of Soviet Writers.

In 1965 she received an honorary doctorate from Oxford University.

On March 5, 1966, she died in a sanatorium in the Moscow region.

Already her first collections of poems brought her all-Russian fame. Thanks to his deep sense of patriotism, Akhmatova after October revolution stayed in my homeland and spent a long time here creative path.

In her chamber, mostly love, lyrical miniatures she reflected in her own way the alarming atmosphere of the pre-revolutionary decade; subsequently the range of its themes and motifs became wider and more complex.

Akhmatova’s style combines the traditions of the classics and the latest experience of Russian poetry. To the Great Patriotic War 1941-1945 the poetess, who saw with her own eyes the siege of Leningrad, creates a cycle of poems full of love for her homeland.

IN last years Akhmatova’s life completed “Poem without a Hero” and “Requiem”. Worked on translations. She wrote a series of sketches about Pushkin.

The beginning of a creative journey

Anna Akhmatova's poem was first published in 1911. The poetess's first book of poems was published in 1912. In 1914, her second collection “Rosary Beads” was published in a circulation of 1000 copies. It was he who brought Anna Andreevna real fame. Three years later, Akhmatova’s poetry was published in the third book, “The White Flock,” with a circulation twice as large.

Personal life

In 1910, she married Nikolai Gumilyov, with whom she gave birth to a son, Lev Nikolaevich, in 1912. Then, in 1918, the poetess divorced her husband, and soon a new marriage to the poet and scientist V. Shileiko.

And in 1921 Gumilyov was shot. She separated from her second husband, and in 1922 Akhmatova began a relationship with art critic N. Punin.

Studying the biography of Anna Akhmatova, it is worth briefly noting that many people close to her suffered a sad fate. Thus, Nikolai Punin was under arrest three times, and his only son Lev spent more than 10 years in prison.

Creativity of the poetess

Akhmatova’s work touches on these tragic themes. For example, the poem "Requiem" displays hard fate women whose loved ones suffered from repression.

In Moscow, in June 1941, Anna Andreevna Akhmatova met with Marina Tsvetaeva. This was their only meeting.

For Anna Akhmatova, poetry was an opportunity to tell people the truth. She proved herself to be a skilled psychologist, an expert on the soul.

Akhmatova’s poems about love prove her subtle understanding of all facets of man. In her poems she showed high morality. In addition, Akhmatova’s lyrics are filled with reflections on the tragedies of the people, and not just personal experiences.

Death and legacy

The famous poetess died in a sanatorium near Moscow on March 5, 1966. She was buried near Leningrad at the Komarovskoye cemetery.

Streets in many cities are named after Akhmatova former USSR. The Akhmatova Literary Memorial Museum is located in the Fountain House in St. Petersburg. In the same city, several monuments to the poetess were erected. Memorial plaques, in memory of the visit to the city, were installed in Moscow and Kolomna.

Akhmatova's maiden name is Gorenko. Real name Anna Andreevna was forbidden to use it by her father, who did not approve of her creative endeavors. And then the poetess took her great-grandmother’s surname - Akhmatova.
After her son's arrest, Akhmatova spent seventeen months in prison lines. On one visit, a woman in the crowd recognized her and asked if the poetess could describe it. After which Akhmatova began work on the poem “Requiem”.
Akhmatova's last collection was published in 1925. The NKVD did not allow her further work to be published, calling it anti-communist and provocative. By order of Stalin, she was expelled from the Writers' Union.

Akhmatova had quite tragic fate. Despite the fact that she herself was not imprisoned or exiled, many people close to her were subjected to brutal repression. For example, the writer’s first husband, N.S. Gumilyov, was executed in 1921. Third common law husband N.N. Punin was arrested three times and died in the camp. And finally, the writer’s son, Lev Gumilyov, spent more than 10 years in prison. All the pain and bitterness of loss was reflected in “Requiem” - one of the most famous works poetesses.

Although recognized by the classics of the 20th century, Akhmatova was subjected to silence and persecution for a long time. Many of her works were not published due to censorship and were banned for decades even after her death. Akhmatova's poems have been translated into many languages. The poetess survived difficult years during the blockade in St. Petersburg, after which she was forced to leave for Moscow and then emigrate to Tashkent. Despite all the difficulties occurring in the country, she did not leave it and even wrote a number of patriotic poems.

In 1946, Akhmatov, along with Zoshchenko, was expelled from the Writers' Union by order of I.V. Stalin. After this, the poetess was mainly engaged in translations. At the same time, her son was serving his sentence as a political criminal. Soon, the writer's work gradually began to be accepted by fearful editors. In 1965, her final collection “The Running of Time” was published. Also, she was awarded the Italian literary prize and an honorary doctorate from Oxford University. In the fall of the same year, the poetess had a fourth heart attack. As a result of this, on March 5, 1966, A. A. Akhmatova died in a cardiological sanatorium in the Moscow region.

Sources: slova.org.ru, goldlit.ru, citaty.su, all-biography.ru, sdamna5.ru