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SCIENTIFIC LIBRARY ABSTRACTS The theme of love in the works of Anna Akhmatova
The theme of love in the work of Anna Akhmatova
16
Introduction.
The theme of love in the works of many poets has occupied and occupies a central place, because love elevates, awakens the highest feelings in a person.
At the turn of the last century, on the eve of the revolution, in an era shaken by two world wars, "women's poetry" - the poetry of Anna Andreevna Akhmatova arose and developed in Russia.
Perhaps, the theme of love in the work of a wonderful poet was one of the main themes..
This topic is very important at the beginning of the twentieth century because, at this time of great upheavals, a person continued to love, to be high, noble, passionate.
A lot of critics have studied Akhmatova's work.
Among them, I would like to single out N. V. Nedobrovo, who was one of the first who appreciated the work of Akhmatova.
He wrote that the love theme in Akhmatova's works is much broader and more significant than its traditional framework.
A. I. Pavlovsky wrote in his article" The Life and Work of Anna Akhmatova "that" a great poet in a particular social situation or through the eyes of a particular generation can be read in different ways".
Akhmatova told about the sorrows and wanderings, insults and power, storms and deserts of her love - her own and only."
V. Vinogradov, on the other hand, approached Akhmatova's poems as a kind of "individually closed system of linguistic means".
Being a friend of Anna Andreyevna herself, the critic A. Naiman wrote that " her main and poetic feeling is a sense of the extreme fragility of being, the proximity of an inevitably impending catastrophe."
Also, everyone who wrote about Anna Akhmatova noted her tragic intonation, with which her works are narrated.
The love affair expressed in the verse is a reflection of a real life story that was tragic.
Despite the fact that all critics evaluated Akhmatova's work differently, they were united in the fact that she was a great poet, a great and deep artist.
Anna Andreyevna has passed a long way in life, realizing the futility of the circle of life and people from which she came, but it was given to her with great difficulty, at the cost of torment and blood.
She is a person of great will and unyielding courage.
All these articles devoted to the topic of love in the work of Anna Akhmatova allow us to determine the range of problems:
1. Solve the riddle of the popularity of Akhmatova's love lyrics.
2. Find the differences between early lyrics and lyrics in the 20-30 years.
3. What new things did Akhmatova's lyrics bring to Russian literature?
The purpose of my essay was the decision to explore the topic of love in the work of Anna Akhmatova, to get acquainted with the opinions of critics and draw their own conclusions.
The world of deep and dramatic experiences, charm, richness and uniqueness of the personality are imprinted in the love lyrics of Anna Akhmatova.
The theme of love, of course, occupies a central place in her poetry.
Genuine sincerity combined with 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 poetry collections.
The poet's early love lyrics are perceived as a kind of lyrical diary.
She talks about simple human happiness and about earthly, ordinary sorrows: about separation, betrayal, loneliness, despair - about everything that is close to many, that everyone is able to experience and understand.
(the poem "The Song of the last meeting").
My chest felt so helplessly cold,
But my steps were light.
I put it on my right hand
The glove from the left hand.
It seemed that there were many steps,
And I knew - there are only three of them!
There is an autumn whisper between the maples
Asked: "Die with me!
I am deceived by my dull,
A changeable, evil fate."
I said, " Honey, honey!
And I will also die with you..."
This is the song of the last meeting.
I looked at the dark house.
Only the candles were burning in the bedroom
An indifferent yellow fire.
September 29, 1911
Tsarskoye Selo.
Love in the lyrics of A. Akhmatova appears as a "fatal duel", it is almost never depicted in a serene, idyllic way, but on the contrary, in an extremely crisis expression: at the moment of rupture, separation, loss of feelings or the first violent blindness of passion.
Usually her poems are the beginning of a drama or its culmination.
"The torment of a living soul" pays her lyrical heroine for love.
The combination of lyricism and epic 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 is the ability to fully express the most intimate things 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).
Almost immediately after the appearance of her first book, and after "The Rosary "and" The White Flock "in particular, they started talking about"the riddle of Akhmatova".
The talent itself was obvious, but its essence was unusual and unclear.
The "romance", noticed by critics, did not explain everything.
How to explain, for example, the captivating combination of femininity and fragility with the firmness and distinctness of the drawing, which indicate authority and an extraordinary, almost rigid will?
At first, they wanted to ignore this will, because it contradicted the "standard of femininity".
There was also a puzzled admiration for the strange laconism of her love lyrics, in which passion resembled the silence of the pre frost and usually expressed itself only in two or three words, similar to lightning flashes flashing beyond the menacingly darkened horizon.
In the complex music of Akhmatova's lyrics, in its barely shimmering depth, in its darkness running away from the eyes, in the subsoil, in the subconscious, a special, frightening disharmony constantly lived and made itself felt, which confused Akhmatova herself She later wrote in the "Poem without a Hero" that she constantly heard an incomprehensible hum, as if some underground bubbling, shifts and friction of those original hard rocks on which life was based forever and reliably, but which began to lose stability and balance.
There were Yuletide bonfires warmed,
And the carriages fell off the bridges,
And the whole mourning city was floating
For an unknown purpose,
On the Neva River or against the current, -
Just get away from your graves.
There was a black arch on the galley,
In the Summer, the weather vane sang thinly,
And the silver moon is bright
I froze over the silver age.
Because on all roads,
Because to all thresholds
The shadow was approaching slowly,
The wind tore posters from the wall,
Smoke danced squat on the roof,
And the lilac smelled like a cemetery.
And the sworn queen Avdotya,
Dostoevsky and the Demoniac
The fog was leaving the city for its own,
And he looked out of the darkness again
An old St. Petersburg man and a reveller!
How the drum beat before the execution…
And always in the frosty stuffiness,
Pre war, prodigal and terrible,
There was some future hum,
But then it was heard more faintly,
He hardly disturbed the souls
And I was drowning in the snowdrifts of the Nevsky…
The very first harbinger of such an alarming sensation was the poem "The First Return" with its images of a deadly dream, a shroud and a funeral bell, and with a general feeling of a sharp and irrevocable change.
Akhmatova's love novel included an epoch - she voiced and reinterpreted poems in her own way, introduced a note of anxiety and sadness into them, which had a broader meaning than her own fate.
It is for this reason that Akhmatova's love lyrics over time, in the pre revolutionary, and then in the first post revolutionary years, won more and more new reading circles and generations and, without ceasing to be the object of admiring attention of fine connoisseurs, clearly came out of the seemingly narrow circle of readers intended for her.
A. I. Pavlovsky in his book "Anna Akhmatova - life and creativity" said that Akhmatova is really the most characteristic heroine of her time, manifested in an infinite variety of women's destinies: mistresses and wives, widows and mothers who cheated and left.
According to A. Kollontai, Akhmatova gave "a whole book of the female soul".
Akhmatova "poured out in art" a complex history of the female character of the turning point of the era, its origins, breaking, new formation.
There is a center that, as it were, reduces the rest of the world of her poetry to itself, turns out to be its main nerve, its idea and principle.
This is Love.
The element of the female soul inevitably had to start with such a declaration of love.
Herzen once said, as a great injustice in the history of mankind, that a woman is "driven into love".
In a certain sense, all the lyrics (especially the early ones) of Anna Akhmatova are "driven into love".
It was here that truly poetic discoveries were born, such a view of the world that allows us to speak of Akhmatova's poetry as a new phenomenon in the development of Russian lyrics of the twentieth century.
In her poetry there is both "divinity" and " inspiration" While preserving the high value of the idea of love associated with symbolism, Akhmatova returns it to a lively and real, by no means abstract character.
The soul comes to life "Not for passion, not for fun, / / For great earthly love":
This meeting is not celebrated by anyone,
And without the songs, the sadness subsided.
A cool summer has come,
It's like a new life has begun.
The sky seems to be a stone vault,
Stung by the yellow fire,
And it is more necessary than daily bread
I donot need a single word about him.
You, who sprinkle the grass with dew,
Quicken my soul with the News, -
Not for passion, not for fun,
For a great earthly love.
" Great earthly love" - this is the driving principle of all Akhmatova's lyrics It was she who forced us to see the world in a different way - no longer in a symbolist or acmeist way, but, if we use the usual definition, realistically - to see the world:
That fifth season of the year,
Only his praise.
Breathe the last freedom,
Because it is love.
The sky soared high,
The outlines of things are easy,
And no longer celebrates the body
The anniversary of his sadness.
In this poem, Akhmatova called love "the fifth time of the year".
From this unusual, fifth, time, she saw the other four, ordinary.
In the state of love, the world is seen anew.
All the senses are sharpened and strained.
And the singularity of the ordinary opens up.
A person begins to perceive the world with tenfold force, really reaching the peaks in the feeling of life.
The world opens up in an additional reality: After all, the stars were larger,
After all, the herbs smelled differently.
The poem "Love conquers deceptively":
Love conquers deceptively,
The motive is simple, inexperienced
Even so recently - it's strange
You werenot gray and sad.
And when she smiled
In your gardens, in your house, in the field,
Everywhere you thought,
That you are free and on the outside.
You were bright when you were taken by her
And who drank her poisons.
After all, the stars were larger,
After all, the herbs smelled differently,
Autumn herbs.
Autumn 1911
Tsarskoye Selo.
Therefore, Akhmatova's verse is so objective: it returns the original meaning to things, it stops attention on what we are able to pass by indifferently, not to evaluate, not to feel.
In Akhmatova's love poems, many epithets are born from a holistic, undivided, merged perception of the world.
Akhmatova has poems that are" made " literally from everyday life, from everyday simple life - up to a green washbasin, on which a pale evening ray plays.
I involuntarily recall the words said by Akhmatova in her old age, that poems "grow out of litter", that even a spot of mold on a damp wall can become the subject of poetic inspiration and image.
It is not for nothing that, speaking about Akhmatova, about her love lyrics, critics (A. I. Pavlovsky, A. Naiman, A. Batalov) later noticed that her love dramas unfolding in verse take place as if in silence: nothing is explained, nothing is commented on, there are so few words that each of them carries a huge psychological load.
"It is assumed that the reader either has to guess, or, most likely, will try to turn to his own experience, and then it will turn out that the poem is very broad in its meaning: its secret drama, its hidden plot refers to many, many people," A. Naiman wrote (stories about Anna Akhmatova).
I pray to the window ray -
He is pale, thin, straight.
I've been silent since this morning,
And the heart in half.
On my washstand
The copper turned green.
But this is how the beam plays on it,
What fun to look at.
So innocent and simple
In the evening silence,
But this temple is empty
It's like a golden holiday
And comfort me.
November 3, 1910
Kiev.
So it is in this early poem.
It is not so important to us what exactly happened in the life of the heroine?
After all, the most important thing is pain, confusion and the desire to calm down at least when looking at a sunbeam - all this is clear to us, understandable and almost familiar to everyone.
The wisdom of the Akhmatova miniature, which is vaguely similar to the Japanese hoku, lies in the fact that it speaks about the healing power of nature for the soul.
The sunbeam, "so innocent and simple", illuminating both the greenery of the washbasin and the human soul with equal affection, is truly the semantic center of this amazing poem.
This is an early lyric by Anna Andreevna Akhmatova.
Akhmatova's lyrics noticeably change in the 20s and 30s.
Because Akhmatova's lyrics were constantly expanding throughout the post revolutionary twenty years, absorbing more and more new areas that were not peculiar to her before, now a love novel has taken one of the main poetic territories in it.
Of course, the expansion of the range of poetry, which was the result of changes in the poet's worldview and attitude, could not, in turn, not affect the tonality and nature of the love lyrics themselves However, some of its characteristic features have remained the same.
A love episode, for example, as before, appears before us in a kind of Akhmatova guise: in particular, it is never consistently unfolded, there is usually no end or beginning in it; the love confession, despair or plea that make up the poem always seem to the reader like a fragment of a conversation accidentally overheard.
(the poem "Oh, you thought I was like that too").
Oh, you thought I was like that too,
That you can forget me.
And that I will throw myself, begging and sobbing,
Under the hooves of a bay horse.
Or I will ask the healers
In the nagovornaya water, the root is
And I'll send you a terrible gift -
My cherished fragrant handkerchief.
I'll be damned.
Not a groan, not a look
I wonot touch the damned soul,
But I swear to you by the angelic garden,
I swear by the miraculous icon
And our nights as a fiery child -
I'll never come back to you.
The heroine of Akhmatova's poems, most often speaking as if to herself in a state of impulse, half delirium or ecstasy, does not, of course, consider it necessary, and cannot additionally explain and explain to us everything that is happening Only the basic signals of feelings are transmitted, without decoding, without comments, hastily according to the hurried alphabet of love.
Hence the impression of extreme intimacy, the utmost frankness of this lyric.
(the poem "Somehow managed to be separated").
Somehow we managed to separate
And put out the hateful fire.
My eternal enemy, it's time to learn
Do you really love someone?
I'm free.
Everything is fun for me,
At night the muse will fly down to comfort,
And in the morning glory will drag itself
Rattle over the ear crackle.
You shouldnot even pray for me
And, after leaving, look back…
The black wind will calm me down.
The golden leaf fall makes you laugh.
As a gift, I will accept the separation
And oblivion is like grace.
But, tell me, for the agony of the cross
Would you dare to send another one?
Akhmatova's poems about love - everything!
- pathetic.
But one way or another Akhmatova's love lyrics of the 20-30s are mostly addressed to the inner, secret spiritual life The poems of this period are more psychological If in the" Evening "and" Rosary " the love feeling was depicted, as a rule, with the help of extremely few material details, now, without in the least refusing to use an expressive subject stroke, Anna Akhmatova, for all her expressiveness, is still more plastic in the direct representation of psychological content.
Before us is still an explosion, a catastrophe, but now it is a thundercloud that has eclipsed all horizons, throwing thunder and lightning
But if we meet eyes
I swear to you by the heavens,
Granite will melt in the fire.
Akhmatova herself has many times associated the excitement of her love with the great "Song of Songs" from the Bible, wrote the famous critic A. I. Pavlovsky.
Starting already with "The White Flock" , but especially in "Plantain", "Anno Domini" and in later cycles, the love feeling acquires a broader and more spiritual character in her The verses of the 20s and 30s go to the very peaks of the human spirit They do not subjugate the whole of life, the whole of existence, as it was before, but the whole of existence, the whole of life, bring into love experiences the whole mass of their inherent shades.
Filled with this huge content, love became not only richer and more multicolored, but also truly tragic, A. Batalov wrote.
(literary criticism " Next to Akhmatova).
If you arrange Akhmatova's love poems in a certain order, you can build a whole story with a lot of mise en scene, vicissitudes, actors, random and non random incidents.
Meetings and separations, tenderness, guilt, disappointment, jealousy, bitterness, languor, joy singing in the heart, unfulfilled expectations, selflessness, pride, sadness - in what facets and kinks we do not see love on the pages of Akhmatova books.
In the lyrical heroine of Akhmatova's poems, in the soul of the poet himself, a burning, demanding dream of a truly high love, not distorted by anything, constantly lived.
Akhmatova's love is a formidable, imperious, morally pure, all consuming feeling that makes one recall the Biblical line: "Love is strong as death - and its arrows are fiery arrows."
If you arrange Akhmatova's love poems in a certain order, you can see that at the very beginning of the lyrical poems, the heroine is proud, trembling, tender.
And already at the end of the lyrical poems, this is a multi knowledgeable woman who has come a long way.
But throughout the entire work, the lyrical heroine is strong, proud.
This is one of the striking features of her love lyrics.
The second important feature of Akhmatova's lyrical works is the role of a household detail.
Akhmatova has poems that are" made " literally from everyday life, from everyday, simple life.
Involuntarily, I remember the words of Anna Andreyevna herself that poems "grow out of litter", that even a spot of mold on a damp wall, and burdock, and nettle can become the subject of the image.
According to the critic A. I. Pavlovsky, "the most important thing in her craft is vitality and realism, the ability to see poetry in ordinary life."
Her "material" details, sparingly presented, but distinct everyday interiors, boldly introduced prose, and most importantly, the internal connection that is always traced in her between the external environment and the stormy life of the heart, everything resembles not only prose, but also poetic classics.
The third feature of Anna Akhmatova's works is poems written in the form of a lyrical diary.
Akhmatova always preferred the "fragment" to a coherent, consistent story.
The fragment gave a documentary quality to the work: after all, we are not looking at an excerpt from an overheard conversation, or a dropped note.
He loved three things in the world:
For the evening singing, white peacocks
And the erased maps of America.
I didnot like it when children cry,
I didnot like tea with raspberries
And female hysteria.
...And I was his wife.
"He loved..."
And the fourth feature is "romance".
For the first time, the idea of "romance" in Akhmatova's work was expressed by Eichenbaum.
He wrote: "Akhmatova's poetry is a complex lyrical novel.
We can trace the development of the narrative lines that form it, we can talk about its composition, up to the ratio of individual characters."
V. Gippius also wrote interestingly about the" romance " of Anna Andreevna's lyrics.
He saw the key to Akhmatova's success and influence in the fact that the lyrics replaced the form of the novel that was dormant at that time."
All those who wrote about Akhmatova noted the tragic intonation with which the plots of her books are narrated.
That special intonation, called Akhmatovskaya by them, hinted at more than just another story from a great and endless love.
I am very close to the position of the critic N. V. Nedobrovo, who noted that " Akhmatova's love theme and poetry in general are much broader and more significant than their traditional framework.
He pointed out that the distinctive feature of the poet's personality is not weakness and fracture, but, on the contrary, exceptional willpower.
In the verses, he saw "a lyrical soul that is rather hard than too soft, rather hard than tearful, and clearly dominant, not oppressed."
No wonder another critic A. I. Pavlovsky gave a high assessment of his analysis: "He, in fact, was the only one who understood the true scale of Akhmatova's poetry before everyone else, pointing out that the distinctive feature of the poet's personality is not weakness and fracture, but on the contrary, exceptional willpower" And Anna Akhmatova herself believed that it was N. V. Nedobrovo who guessed and understood her entire further creative path.
There is a connection between the poet and the time in which she lived.
On the one hand, her lyrics, creativity - a view, as it were, through the "prism of poetry", which gave her the opportunity to overcome all difficulties.
On the other hand, her willpower and spirit did not allow her to lose herself, made it possible to survive and remain a poet.
The main thing in the theme of love for Anna Akhmatova is the persistent search for the spirit, the search for the meaning and height of life, which are accompanied by gestures of excitement, conscience, faith
And only the conscience is getting scarier every day
He rages: he wants a great tribute.
Covering my face, I answered her…
But there are no more tears, no more excuses.
Akhmatova is not afraid to be frank in her confessions, pleas.
It can be understood only by someone who has the same "code of love".
"Not feeling landmarks, not seeing lighthouses, barely keeping her balance," Anna Akhmatova was guided by the secret and powerful "intuitive power" of artistic creativity
And my sad Muse,
Like a blind woman, she drove me.
The great poet, in a particular social situation, can be read in different ways.
This is the property of any genuine art, if it deeply and faithfully conveys to contemporaries at least one of the melodies of its time.
Bibliography.
1. Pavlovsky A. I. "Anna Akhmatova: Life and creativity".
Enlightenment, 1991.
2. Naiman A. "Stories about Anna Akhmatova".
Novy Mir magazine.
1989.
3. Batalov A. "Literary criticism: Next to Akhmatova".
1984.
4. Sushilina I. K. "Anna Akhmatova's favorites".
1993.
5. Gorlovsky A. S.
"A song about love: Russian love lyrics".
1986.
© ABSTRACTS, 2012
