All times have their chroniclers. Well, if there are many of them, then the readers of their works have the opportunity to look at events from different angles. And even better, when these chroniclers (even if they don’t even have this name, but are considered poets, prose writers or playwrights) have great talent, are able to convey not only factography, but the inner layers of what is happening: philosophical, ethical, psychological, emotional and etc. Anna Akhmatova was such a poet-chronicler. Her life was not easy. On the fate of the “muses of lamentation”
There was a revolution and Civil War, Stalinist repressions and the loss of her husband (who was shot), hunger, silence, attempts to discredit her as a poet. But she did not give up, did not run away, did not emigrate, but continued to stay with her people.
At the very beginning of her work, there was no evidence that Anna Akhmatova would ever be able to write the poem "Requiem". Nothing but great talent. It is no coincidence that she (like M. Gumilyov) was recognized as one of the leaders of acmeism, one of the modernist movements “ Silver Age” of Russian poetry, one of the principles of which was (according to Ogorodny) to take into art those moments that can be eternal. The perfect poetic technique that was cultivated among the acmeists, and their typical tendency to broad generalization, complemented everything in Akhmatova, who at first was limited to the theme of love and subtle psychology, traditional for poetesses.
But life made its own adjustments to the subject, did not allow to be exhausted by personal problems, especially since the causes of the tragedies of Anna Akhmatova were also the causes of the tragedies of the whole people. And the personal was intertwined with the general, and poetic talent allowed turning suffering into incomparable lines of poetry.
I was then with my people,
Where my people were in trouble, -
Akhmatova writes.
So, she was always where thousands of ordinary Soviet women, and differed from them only in that she had the opportunity to poetically copy what she saw.
The poem "Requiem", one of central works all the work of Anna Akhmatova. It was written after the poetess "spent seventeen months in a prison queue in Leningrad." The poem seems to consist of separate poems, does not have an outwardly constructed plot, but in fact its composition is quite clear, and the transition from one episode-moment even creates a certain through action. The prosaic passage “Instead of a Preface” explains where the idea came from, “Dedication” declares the author’s attitude to the topic and actually what will be discussed in the main part, but already in “Dedication” instead of the pronoun “I” there is “we”:
We don't know, we're the same everywhere
We hear only the hateful rattle of the keys
Yes, steps are heavy soldiers.
So, Anna Akhmatova tells not only about herself, her lyrical heroine- this, besides her, is also all the “involuntary girlfriends” who went through circles of hell from the arrest of loved ones to waiting for the verdict. “No, it's not me, it's someone else who is suffering,” not only withdraws from his own state of mind, but again a hint of generalization.
Is it possible to determine who exactly we are talking about in the lines:
This woman is sick
This woman is alone.
Husband in the grave, son in prison,
Pray for me.
Akhmatova creates a generalized portrait of all the women who shared the same fate with her.
And I'm not praying for myself alone
And about all those who stood there with me -
She writes already in the epilogue, where a peculiar summary of the topic is summed up. The epilogue of the poem is partly also a dedication, it expresses the desire to name all the sufferers by name, but since this is impossible, Anna Akhmatova calls for honoring them (and not only them) in another way - to remember in scary times, When
. Innocent Rus' writhed
Under the bloody boots
And under the tires of the black Marusya. just as she swore to remember. She even asked to put a monument to herself there, “where I stood for three hundred hours”, so as not to forget about everything even after death.
Only a memory of this magnitude, only the poet's pain, which readers can feel as their own, can and will act as a safety catch to prevent such tragedies in the future. We must not forget the terrible pages of history - they are able to turn around again. But in order not to forget, you need to know about their existence. And it is good that among the hundreds of official poets that glorified the Soviet system, one “mouth with which a hundred million people shouted” was found. This desperate cry is the strongest, because whoever heard it will hardly forget if he has a heart. That's what poetry is sometimes more important than history: to know about any fact is not the same as to feel it with the soul. And that is why any power based on violence tries to destroy the poets, but even killing them physically, it still turns out to be unable to silence them forever.
- Anna Akhmatova lived a long life filled with historical cataclysms: wars, revolutions, complete change way of life. When in the first years of the revolution many intellectuals left the country, Akhmatova remained with her Russia, let me...
- Akhmatova worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom was, often had to choose...
- The genius of Pushkin, the charm of personality, his humanistic philosophy, discoveries made in the field of Russian verse, had a huge impact on the development literature XIX century, which went down in history as the "golden age" of Russian poetry. But...
- Anna Andreevna Akhmatova worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets In Russia, in such a turbulent era, they forgot what freedom is, they often had to ...
- At that time I was visiting the earth, I was given a name at baptism - Anna. A. Akhmatova It is always very difficult to retell the biography of the Poet. Where to find words that are not vulgarized and not ...
- Anna Andreevna Akhmatova had to go through a lot. The terrible years that changed the whole country could not but affect its fate. The poem "Requiem" was a testament to everything that the poetess had to face. Interior...
- In the 1920s and 1930s, the tonality of that love novel, which before the revolution at times covered almost the entire content of Akhmatova's lyrics, and about which many wrote as ...
- Themes of the poet and poetry, citizenship poetic word extremely important for the entire lyrics of Anna Akhmatova. At the beginning creative way Akhmatova was already aware of herself as a poet. In the early poem "Muse" she is exactly...
- The poem "Requiem" (together with "Poem Without a Hero") was the result of the creative path of Anna Akhmatova. In it, the poetess expressed her civil and life position. Akhmatova's early poems define the poet's approach to themes...
- Difficult, long and very difficult was the path of Anna Akhmatova. It could not be easy for the great tragic poetess, who was born at the turn, at the turn of epochs, two centuries, who lived in a period of the most difficult ...
- The theme of the requiem lives not only in literature. She also lives in music. Mozart began writing his requiem in 1791. But he didn't have time to finish it. This was done by his students.
- Akhmatova's poem "Slander" was written in 1922. It was included in the cycle of poems "Anno Domini". At that time in Russia there were many such people, “innocently guilty” only because they ...
- The world of the human soul is most fully revealed in the lyrics of A. Akhmatova and occupies a central place in her poetry. The genuine sincerity of Akhmatova's work, combined with strict harmony, allowed her contemporaries to call her ...
- Anna Akhmatova. Most recently, I first read her poems, got a grasp of them. From the first lines, the bewitching music of her lyrics carried me away. I touched that spiritual world, which...
- Anna Akhmatova in her poem "Requiem" set herself the task of creating a monument to the great people's grief - and to those who stood with her in the prison queues, and to the whole country -...
- Anna Akhmatova worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom was, often had to...
- The woman is a poet. Judging even by the history of Russian literature, this phrase is problematic. Only in the 19th century did poetesses appear in Russia, and then this is clearly a poetic periphery: the now half-forgotten Karolina Pavlova ...
- At the turn of the century, before October revolution, in an era shaken by two world wars, one of the most significant “female” poetry in all modern world literature arose and developed in Russia - poetry ...
- From strange lyrics, where every step is a secret, Where there are abysses to the left and right, Where under the foot, like a withered leaf, glory, Apparently, there is no salvation for me. A. Akhmatova “A poet in Russia is more...
- Love Now like a snake, curled up in a ball, It conjures at the very heart, Now it coos all day long On a white window, Then it flashes in bright hoarfrost, It seems like a left-handed dormant in the slumber. But true and secret...
In 1987, Soviet readers first got acquainted with A. Akhmatova's poem "Requiem".
For many lovers lyric poems poetess this work was a real discovery. In it, a "fragile ... and thin woman" - as B. Zaitsev called her in the 60s - issued a "cry - female, maternal", which became a verdict on the terrible Stalinist regime. And decades after writing, one cannot read a poem without a shudder in the soul.
What was the strength of the work, which for more than twenty-five years was kept exclusively in the memory of the author and 11 close people whom she trusted? This will help to understand the analysis of the poem "Requiem" by Akhmatova.
History of creation
The basis of the work was the personal tragedy of Anna Andreevna. Her son, Lev Gumilyov, was arrested three times: in 1935, 1938 (given 10 years, then reduced to 5 corrective labor) and in 1949 (sentenced to death, then replaced with exile and later rehabilitated).
It was during the period from 1935 to 1940 that the main parts of the future poem were written. Akhmatova at first intended to create a lyrical cycle of poems, but later, already in the early 60s, when the first manuscript of the works appeared, the decision came to combine them into one work. And indeed, throughout the entire text, one can trace the immeasurable depth of grief of all Russian mothers, wives, brides who experienced terrible mental anguish not only during the years of the Yezhovshchina, but at all times of the existence of mankind. This is shown by the analysis of Akhmatova's "Requiem" chapter by chapter.
In a prose preface to the poem, A. Akhmatova spoke about how she was “identified” (a sign of the times) in the prison queue in front of the Crosses. Then one of the women, who woke up from her stupor, asked in her ear - then everyone said so -: “Can you describe this?” The affirmative answer and the created work became the fulfillment of the great mission of a real poet - always and in everything to tell people the truth.
Composition of the poem "Requiem" by Anna Akhmatova
The analysis of a work should begin with an understanding of its construction. The epigraph, dated 1961, and "Instead of a Preface" (1957) indicate that the thoughts about the experience did not leave the poetess until the end of her life. The suffering of her son became her pain, which did not let go for a moment.
This is followed by "Initiation" (1940), "Introduction" and ten chapters of the main part (1935-40), three of which have the title: "Sentence", "To Death", "Crucifixion". The poem ends with a two-part epilogue, which is more epic in nature. The realities of the 30s, the massacre of the Decembrists, the executions of archers that went down in history, finally, the appeal to the Bible (the chapter "Crucifixion") and at all times the incomparable suffering of a woman - this is what Anna Akhmatova writes about
"Requiem" - title analysis
Funeral Mass, address to higher powers with a request for grace for the deceased ... The great work of W. Mozart is one of the poetess's favorite musical works ... Such associations are evoked in the mind of a person by the name of the poem "Requiem" by Anna Akhmatova. An analysis of the text leads to the conclusion that this is grief, commemoration, sadness for all those “crucified” during the years of repression: the thousands of dead, as well as those whose souls “died” from suffering and painful experiences for their relatives.
"Initiation" and "Introduction"
The beginning of the poem introduces the reader into the atmosphere of “mad years”, when a great grief, before which “mountains bend, a great river does not flow” (hyperbolas emphasize its scale) entered almost every house. Emphasizing the general pain of the pronoun "we" - "involuntary girlfriends" who stood at the "Crosses" in anticipation of the verdict.
An analysis of the poem "Requiem" by Akhmatova draws attention to an unusual approach in depicting the beloved city. In the "Introduction", bloody and black Petersburg appears to the exhausted woman as only an "unnecessary appendage" to prisons scattered throughout the country. Scary as it may seem, “death stars” and “black marousi” harbingers of trouble, driving around the streets, have become commonplace.
Development of the main theme in the main part
The poem continues with a description of the scene of the son's arrest. It is no coincidence that the roll call here is with the folk lament, the form of which Akhmatova uses. "Requiem" - the analysis of the poem confirms this - develops the image of a suffering mother. A dark chamber, a swollen candle, “mortal sweat on the brow” and a terrible phrase: “I followed you, as if on a takeaway.” Left alone, the lyrical heroine is fully aware of the horror of what happened. External calmness is replaced by delirium (part 2), manifested in inconsistent, unsaid words, a memory of the past happy life cheerful "mockery". And then - an endless queue under the Crosses and 17 months of painful waiting for the verdict. For all the relatives of the repressed, it became a special facet: before - there is still hope, after - the end of all life ...
An analysis of the poem "Requiem" by Anna Akhmatova shows how the personal experiences of the heroine are increasingly acquiring the universal scale of human grief and incredible resilience.
The climax of the work
In the chapters "Sentence", "To Death", "Crucifixion", the emotional state of the mother reaches its climax.
What awaits her? Death, when neither the projectile, nor the typhoid fumes, nor even the “top of the blue hat” are any longer afraid? For the heroine, who has lost the meaning of life, she will become salvation. Or madness and a petrified soul, allowing you to forget about everything? It is impossible to convey in words what a person feels at such a moment: “... this is someone else suffering. I wouldn't be able to…”
The central place in the poem is occupied by the chapter "Crucifixion". This bible story crucifixion of Christ, which was rethought by Akhmatova. "Requiem" - an analysis of the condition of a woman who has lost her child forever. This is the moment when "the heavens melted into fire" - a sign of a catastrophe on a universal scale. The phrase is filled with deep meaning: “And where Mother silently stood, So no one dared to look.” And the words of Christ trying to comfort himself loved one: "Do not cry for me, Mati ...". As a sentence to any inhuman regime that dooms a mother to unbearable suffering, “Crucifixion” sounds.
"Epilogue"
The analysis of Akhmatova's work "Requiem" completes the definition of the ideological content of its final part.
The author raises the problem of human memory in the "Epilogue" - this is the only way to avoid the mistakes of the past. And this is also an appeal to God, but the heroine asks not for herself, but for everyone who was next to her at the red wall for 17 long months.
The second part of the "Epilogue" echoes the well-known poem by A. Pushkin "I erected a monument to myself ...". The theme in Russian poetry is not new - it is the definition by the poet of his purpose on Earth and a certain summing up of creative results. The desire of Anna Andreevna is that the monument erected in her honor should not stand on the seashore, where she was born, and not in the garden of Tsarskoye Selo, but near the walls of the Crosses. It was here that she spent the worst days of her life. Just like thousands of other people of an entire generation.
The meaning of the poem "Requiem"
“These are 14 prayers,” said A. Akhmatova about her work in 1962. Requiem - the analysis confirms this idea - not only for the son, but for all the innocently destroyed, physically or spiritually, citizens of a large country - this is how the reader perceives the poem. This is a monument to the suffering of a mother's heart. And a terrible accusation thrown at the address of the totalitarian system created by "Mustache" (the definition of the poetess). It is the duty of future generations to never forget this.
Memory is an important component of human life, and its preservation is the task of a responsible individual. This problem is often considered in Russian classical literature. Anna Akhmatova is no exception.
In the poem "Requiem" the theme of memory is considered, through main character. You need to start the analysis with the name. Often writers do not choose names by chance, and they often play important role understanding the intention of the author.
The name "Requiem" reflects the idea of the work: to keep in people's memory the tragic lessons of the country's history. It is important that the problems are not forgotten, but solved, and most importantly, of course, do not repeat the mistakes of past years. Requiem is the name of a memorial service in the Catholic Church for those who suffered innocently and, as a result, passed away. The name conveys the fate of the poet's son, that is, it shows her attitude to the events associated with the arrest of her son and other people.
It was important for Akhmatova to tell not only about the events, but also about the feelings of people who found themselves in a difficult situation. life situation. Throughout the course of the story, Akhmatova urges not to repeat the mistakes of the past. It is important for readers to hear and accept her opinion, as well as follow her suggestion to remember, otherwise all the suffering that was with people will be forgotten and forgiven.
That is why she considers the best monument for people like her to be a bright, calm future. Suffering cannot be forgotten, but it is necessary to remember it. Thus, remembering is a duty. It is important to remember the problems for the future generation in order to form in them philanthropy and fortitude of character.
Updated: 2017-12-27
Attention!
Thank you for your attention.
If you notice an error or typo, highlight the text and press Ctrl+Enter.
Thus, you will provide invaluable benefit to the project and other readers.
All times have their chroniclers. Well, if there are a lot of them - then the readers of their works have the opportunity to look at events from different angles. And even better, when these chroniclers (even if they don’t even have this name, but are considered poets, prose writers or playwrights) have great talent, are able to convey not only factography, but the inner layers of what is happening: philosophical, ethical, psychological, emotional and etc. Anna Akhmatova was such a poet-chronicler. Her life was not easy. The fate of the “Muse of Lamentation” was the revolution and the civil war, the repressions of the Stalin era and the loss of her husband (who was shot), hunger, silence, attempts to discredit her as a poet. But she did not give up, did not run away, did not emigrate, but continued to stay with her people. At the very beginning of her work, there was no evidence that Anna Akhmatova would ever be able to write the poem "Requiem". Nothing but great talent. It is no coincidence that she (like M. Gumilyov) was recognized as one of the leaders of acmeism, one of the modernist movements of the “Silver Age” of Russian poetry, one of the principles of which was (according to Ogorodny) to take into art those moments that can be eternal. The perfect poetic technique that was cultivated among the acmeists, and their typical tendency to broad generalization, complemented everything in Akhmatova, who at first was limited to the theme of love and subtle psychology, traditional for poetesses. But life made its own adjustments to the subject, did not allow to be exhausted by personal problems, especially since the causes of the tragedies of Anna Akhmatova were also the causes of the tragedies of the whole people. And the personal was intertwined with the general, and poetic talent allowed turning suffering into incomparable lines of poetry. I was then with my people, Where my people were in trouble, writes Akhmatova. So, she was always where thousands of ordinary Soviet women were, and differed from them only in that she had the opportunity to poetically copy what she saw. The poem "Requiem", one of the central works of the entire work of Anna Akhmatova. It was written after the poetess "spent seventeen months in a prison queue in Leningrad." The poem seems to consist of separate poems, does not have an outwardly constructed plot, but in fact its composition is quite clear, and the transition from one episode-moment even creates a certain through action. The prosaic passage “Instead of a Preface” explains where the idea came from, “Dedication” declares the author’s attitude to the topic and actually what will be discussed in the main part, but already in “Dedication” instead of the pronoun “I” there is “we”: We We don't know, we are the same everywhere, We only hear the hateful rattle of the keys, Yes, the steps of heavy soldiers. So, Anna Akhmatova tells not only about herself, her lyrical heroine is, besides her, also all the “involuntary friends” who went through circles of hell from the arrest of loved ones to waiting for the verdict. “No, it's not me, it's someone else who is suffering”, - not only is he moving away from his own state of mind, but again a hint of generalization. Is it possible to determine who exactly we are talking about in the lines: This woman is sick, This woman is alone. Husband in the grave, son in prison, pray for me. Akhmatova creates a generalized portrait of all the women who shared the same fate with her. And I pray not for myself alone, but for all those who stood there with me, - she writes already in the epilogue, where a peculiar summary of the topic is summed up. The epilogue of the poem is partly also a dedication, it expresses the desire to name all the sufferers by name, but since this is impossible, Anna Akhmatova calls to give them (and not only them) honor in a different way - to remember in terrible times when ... Guiltless Rus' writhed Under bloody boots And under the tires of the black Marusya. just as she swore to remember. She even asked to put a monument to herself there, “where I stood for three hundred hours”, so as not to forget about everything even after death. Only a memory of this magnitude, only the poet's pain, which readers can feel as their own, can and will act as a safety catch to prevent such tragedies in the future. We must not forget the terrible pages of history - they are able to turn around again. But in order not to forget, you need to know about their existence. And it is good that among the hundreds of official poets that glorified the Soviet system, one “mouth with which a hundred million people shouted” was found. This desperate cry is the strongest, because whoever heard it will hardly forget if he has a heart. This is precisely why poetry is sometimes more important than history: to learn about a fact is not the same as to feel it with your soul. And that is why any power based on violence tries to destroy the poets, but even killing them physically, it still turns out to be unable to silence them forever.
Composition
All times have their chroniclers. Well, if there are a lot of them - then the readers of their works have the opportunity to look at events from different angles. And even better, when these chroniclers (even if they don’t even have this name, but are considered poets, prose writers or playwrights) have great talent, are able to convey not only factography, but the inner layers of what is happening: philosophical, ethical, psychological, emotional and etc. Anna Akhmatova was such a poet-chronicler. Her life was not easy. The fate of the “Muse of Lamentation” was the revolution and the civil war, the repressions of the Stalin era and the loss of her husband (who was shot), hunger, silence, attempts to discredit her as a poet. But she did not give up, did not run away, did not emigrate, but continued to stay with her people.
At the very beginning of her work, there was no evidence that Anna Akhmatova would ever be able to write the poem "Requiem". Nothing but great talent. It is no coincidence that she (like M. Gumilyov) was recognized as one of the leaders of acmeism, one of the modernist movements of the “Silver Age” of Russian poetry, one of the principles of which was (according to Ogorodny) to take into art those moments that can be eternal. The perfect poetic technique that was cultivated among the acmeists, and their typical tendency to broad generalization, complemented everything in Akhmatova, who at first was limited to the theme of love and subtle psychology, traditional for poetesses.
But life made its own adjustments to the subject, did not allow to be exhausted by personal problems, especially since the causes of the tragedies of Anna Akhmatova were also the causes of the tragedies of the whole people. And the personal was intertwined with the general, and poetic talent allowed turning suffering into incomparable lines of poetry.
I was then with my people,
Where my people were in trouble, -
writes Akhmatova.
So, she was always where thousands of ordinary Soviet women were, and differed from them only in that she had the opportunity to poetically copy what she saw.
The poem "Requiem", one of the central works of the entire work of Anna Akhmatova. It was written after the poetess "spent seventeen months in a prison queue in Leningrad." The poem seems to consist of separate poems, does not have an outwardly constructed plot, but in fact its composition is quite clear, and the transition from one episode-moment even creates a certain through action. The prosaic passage “Instead of a Preface” explains where the idea came from, “Dedication” declares the author’s attitude to the topic and actually what will be discussed in the main part, but already in “Dedication” instead of the pronoun “I” there is “we”:
We don't know, we're the same everywhere
We hear only the hateful rattle of the keys
Yes, steps are heavy soldiers.
So, Anna Akhmatova tells not only about herself, her lyrical heroine is, besides her, also all the “involuntary friends” who went through circles of hell from the arrest of loved ones to waiting for the verdict. “No, it's not me, it's someone else who is suffering”, - not only is he moving away from his own state of mind, but again a hint of generalization.
Is it possible to determine who exactly we are talking about in the lines:
This woman is sick
This woman is alone.
Husband in the grave, son in prison,
Pray for me.
Akhmatova creates a generalized portrait of all the women who shared the same fate with her.
And I'm not praying for myself alone
And about everyone who stood there with me -
she writes already in the epilogue, where a peculiar summary of the topic is summed up. The epilogue of the poem is partly also a dedication, it expresses the desire to name all the sufferers by name, but since this is impossible, Anna Akhmatova calls to give them (and not only them) honor in a different way - to remember in terrible times when
... Guiltless Rus' writhed
Under the bloody boots
And under the tires of the black Marusya. just as she swore to remember. She even asked to put a monument to herself there, “where I stood for three hundred hours”, so as not to forget about everything even after death.
Only a memory of this magnitude, only the poet's pain, which readers can feel as their own, can and will act as a fuse to prevent such tragedies in the future. We must not forget the terrible pages of history - they are able to turn around again. But in order not to forget, you need to know about their existence. And it is good that among the hundreds of official poets that glorified the Soviet system, one “mouth with which a hundred million people shouted” was found. This desperate cry is the strongest, because whoever heard it will hardly forget if he has a heart. This is precisely why poetry is sometimes more important than history: to learn about a fact is not the same as to feel it with your soul. And that is why any power based on violence tries to destroy the poets, but even killing them physically, it still turns out to be unable to silence them forever.
