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The peculiarity of the theme of love in the lyrics of A A Akhmatova an essay
The peculiarity of the theme of love in the lyrics of A. A. Akhmatova
The peculiarity of the theme of love in the prose of A. I. Kuprin
The peculiarity of the theme of love in the prose of A. I. Kuprin
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The world of deep and dramatic experiences, charm, richness and uniqueness of lyricism are entwined in the love lyrics of Anna Akhmatova.
The theme of love, of course, occupies a central place in her poetry.
The genuine sincerity, the utmost frankness in combination with the strict harmony, laconic capacity of the poetic language of Akhmatova's love poems allowed her contemporaries to call her Russian Sappho immediately after the publication of the first poetic collections.
Early love lyrics were perceived as a kind of lyrical diary.
However, the image romantische preveliana ustv not peculiar poetry of Anna Akhmatova, She talks about simple elocom castle and on earth, obiah sorrows: the separation, adultery, odienne, tanie all to close to many to able to experience and understand each.
Love in the lyrics of A. Akhmatova appears as a fatal duel, it is still never depicted serene, idyllic, but on the contrary in an extremely crisis expression: at the moment of rupture, separation, loss of feeling or the first violent blindness of passion.
Usually her poems are based on the drama or its climax.
The pain of a living soul is paid by her lyrical heroine for love.
The combination of lyricism and epigram brings A. Akhmatova's poems closer to the genres of the novel, short story, drama, lyrical diary.
One of the secrets of her poetic gift lies in the ability to fully express the most intimate and wonderfully simple in herself and the world around her.
In her poems, the string tension of emotions and the unmistakable accuracy of their acute expression are striking.
This is the strength of Akhmatova...
(N. V. Nedobrovo).
The theme of love and the theme of creativity are closely intertwined in Anna Akhmatova's poems.
In the spiritual appearance of the heroine of her love lyrics, one can guess the winged creative lyricism.
The tragic rivalry of Love and the Muse was reflected in many works, recalling from the early, 1911, the poems of the Muse, where the Muse's sister takes away a Golden ring, a symbol of earthly joys, and condemns the lyrical heroine to love torture.
However, Akhmatova foresees that poetic glory cannot replace love and earthly happiness.
A. Akhmatova's intimate lyrics are not limited only to the image of loving relationships.
There is always an inexhaustible interest of the poet in the inner world of the human being.
The uniqueness of Akhmatova's poems about love, the originality of the poetic voice that conveys the most intimate thoughts and feelings of the lyrical heroine are filled with the deepest psychologism.
Like no one else, Akhmatova is able to reveal the most secret depths of the inner world of a human, his experiences, states, moods.
Amazing psihologiska credibility is achieved using oeni succinct and lakonikos reception Krasnobaeva details (peracca, ring, Tulip in his buttonhole, etc.).
Earthly love by A. Akhmatova implies the love of eloveka surrounding the earth globe.
The image of human relations is inseparable from the love for the native land, for the people, for the fate of the country.
The idea of a spiritual connection with the motherland, which permeates the poetry of A. Akhmatova, is expressed in the willingness to sacrifice even happiness and intimacy with the most dear people for her (Prayer), which later so tragically came true in her life.
It rises to biblical heights in the description of maternal love.
The sufferings of a mother, doomed to see the crucifixion of her son, are simply shocking in the Requiem.
The choir of angels glorified the great horror, And the heavens melted into fire.
He said to his father: That's why he left Me!
Magdalene struggled and sobbed, Her beloved martyr turned to stone, And no one dared to look at where her Mother was standing.
In the inseparability of the spiritual fate and the fate of the people and the country, the true greatness of that love for the human being and the surrounding world, which sounds in the poems of A. Akhmatova Thus, the poetry of A. Akhmatova is not only the confession of a woman in love, it is the confession of a man who lives with all the troubles, pains and passions of his time and his land.
Nowadays, the most gifted of the Russian poetesses, Anna Akhmatova, has created a kind of synthesis between women's poetry and poetry in the same sense of the word.
Nowadays, the most gifted of the Russian poetesses, Anna Akhmatova, has created a kind of synthesis between women's poetry and poetry in the same sense of the word.
But this synthesis is only apparent, Akhmatova is very smart: having preserved the theme and many techniques of women's poetry, she radically reworked both in the spirit of not female, but universal poetics ..
the writer has said many times that he could not finish working on the novel in any way until he penetrated into the secrets of the language of the described era.
Professor Novombergsky's book Word and Deed, where the judicial acts of the XVII century were collected, turned out to be a real treasure for him.
These search acts were recorded by the clerks, who tried to record in the most concise and colorful form the most accurate story of the tortured person.
Without pursuing any literary tasks, the wise clerks created high literature.
Their records contain diamonds of the literary Russian reality.
In their records, the key is to the transformation of folk speech into literature (A. N. Tolstoy, The Purity of the Russian language).
Studying historical materials, A. N. Tolstoy identifies the most typical words and expressions for the language of the XVIII XVIII centuries and tries to choose first of all those turns of speech that carried the aroma and flavor of antiquity, but at the same time were close and understandable to the modern reader.
Sometimes he modified some heavy speech turns and archaic grammatical forms.
To reduce the length, to eliminate the monotony of the narrative, Alexey Tolstoy combined several ancient documents into one text.
The last editorial revision of Peter the Great, undertaken in 1944 and brought only to the V chapter of the first book, eloquently testifies to the painstaking work of the writer on each portrait, episode, turn of the speech, even an epithet.
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