Brief biology of Akhmatova. The theme of love in the work of the poetess

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OBOUSPO Lipetsk Regional College of Arts. K.N. Igumnov"

Public speech text

"The work of Anna Akhmatova

Lipetsk 2015

Anna Andreevna Akhmatova (real name - Gorenko) was born in the family of a marine engineer, captain of the 2nd rank, retired at st. Big Fountain near Odessa. A year after the birth of their daughter, the family moved to Tsarskoye Selo. Here Akhmatova became a student of the Mariinsky Gymnasium, but spent every summer near Sevastopol. “My first impressions are Tsarskoye Selo,” she wrote in a later autobiographical note, “the green, damp splendor of the parks, the pasture where the nanny took me, the hippodrome, where little motley horses galloped, the old station and something else that later became part of the Tsarskoye Selo Ode "".

In 1905, after the divorce of her parents, Akhmatova and her mother moved to Evpatoria. In 1906 - 1907. In 1908-1910, she studied in the final class of the Kiev-Fundukley gymnasium, in 1908 - 1910. - at the legal department of the Kyiv Higher Women's Courses. On April 25, 1910, "beyond the Dnieper in a village church," she married N. S. Gumilyov, whom she met in 1903. In 1907, he published her poem "There are many brilliant rings on his hand ..." in his publication in the Paris magazine "Sirius". The style of Akhmatova's early poetic experiments was significantly influenced by her acquaintance with the prose of K. Hamsun, with the poetry of V. Ya. Bryusov and A. A. Blok. Akhmatova spent her honeymoon in Paris, then moved to St. Petersburg and from 1910 to 1916 lived mainly in Tsarskoye Selo. She studied at the Higher Historical and Literary Courses of N. P. Raeva. On June 14, 1910, Akhmatova made her debut on the "tower" of Vyach. Ivanova. According to contemporaries, "Vyacheslav listened to her poems very sternly, approved only one thing, kept silent about the rest, criticized one." The conclusion of the "master" was indifferently ironic: "What thick romanticism ..."

In 1911, having chosen the name of her maternal great-grandmother as a literary pseudonym, she began to publish in St. Petersburg magazines, including Apollo. Since the founding of the "Workshop of Poets" she became its secretary and active participant.

In 1912, the first collection of Akhmatova's "Evening" was published with a preface by M. A. Kuzmin. "A sweet, joyful and sorrowful world" opens up to the gaze of the young poet, but the concentration of psychological experiences is so strong that it evokes a feeling of an approaching tragedy. In fragmentary sketches, trifles, "concrete fragments of our life" are intensely shaded, giving rise to a feeling of acute emotionality. These aspects of Akhmatova's poetic worldview were correlated by critics with the tendencies characteristic of the new poetic school. In her poems, they saw not only the refraction of the idea of ​​​​Eternal femininity, which was no longer associated with symbolic contexts, which corresponded to the spirit of the time, but also that ultimate “thinness”. Psychological drawing, which became possible at the end of symbolism. Through the "cute little things", through the aesthetic admiration of joys and sorrows, creative longing for the imperfect made its way - a feature that S. M. Gorodetsky defined as "acmeistic pessimism", thereby once again emphasizing Akhmatova's belonging to a certain school. The sadness that the poems of "Evening" breathed seemed to be the sadness of a "wise and already weary heart" and was permeated with the "deadly poison of irony", according to G. I. Chulkov, which gave reason to trace Akhmatova's poetic genealogy to I. F. Annensky, whom Gumilyov called it a "banner" for "seekers of new paths", referring to the acmeist poets. Subsequently, Akhmatova told what a revelation it was for her to get acquainted with the poems of the poet, who opened her "new harmony".

Her lyrics turned out to be close not only to "high school students in love," as Akhmatova ironically remarked. Among her enthusiastic admirers were poets who only entered the literature - M. I. Tsvetaeva, B. L. Pasternak. A. A. Blok and V. Ya. Bryusov treated Akhmatova more reservedly, but nevertheless they approved. During these years, Akhmatova became a favorite model for many artists and the addressee of numerous poetic dedications. Her image is gradually turning into an integral symbol of the Petersburg poetry of the era of acmeism. During the First World War, Akhmatova did not join her voice with the voices of poets who shared the official patriotic pathos, but she responded with pain to wartime tragedies ("July 1914", "Prayer", etc.). The White Pack, published in September 1917, was not as successful as the previous books. But the new intonations of mournful solemnity, prayerfulness, and a super personal beginning destroyed the habitual stereotype of Akhmatov's poetry, which had developed among the reader of her early poems. These changes were caught by O. E. Mandelstam, noting: "The voice of renunciation is growing stronger and stronger in Akhmatova's poems, and at present her poetry is approaching becoming one of the symbols of the greatness of Russia." After the October Revolution, Akhmatova did not leave her homeland, remaining in "her deaf and sinful land." In the poems of these years (collections "Plantain" and "Anno Domini MCMXXI", both - 1921), sorrow for the fate of the native country merges with the theme of detachment from the vanity of the world, the motives of "great earthly love" are colored by the mood of the mystical expectation of the "groom", and understanding creativity as divine grace spiritualizes reflections on the poetic word and the poet's vocation and translates them into an "eternal" plan.

In the tragic 1930-1940s, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, the death of friends, her excommunication from literature by a party decree of 1946. The very time she was given the moral right to say, together with the “hundred-million people”: “We Not a single blow was deflected." Akhmatova's works of this period - the poem "Requiem" (1935? published in the USSR in 1987), poems written during the Great Patriotic War, testified to the poet's ability not to separate the experience of personal tragedy from the understanding of the catastrophic nature of history itself. B. M. Eikhenbaum considered the most important aspect of Akhmatova's poetic worldview to be "the feeling of one's personal life as a national, folk life, in which everything is significant and generally significant." “Hence,” the critic remarked, “is the way out into history, into the life of the people, hence the special kind of courage associated with the feeling of being chosen, mission, great, important work ...” The cruel, disharmonious world breaks into Akhmatova’s poetry and dictates new themes and new poetics: the memory of history and the memory of culture, the fate of a generation, considered in a historical retrospective... Multi-temporal narrative planes intersect, "another's word" goes into the depths of subtext, history is refracted through the "eternal" images of world culture, biblical and gospel motifs. Significant understatement becomes one of the artistic principles of Akhmatova's late work. The poetics of the final work, Poems without a Hero (1940-65), was built on it, with which Akhmatova said goodbye to St. Petersburg in the 1910s and to the era that made her a Poet. Akhmatova's creativity as the largest cultural phenomenon of the 20th century. received worldwide recognition.

In 1964 she became the laureate of the international prize "Etna-Taormina", in 1965 - the owner of an honorary degree of Doctor of Literature from Oxford University. On March 5, 1966, Akhmatova ended her days on earth. On March 10, after the funeral service at the St. Nicholas Naval Cathedral, her ashes were buried in a cemetery in the village of Komarov near Leningrad.

Creativity A.A.Akhmatova

In 1912, Akhmatova's first book of poems "Evening" was published, followed by the collections "Rosary" (1914), "White Flock" (1917), "Plantain" (1921) and others. Akhmatova joined the group of acmeists. Akhmatova's lyrics grew on real, vital ground, drawing from it the motives of "great earthly love". Contrast is a hallmark of her poetry; melancholy, tragic notes alternate with bright, jubilant ones.

Far from revolutionary reality, Akhmatova sharply condemned the white emigration, people who broke with their homeland (“I am not with those who left the land ...”). Over the course of a number of years, new features of Akhmatova's work, which overcame the closed world of refined aesthetic experiences, were difficult and contradictory to form.

From the 30s. Akhmatova's poetic range is somewhat expanding; the sound of the theme of the Motherland, the vocation of the poet, is intensified. During the Great Patriotic War, patriotic verses stand out in A.'s poetry. The motifs of blood unity with the country are heard in the lyrical cycles "Moon at its zenith", "From the plane".

The pinnacle of Akhmatova's work is the great lyric-epic "Poem Without a Hero" (1940-62). The tragic plot of the young poet's suicide resonates with the theme of the impending collapse of the old world; the poem is distinguished by the richness of figurative content, the refinement of the word, rhythm, and sound.

Speaking of Anna Andreevna, it is impossible not to mention the memories of people who knew her. In these stories you feel the whole inner world of Akhmatova. We invite you to plunge into the world of memories of K.I. Chukovsky: "I knew Anna Andreevna Akhmatova since 1912. Thin, slender, like a timid fifteen-year-old girl, she never left her husband, the young poet N. S. Gumilyov, who then, at the first meeting, called her his student.

That was the time of her first poems and extraordinary, unexpectedly noisy triumphs. Two or three years passed, and in her eyes, in her posture, and in her treatment of people, one main feature of her personality was outlined: majesty. Not arrogance, not arrogance, not arrogance, but precisely "royal" majesty, a monumentally important step, an indestructible sense of respect for oneself, for one's lofty literary mission.

Every year she became more majestic. She did not care about it at all, it came out of her by itself. In all the half century that we have known each other, I do not remember a single pleading, ingratiating, petty or pitiful smile on her face.

Akhmatova biography lyrics acmeism

She was completely devoid of any sense of ownership. She did not love and did not keep things, she parted with them surprisingly easily. She was a homeless nomad and did not value property to such an extent that she willingly freed herself from it as from a burden. Her close friends knew that it was worth giving her some, say, a rare engraving or a brooch, and in a day or two she would distribute these gifts to others. Even in her youth, in the years of her brief "prosperity", she lived without bulky wardrobes and chests of drawers, often even without a desk.

There was no comfort around her, and I do not remember a period in her life when the atmosphere around her could be called cozy.

The very words "furnishings", "coziness", "comfort" were organically alien to her - both in life and in the poetry she created. Both in life and in poetry, Akhmatova was most often homeless ... It was habitual poverty, from which she did not even try to get rid of.

Even books, with the exception of the most beloved ones, she gave to others after reading. Only Pushkin, the Bible, Dante, Shakespeare, Dostoevsky were her constant interlocutors. And she often took these books - one or the other - on the road. The rest of the books, having visited her, disappeared ...

She was one of the most well-read poets of her era. She hated to waste time reading fashionable sensational things that were shouted about by magazine and newspaper critics. But she read and re-read each of her favorite books several times, returning to it again and again.

When you leaf through Akhmatova's book, suddenly, among the mournful pages about separation, about orphanhood, about homelessness, you come across such verses that convince us that in the life and poetry of this "homeless wanderer" there was a House that served her at all times as her faithful and saving refuge.

This House is the motherland, the native Russian land. From a young age, she gave all her brightest feelings to this House, which were fully revealed when it was subjected to an inhuman attack by the Nazis. Her formidable lines began to appear in the press, deeply consonant with the courage of the people and the anger of the people.

Anna Akhmatova is a master of historical painting. The definition is strange, extremely far from previous assessments of her skill. It is unlikely that this definition was met at least once in books, articles and reviews dedicated to her - in all the vast literature about her.

Her images never lived their own life, but always served to reveal the poet's lyrical experiences, his joys, sorrows and anxieties. She expressed all these feelings laconicly and reservedly. Some barely perceptible microscopic image was saturated in her with such great emotions that he alone replaced dozens of pathetic lines.

There were a few people with whom she had a particularly "good laugh," as she liked to put it. These were Osip Mandelstam and Mikhail Leonidovich Lozinsky - her comrades, the closest ....

In the character of Akhmatova there were many diverse qualities that did not fit into one or another simplified scheme. Her rich, complex personality abounded in traits that are rarely combined in one person.

... "the mournful and modest grandeur" of Akhmatova was her inalienable property. She remained majestic always and everywhere, in all occasions of life - both in secular conversation, and in intimate conversations with friends, and under the blows of a ferocious fate - "even now in bronze, on a pedestal, on a medal"!

Love lyrics in the work of A.A. Akhmatova

Immediately after the release of the first collection "Evening" in Russian literature, a kind of revolution took place - Anna Akhmatova appeared, "the second great lyric poetess after Sappho." What was revolutionary in the appearance of Akhmatova? Firstly, she had practically no time for literary apprenticeship; after the release of Evening, critics immediately put her in the ranks of Russian poets. Secondly, contemporaries acknowledged that it was Akhmatova who "undoubtedly occupied the first place among Russian poets after Blok's death."

The modern literary critic N. N. Skatov subtly remarked: "... if Blok is really the most characteristic hero of his time, then Akhmatova, of course, is his most characteristic heroine, manifested in the endless variety of women's destinies."

And this is the third feature of the revolutionary nature of her work. Before Akhmatova, history knew many women poets, but only she managed to become the female voice of her time, a woman poet of eternal, universal significance.

She, like no one else, managed to reveal the most cherished depths of the female inner world, experiences, states and moods. To achieve amazing psychological persuasiveness, she uses a capacious and concise artistic device of a speaking detail, which becomes a “sign of trouble” for the reader. Akhmatova finds such “signs” in the everyday world, unexpected for traditional poetry. These can be details of clothing (hat, veil, glove, ring, etc.), furniture (table, bed, etc.), furs, candles, seasons, natural phenomena (sky, sea, sand, rain, flood, etc.). etc.), smells and sounds of the surrounding, recognizable world. Akhmatova approved the "civil rights" of "non-poetic" everyday realities in the high poetry of feelings. The use of such details does not reduce, "ground" or trivialize traditionally high themes. On the contrary, the depth of feelings and thoughts of the lyrical heroine receives additional artistic persuasiveness and almost visible authenticity. Many of the laconic details of Akhmatova the artist not only concentrated a whole range of experiences, but became universally recognized formulas, aphorisms expressing the state of a person’s soul. This is the "glove on the right hand" worn on the left hand, and the proverb "How many requests does the beloved always have! // A loved one does not have requests", and much more. Reflecting on the craft of the poet, Akhmatova introduced another ingenious formula into poetic culture.

Akhmatova pays tribute to the high universal role of love, its ability to inspire those who love. When people fall under the power of this feeling, they are pleased with the smallest everyday details seen by loving eyes: lindens, flower beds, dark alleys, streets, etc. black sky, // And in the depths of the alley, the arch of the crypt", - they also become contrasting signs of love in Akhmatov's context. Love sharpens the sense of touch:

After all, the stars were bigger.

After all, the herbs smelled differently,

Autumn herbs.

(Love conquers deceitfully...)

And yet, Akhmatova's love poetry is, first of all, the lyrics of a break, the end of a relationship, or the loss of feelings. Almost always, her poem about love is a story about the last meeting ("The Song of the Last Meeting") or a farewell explanation, a kind of lyrical fifth act of the drama. "Even in poems based on images and plots of world culture, Akhmatova prefers to turn to the situation of the denouement, as, for example, in poems about Dido and Cleopatra, But her states of parting are surprisingly diverse and comprehensive: this is a cold feeling (for her, for him, for both), and misunderstanding, and temptation, and mistake, and the tragic love of the poet In a word, all the psychological facets of separation were embodied in Akhmatov's lyrics.

It is no coincidence that Mandelstam traced the origins of her work not to poetry, but to the psychological prose of the 19th century. “Akhmatova brought to Russian lyrics all the enormous complexity and psychological richness of the Russian novel of the nineteenth century. "A nest of nobles", all of Dostoevsky and partly even Leskov ... She developed her poetic form, sharp and military, with an eye on prose.

It was Akhmatova who managed to give love the “right of a woman’s voice” (“I taught women to speak,” she grins in the epigram “Could Biche ...”) and embody women’s ideas about the ideal of masculinity in lyrics, to present, according to contemporaries, a rich palette "male charms" - objects and addressees of female feelings.

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Name: Anna Akhmatova

Age: 76 years old

Place of Birth: Odessa

A place of death: Domodedovo, Moscow region

Activity: Russian poetess, translator and literary critic

Family status: was divorced

Anna Akhmatova - Biography

The name of Anna Andreevna Akhmatova (nee - Gorenko) - a wonderful Russian poetess for a long time was unknown to a wide range of readers. And all this happened only because in her work she tried to tell the truth, to show reality as it really is. Her work is her fate, sinful and tragic. Therefore, the entire biography of this poetess is proof of the truth that she tried to convey to her people.

Anna Akhmatova's childhood biography

In Odessa, on June 11, 1889, daughter Anna was born in the family of hereditary nobleman Andrei Antonovich Gorenko. At that time, her father worked as a mechanical engineer in the navy, and her mother, Inna Stogova, whose family descended from the Horde Khan Akhmat, was also related to the poetess Anna Bunina. By the way, the poetess herself took her creative pseudonym, Akhmatova, from her ancestors.

It is known that when the girl was barely a year old, the whole family moved to Tsarskoye Selo. Now those places where Pushkin had previously worked have firmly entered her life, and in the summer she went to relatives near Sevastopol.

At the age of 16, the fate of the girl changes dramatically. Her mother, after a divorce from her husband, takes the girl and goes to live in Evpatoria. This event took place in 1805, but even there they did not live long and again a new move, but now to Kyiv.

Anna Akhmatova - education

The future poetess was an inquisitive child, so her education began early. Even before school, she not only learned to read and write in the ABC of Tolstoy, but also French, listening to a teacher who came to study with older children.

But classes at the Tsarskoye Selo gymnasium were difficult for Akhmatova, although the girl tried very hard. But over time, problems with studies still receded.

In Kyiv, where they moved with their mother, the future poetess enters the Fundukleevskaya gymnasium. As soon as her studies were completed, Anna entered the Higher Women's Courses, and then the Faculty of Law. But all this time, her main occupation and interest is poetry.

Anna Akhmatova's career

The career of the future poetess began at the age of 11, when she herself wrote her first poetic creation. In the future, her creative fate and biography are closely connected.

In 1911, she met Alexander Blok, who had a huge impact on the work of the great poetess. In the same year she published her poems. This first collection is published in St. Petersburg.

But fame came to her only in 1912 after her collection of poems "Evening" was published. The Rosary collection, published in 1914, was also in great demand among readers.

The ups and downs in her poetic fate ended at the age of 20, when the review did not miss her poems, she was not published anywhere, and readers simply began to forget her name. At the same time, she begins work on the Requiem. From 1935 to 1940, the years turned out to be the most terrible, tragic and miserable for the poetess.

In 1939, he spoke positively about Akhmatova's lyrics and they began to print it little by little. The famous poetess met the Second Great Patriotic War in Leningrad, from where she was evacuated first to Moscow, and then to Tashkent. She lived in this sunny city until 1944. And in the same city she found a close friend who was always faithful to her: both before death and after. I even tried to write music based on the poems of my friend, a poetess, but it was quite fun and playful.

In 1946, her poems were again not published, and the talented poetess herself was expelled from the Writers' Union for meeting with a foreign writer. And only in 1965 her collection "Running" was published. Akhmatova becomes readable and famous. Visiting theaters, she even tries to get acquainted with the actors. So the meeting with, which he remembered for the rest of his life, took place. In 1965, she was presented with the first award and the first title.

Anna Akhmatova - biography of personal life

She met her first husband, a poet, at the age of 14. For a very long time, the young man tried to win the favor of the young poetess, but each time he received only a refusal for his marriage proposal. In 1909, she gives her consent, thus an important event took place in the biography of the great poetess. April 25, 1910 they got married. But Nikolai Gumilyov, loving his wife, allowed himself to betray. In this marriage, in 1912, a son, Leo, was born.

Akhmatova Anna Andreevna (1889-1966) - Russian and Soviet poetess, literary critic and translator, occupies one of the most significant places in Russian literature of the twentieth century. In 1965 she was nominated for the literary Nobel Prize.

Early childhood

Anna was born on June 23, 1889 near the city of Odessa, at that time the family lived in the Bolshoi Fountain area. Her real name is Gorenko. In total, six children were born in the family, Anya was the third. Father - Andrei Gorenko - a nobleman by birth, served in the Navy, mechanical engineer, captain of the 2nd rank. When Anya was born, he was already retired. The girl's mother, Stogova Inna Erazmovna, was a distant relative of the first Russian poetess Anna Bunina. Maternal roots went deep to the legendary Horde Khan Akhmat, hence Anna took her creative pseudonym.

The year after Anya was born, the Gorenko family left for Tsarskoye Selo. Here, in a small corner of the Pushkin era, she spent her childhood. Knowing the world around her, from an early age, the girl saw everything that the great Pushkin described in his poems - waterfalls, green magnificent parks, a pasture and a hippodrome with small motley horses, the old railway station and the wonderful nature of Tsarskoye Selo.

For the summer, every year she was taken away near Sevastopol, where she spent all her days with the sea, she adored this Black Sea freedom. She could swim during a storm, jump from a boat into the open sea, wander along the shore barefoot and without a hat, sunbathe until her skin began to peel off, which shocked the local young ladies incredibly. For this, she was nicknamed the "wild girl."

Studies

Anya learned to read according to the alphabet of Leo Tolstoy. At the age of five, listening to how the teacher deals with the older children in French, she learned to speak it.

Anna Akhmatova began her studies in Tsarskoe Selo at the Mariinsky Gymnasium in 1900. In the elementary grades, she studied poorly, then she improved her academic performance, but she was always reluctant to study. She studied here for 5 years. In 1905, Anna's parents divorced, the children were ill with tuberculosis, and their mother took them to Evpatoria. Anya remembered this city as alien, dirty and rude. For a year she studied at a local educational institution, after which she continued her studies in Kyiv, where she left with her mother. In 1907 she completed her studies at the gymnasium.

In 1908, Anna began to study further at the Kyiv Higher Women's Courses, she chose the legal department. But the lawyer from Akhmatova did not work out. The positive side of these courses affected Akhmatova in that she learned Latin, thanks to this she subsequently mastered the Italian language and could read Dante in the original.

The beginning of a poetic path

Literature was everything to her. Anna composed her first poem at the age of 11. While studying at Tsarskoe Selo, she met the poet Nikolai Gumilyov, who had a considerable influence on her choice of her future. Despite the fact that Anna's father was skeptical about her passion for poetry, the girl did not stop writing poetry. In 1907, Nikolai helped in the publication of the first poem "There are many brilliant rings on his hand ..." The verse was published in the Sirius magazine published in Paris.

In 1910, Akhmatova became Gumilev's wife. They got married in a church near Dnepropetrovsk and went on their honeymoon to Paris. From there they returned to Petersburg. At first, the newlyweds lived with Gumilyov's mother. Only a couple of years later, in 1912, they moved to a small one-room apartment in Tuchkov Lane. A small cozy family nest Gumilyov and Akhmatova affectionately called the "cloud".

Nikolai helped Anna in the publication of her poetic works. She did not sign her poems with either her maiden name Gorenko or her husband's surname Gumilyov, she took the pseudonym Akhmatova, under which the greatest Russian poetess of the Silver Age became known to the whole world.

In 1911, Anna's poems began to appear in newspapers and literary magazines. And in 1912, her first collection of poems, entitled "Evening", was published. Of the 46 poems included in the collection, half is devoted to parting and death. Before that, Anna's two sisters had died of tuberculosis, and for some reason she was firmly convinced that she would soon suffer the same fate. Every morning she woke up with a feeling of imminent death. And only many years later, when she was over sixty, she would say:

"Who knew that I was conceived for so long."

The birth of Leo's son in the same year, 1912, relegated thoughts of death to the background.

Recognition and glory

Two years later, in 1914, after the release of a new collection of poems called Rosary, recognition and fame came to Akhmatova, critics warmly accepted her work. Now it has become fashionable to read her collections. Her poems were admired not only by “high school students in love”, but also by Tsvetaeva and Pasternak, who entered the world of literature.

Akhmatova's talent was publicly recognized, and Gumilyov's help no longer had such a significant meaning for her, they increasingly disagreed about poetry, there were many disputes. Contradictions in creativity could not but affect family happiness, discord began, as a result, Anna and Nikolai divorced in 1918.

After the divorce, Anna quickly linked herself with a second marriage to the scientist and poet Vladimir Shileiko.

The pain of the tragedy of the First World War passed like a thin thread through the poems of Akhmatova's next collection, The White Flock, which was released in 1917.

After the revolution, Anna remained in her homeland, "in her sinful and deaf land", she did not go abroad. She continued to write poetry and released new collections "Plantain" and "Anno Domini MCMXXI".

In 1921, she broke up with her second husband, and in August of the same year, her first husband, Nikolai Gumilyov, was arrested, then shot.

Years of repression and war

The third husband of Anna in 1922 was the art critic Nikolai Punin. She stopped printing altogether. Akhmatova was very fussy about the release of her two-volume collection, but its publication did not take place. She took up a detailed study of the life and creative path of A. S. Pushkin, and she was also madly interested in the architecture of the old city of St. Petersburg.

In the tragic years of 1930-1940 for the whole country, Anna, like many of her compatriots, survived the arrest of her husband and son. She spent a lot of time under the "Crosses", and one woman recognized in her the famous poetess. The heartbroken wife and mother asked Akhmatova if she could describe all this horror and tragedy. To which Anna gave a positive answer and began work on the poem "Requiem".

Then there was a war that found Anna in Leningrad. Doctors insisted on her evacuation for health reasons. Through Moscow, Chistopol and Kazan, she nevertheless reached Tashkent, where she stayed until the spring of 1944 and released a new collection of poems.

Postwar years

In 1946, the poetry of Anna Akhmatova was sharply criticized by the Soviet government and she was expelled from the Union of Soviet Writers.

In 1949, her son Lev Gumilyov was again arrested, he was sentenced to 10 years in a forced labor camp. The mother tried to help her son by any means, knocked on the thresholds of political figures, sent petitions to the Politburo, but everything was to no avail. When Leo was released, he believed that his mother had not done enough to help him, and their relationship would remain strained. Only before her death, Akhmatova will be able to establish contact with her son.

In 1951, at the request of Alexander Fadeev, Anna Akhmatova was reinstated in the Writers' Union, she was even given a small country house from the literary fund. The dacha was located in the writer's village of Komarovo. In the Soviet Union and abroad, her poems began to be published again.

Summary of life and leaving it

In Rome in 1964, Anna Akhmatova was awarded the Etna-Taormina Prize for creativity and contribution to world poetry. The following year, 1965, at Oxford University, she was awarded an honorary degree of Doctor of Literature, and at the same time the last collection of her poems, The Passage of Time, was published.

In November 1965, Anna suffered a fourth heart attack. She went to a cardiological sanatorium in Domodedovo. On March 5, 1966, doctors and nurses came to her room to do an examination and a cardiogram, but in their presence the poetess died.

There is a Komarovskoye cemetery near Leningrad, an outstanding poetess is buried there. Her son Leo, a doctor of the Leningrad University, together with his students collected stones throughout the city and laid out a wall on his mother's grave. He made this monument himself, as a symbol of the “Crosses” wall, under which his mother stood for days in lines with a parcel.

Anna Akhmatova kept a diary all her life and, just before her death, made an entry:

"I regret not having a bible around."

Year of birth 1889. Place of birth: Bolshoi Fountain (near Odessa. Parents: engineer Andrey Antonovich Gorenko - father, Inna Erazmovna - mother. Akhmatova - the name of Anna Andreevna Gorenko's great-grandmother From 1890 to 1905 she lived in Tsarskoe Selo. She studied at the gymnasium. In 1905 lives in Evpatoria, then in Kyiv, writes poetry.In 1907, a poem was first published in Paris (magazine "Sirius"

) In 1910, she marries Gumilyov. In 1912 a book of poems "Evening" was published under the pseudonym Akhmatova. Adjoins the literary direction "Acmeism" (together with Nikolai Gumilyov and Sergei Gorodetsky).

Contemporaries wrote about her appearance and talent with admiration, dedicated poems, paintings, created music (N. Altaman, Yu. Annenkov, S. Saryan, A. Vertinsky, Modigliani).

Akhmatova experienced a lot in her life: the execution of her husband, repression against her second husband and son. This was reflected in her poem "Requiem", in which she will remember everyone by name. After 1945, she was effectively banned from publishing her poems. In the last years of her life, she translated a lot, wrote essays and memoirs, and assessed the work of young poets, who later became the glory and pride of Russian art and literature. In 1964 she was awarded the Etna Taurmina poetry prize.

Akhmatova died in a sanatorium near Moscow. She was buried in Komarovo (near Leningrad).

Anna Akhmatova is an outstanding poetess of the last century. She wrote many poems that many know and love, as well as the poem "Requiem" about Stalin's repressions. Her life was very difficult, full of dramatic events, like many of our compatriots, whose youth and maturity fell on the difficult years of the first half of the 20th century.

Anna Akhmatova (real name of the poetess - Anya Gorenko) was born on June 23, according to the new style of 1889. The birthplace of the future poetess is Odessa. In those days, this city was considered the Russian Empire. Akhmatova's biography began in a large family, her parents had six children in total, she was born the third. Her father is a nobleman, a naval engineer, and Ani's mother was distantly related to another future famous poet -

Anya received her primary education at home, and went to the gymnasium at the age of ten in Tsarskoye Selo. The family was forced to move here due to the promotion of the father. The girl spent her summer holidays in the Crimea. She loved to wander barefoot along the coast, throw herself into the sea directly from the boat, go without a hat. Her skin soon became swarthy, which shocked the local young ladies.

The impressions received at sea served as an impetus for the creative inspiration of the young poetess. The girl wrote her first poems at the age of eleven. In 1906, Anna moved to the Kyiv Gymnasium, after which she attended the Higher Women's Courses and the Literary and History Courses. The first poems were published in domestic magazines of that time in 1911. A year later, the first book "Evening" was released. These were lyrical poems about girlish feelings, about first love.

Subsequently, the poetess herself will call her first collection "poems of a stupid girl." Two years later, the second collection of poems, The Rosary, was published. It had a large circulation and brought popularity to the poetess.

Important! Anna replaced her real name with a pseudonym at the request of her father, who was against the fact that her daughter would dishonor their surname with her literary experiments (as he believed). The choice fell on the maiden name of the great-grandmother. According to legend, she came from the clan of the Tatar Khan Akhmat.

And it was for the best, because the real name lost in comparison with this mysterious pseudonym. All works by Akhmatova since 1910 were published only under this pseudonym. Her real name appeared only when the poetess's husband, Nikolai Gumilyov, published her poems in a domestic magazine in 1907. But since the magazine was unknown, few people paid attention to these verses at that time. However, her husband prophesied great fame for her, seeing her poetic talent.

A. Akhmatova

Rise of popularity

The biography by date of the great poetess is described in detail on the Wikipedia website. It contains a brief biography of Akhmatova from the day Anna was born until the moment of death, describes her life and work, as well as interesting facts from her life. This is very important, because for many the name of Akhmatova means little. And on this site you can see a list of works that you want to read.

Continuing the story of Akhmatova's life, one cannot help but talk about her trip to Italy, which changed her fate and significantly influenced her future work. The fact is that in this country she met with the Italian artist Amedeo Modigliani. Anna dedicated many poems to him, and he, in turn, painted her portraits.

In 1917, the third book, The White Flock, was published, its circulation surpassed all previous books. Its popularity grew every day. In 1921, two collections were published at once: Plantain and In the Year of the Lord 1921. After that, there is a long pause in the publishing house of her poems. The fact is that the new government considered Akhmatova's work "anti-Soviet" and imposed a ban on it.

Poems by A. Akhmatova

Hard times

From the 1920s, Akhmatova began to write her poems "on the table." Hard times came in her biography with the advent of Soviet power: the husband and son of the poetess were arrested. It is always hard for a mother to watch her children suffer. She worried a lot about her husband and son, and although they were soon released for a short time, but then her son was arrested again, and this time for a long time. The most important torment was yet to come.

Briefly, we can say that the unfortunate mother stood in line for a year and a half in order to see her son. Lev Gumilyov spent five years in prison, all this time his exhausted mother suffered with him. Once, in line, she met a woman who, recognizing a famous poetess in Akhmatova, asked her to describe all these horrors in her work. So the list of her creations was replenished with the poem "Requiem", which revealed the terrible truth about Stalin's policy.

Of course, the authorities could not like this, and the poetess was expelled from the Writers' Union of the USSR. During the war, Akhmatova was evacuated to Tashkent, where she was able to publish her new book. In 1949, her son was again arrested, and a black streak again set in in Akhmatova's biography. She asked a lot for the release of her son, most importantly, that Anna did not lose heart, did not lose hope. In order to appease the authorities, she even went on a betrayal of herself, her views: she wrote a book of poems “Glory to the world!”. Briefly, it can be described as an ode to Stalin.

Interesting! For such an act, the poetess was reinstated in the Writers' Union, but this had little effect on the outcome of the case: her son was released only after seven years. On leaving, he quarreled with his mother, believing that she had done little to secure his release. They had a strained relationship until the end of their lives.

Useful video: interesting facts of the biography of A. Akhmatova

last years of life

In the mid-50s, a brief white streak began in Akhmatova's biography.

Events of those years by date:

• 1954 - participation in the Congress of the Writers' Union;
• 1958 - publication of the book "Poems";
• 1962 - "Poem without a Hero" was written;
• 1964 - Awarded in Italy;
• 1965 - publication of the book "The Run of Time";
• 1965 - Awarded an honorary doctorate from the University of Oxford.

In 1966, Akhmatova's health deteriorated significantly, and her close friend, the famous actor Alexei Batalov, began to ask high-ranking officials to send her to a sanatorium near Moscow. She got there in March, but fell into a coma two days later. The life of the poetess was cut short on the morning of March 5, three days later her body was taken to Leningrad, where a funeral service was held in St. Nicholas Cathedral.

The great poetess was buried at the cemetery in Komarovo, Leningrad Region. A simple cross is erected on her grave, according to her will. Her memory is immortalized by descendants, Akhmatova's place of birth is marked with a commemorative plaque, the street in Odessa, where she was born, is named after her. A planet and a crater on Venus are named after the poetess. A monument was erected at the place of her death in a sanatorium near Moscow.

Personal life

Anna has been married many times. Her first husband was the famous Russian poet Nikolai Gumilyov. They met when she was still in high school, and corresponded for a long time.

Anna immediately liked Nikolai, but the girl saw in him only a friend, nothing more. He asked her hand several times and was refused. Anna's mother even called him a "saint" for his patience.

Once, when Anna, suffering from unhappy love for one acquaintance, even wanted to commit suicide, Nikolai saved her. Then he received her consent to the marriage proposal for the hundredth time.

They got married in April 1910, Anna's maiden name, Gorenko, was kept in the marriage. The newlyweds went on a honeymoon trip to Paris, then to Italy. Here Anna met a man who changed her fate. It is clear that she did not marry for love, but rather out of pity. Her heart was not busy, when suddenly she met the talented Italian artist Amedeo Modigliani.

A handsome passionate young man captivated the heart of the poetess, Anna fell in love, and her feeling was reciprocal. A new round of creativity began, she wrote numerous poems to him. Several times she came to him in Italy, they spent a lot of time together. Whether her husband knew about this remains a mystery. Perhaps he knew, but was silent, afraid of losing her.

Important! The romance of two young talented people ended due to tragic circumstances: Amedeo found out that he had tuberculosis and insisted on breaking off relations. He soon died.

Despite the fact that Akhmatova gave birth to a son from Gumilyov, in 1918 they divorced. In the same year, she became friends with Vladimir Shileiko, a scientist and poet. In 1918 they got married, but Anna broke up with him three years later.

In the summer of 1921, it became known about the arrest and execution of Gumilyov. Akhmatova did not take the news well. It was this person who saw talent in her and helped her take the first steps in her work, even if very soon she overtook her husband in popularity.

In 1922, Anna entered into a civil marriage with art historian Nikolai Punin. She lived with him for a long time. When Nicholas was arrested, she was waiting for him, petitioning for his release. But this union was not destined to last forever - in 1938 they broke up.

Then the woman agreed with the pathologist Garshin. He wanted to marry her already, but just before marriage he dreamed of his dead mother, begging him not to marry a sorceress. For the mystery of Anna, her unusual appearance, excellent intuition, many called her a "sorceress", even her first husband. There is a poem by Gumilyov dedicated to his wife, which is called “The Sorceress”.

The great poetess died alone, without a husband, without a son. But she was not alone at all, she was full of creativity. Before her death, her last words were "I'm going to the sun."

Useful video: biography and creativity of A. Akhmatova