Akhmatova Anna Andreevna Akhmatova- Russian poet, literary critic and translator, one of the most significant figures in Russian literature of the XX century. Akhmatova- Russian poet, literary critic and translator, one of the most significant figures in Russian literature of the XX century. "Acmeism" Acmeism Acmeism (« Adamism") - a literary movement opposing symbolism and emerged at the beginning of the 20th century in Russia. Acmeists proclaimed materiality, the objectivity of themes and images, and the accuracy of words. The formation of Acmeism is closely connected with the activities of the "Workshop of Poets", the central figures of which were the founders of Acmeism, N. S. Gumilyov, A. Akhmatova (she was the secretary of the "Workshop") and S. M. Gorodetsky. The gifted and ambitious organizer of Acmeism dreamed of creating a "direction of directions" - a literary movement that reflects the appearance of all contemporary Russian poetry. Akhmatova's real name is Anna Andreevna Gorenko. Akhmatova's real name is Anna Andreevna Gorenko. Born on June 11 (23), 1889 in the Odessa region of Bolshoi Fontan in the family of a hereditary nobleman, retired naval mechanical engineer A.A.Gorenko, who (after moving to the capital) became a collegiate assessor, an official for special assignments of the State Control Her mother, I. E. Stogova, was distantly related to Anna Bunina, who is considered the first Russian poetess. Akhmatova considered the Horde Khan Akhmat as her maternal ancestor, on whose behalf she later formed her pseudonym. In 1890, the family moved to Tsarskoe Selo, where Akhmatova became a student at the Mariinsky gymnasium.

The Gorenko family. Anna, Inna Erasmovna, Oia, Andrey and Victor.

Kiev. 1909 year

Akhmatova as a child

Gumilyov and Akhmatova Anna met her future husband, poet Nikolai Gumilyov, as a fourteen-year-old girl. Later, a correspondence arose between them, and in 1909 Anna accepted Gumilyov's official offer to become his wife. They got married on April 25, 1910. In August 1918, the divorce took place.

Anna with Gumilyov and her son Leo

The characteristic features of Akhmatova's creativity can be called loyalty to the moral foundations of life, a subtle understanding of the psychology of feeling, comprehension of the national tragedies of the 20th century, coupled with personal experiences, gravitation towards the classical style of poetic language. She published her first poem in 1911. In her youth she joined the Acmeists (collections "Evening", 1912, "Rosary", 1914). 1917 the book "White flock" was published. In 1918, Akhmatova married the Assyriologist and poet Vladimir Shileiko. In the summer of 1921, they parted. In 1918, Akhmatova married the Assyriologist and poet Vladimir Shileiko. In the summer of 1921, they parted. In April 1921, the collection Plantain was published. In 1922 she became the wife of art critic Nikolai Punin.

Anna Akhmatova and Nikolai Punin

Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was silenced, censored and persecuted; many of her works were not published in her homeland, not only during the author's lifetime, but also for more than two decades after her death. At the same time, even during her lifetime, her name was surrounded by glory among admirers of poetry both in the USSR and in emigration.

Her fate was tragic. Three people close to her were subjected to repressions: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930-1940s and in the 1940-1950s. The grief of the widow and mother of "enemies of the people" was reflected in one of the most significant works of Akhmatova - the poem "Requiem". Her fate was tragic. Three people close to her were subjected to repression: her first husband, Nikolai Gumilyov, was shot in 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son, Lev Gumilyov, spent more than 10 years in prison in the 1930s-1940s and in the 1940s-1950s. The grief of the widow and mother of "enemies of the people" was reflected in one of the most significant works of Akhmatova - the poem "Requiem". 1940 - the collection "From six books" was published. 1940 - the collection "From six books" was published. An attempt to demonstrate loyalty to the Soviet regime was the creation in 1950 of a cycle of poems "Glory to the world!" 1958 - the collection "Poems" was published. In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a sanatorium near Moscow.

Grave of Anna Akhmatova

Monument to A. Akhmatova on the Robespierre embankment in St. Petersburg. Sculptor G.V. Dodonova

Marble bas-relief in Odessa

Portraits of Akhmatova

N. Altman. Portrait of A. A. Akhmatova,

1914 year. Russian Museum

Portrait of Akhmatova by Olga Kardovskaya, 1914

Anna Akhmatova in Modigliani's drawing. 1911 year

Matsievsky Evgeny Olegovich. Anna Akhmatova Matsievsky Evgeny Olegovich. Anna Akhmatova

A. Osmerkin. Portrait of A. Akhmatova, White Night. Leningrad. 1939-1940

Akhmatova

Anna Andreevna

Lecturer at the Velsk College of Economics

Arkhangelsk region

The purpose of the lesson:

- Acquaintance with the life and creative path of the famous Russian poetess of the 20th century A.A. Akhmatova

Tasks:

- to compile a chronological table about the life and work of A. Akhmatova,

- prepare an answer to the question "What can you say about the civic position of the poetess throughout her life?"

Anna Andreevna Akhmatova – famous Russian poet of the 20th century, writer, translator, critic and literary critic. The author of the famous poem "Requiem" about the repressions of the 30s.

And there are no people in the world more tearless,

haughty and simpler than us …

A. Akhmatova

The family had four children.

Her childhood was spent "at the very blue sea", she studied at the Mariinsky gymnasium in Tsarskoe Selo, at the gymnasium in the city of Evpatoria, then in Kiev at the Fundukleevskaya gymnasium. She attended history and literary courses for women.

The Gorenko family. I. E. Gorenko, A. A. Gorenko,

Rika (in her arms), Inna, Anna, Andrey.

Around 1894

Anna met Nikolai Gumilyov while still a student at the Tsarskoye Selo women's gymnasium. Their meeting took place at one of the evenings in the gymnasium. Seeing Anna, Gumilev was fascinated, and since then a gentle and graceful girl with dark hair has become his constant muse in his work. They got married in 1910.

Nikolay Stepanovich Gumilyov and

Anna Andreevna Akhmatova

1912 - the son of Lev Gumilyov, the future famous historian, was born in the family.

In the same year, the first collection of poems by A. Akhmatova was published - "Evening".

In 1914, the second collection "Rosary", he brought Anna Andreevna real fame.

1917 - the third book "White flock", twice in large circulation.

N.S. Gumilyov and A.A. Akhmatova with their son Leo

1925 - the next collection of poems by Akhmatova was published. After that, the NKVD for many years did not miss any work of this poetess and called it "provocative and anti-communist."

According to historians, Stalin spoke positively about Akhmatova. However, this did not stop him from punishing the poet after her meeting with the English philosopher and poet Berlin. Akhmatova was expelled from the Writers' Union, thereby actually doomed to live in poverty. The talented poetess was forced to translate for many years. But she did not stop writing poetry.

Personal life.

In 1918, in the life of the poetess, there was a divorce from her husband, and soon a new marriage with the poet and scientist V. Shileiko.

And in 1921, Nikolai Gumilyov was shot on a false denunciation. She broke up with her second husband.

In 1922, Akhmatova began a relationship with an art critic

N. Punin.

Studying the biography of Anna Akhmatova, it is worth noting that many people close to her suffered a sad fate.

So, Nikolai Punin was under arrest three times, and his only son, Leo, spent more than 14 years in prison.

20-30s.

A. Akhmatova lives in Tsarskoe Selo - the spiritual and artistic source of all her work. Everything here is permeated with the spirit of Pushkin's poetry, this gives her the strength to live.

There are so many lire on the branches here,

But mine, too, seems to have a place.

Writes articles about Pushkin, about the architectural monuments of Tsarskoye Selo, translates. The main themes of creativity are love, the poet's destiny.

If only you knew from what rubbish

Poems grow, knowing no shame,

Like a yellow dandelion by the fence

Like burdocks and quinoa ...

The inner nature of her poems has always been deeply realistic, her Muse is close to Nekrasov:

Give me years of illness

Gasping, insomnia, fever,

Fire up both the child and the friend,

And the mysterious gift of song

So I pray for my liturgy

After so many weary days

So that a cloud over dark Russia

Became a cloud in the glory of the rays.

“I have always been with my people ...” - long before “Requiem” she predetermined the main thing for herself - to be together with the motherland on all its paths and crossroads. And she experienced, together with her people, together with her homeland, everything that fell to her lot.

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

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

… The exile air is bitter - Like poisoned wine

The poem "Requiem" (1935-1940) reflects the difficult fate of a woman whose loved ones suffered from repression. When Akhmatova's son, Lev Gumilyov, was arrested, she and other mothers went to the Kresty prison. One of the women asked if she could describe THIS. After that Akhmatova began to write Requiem.

By the way, Punin will be arrested almost at the same time as Akhmatova's son. But Punin will soon be released, but Lev remained in prison.

Let's try to analyze the poem!

• What facts of A. Akhmatova's life formed the basis of the poem?
• How would you define the genre of this piece?
• What can you say about the composition of the poem?
• In whose name is the story told?
• What do you think, for what purpose did A. Akhmatova write the poem "Requiem", what is the idea of ​​the work?
• What pictorial and expressive means does the poetess use?

Let's sum up!

Conclusions must be written down in a workbook!

Analysis of the poem "Requiem"

The poem "Requiem" by Anna Akhmatova is based on the personal tragedy of the poetess. Analysis of the work shows that it was written under the influence of what she experienced during the period when Akhmatova, standing in prison lines, tried to find out about the fate of her son Lev Gumilyov. And he was arrested three times by the authorities during the terrible years of repression.

The poem was written at different times, starting in 1935. For a long time this work was kept in the memory of A. Akhmatova, I read it only to friends. And in 1950 the poetess decided to record it, but it was published only in 1988.

genre - "Requiem" was conceived as a lyric cycle, and later was called a poem.

Composition works are complex. Consists of the following parts: "Epigraph", "Instead of a preface", "Dedication", "Introduction", ten chapters. Separate chapters are titled: "Sentence" (VII), "To death" (VIII), "Crucifixion" (X) and "Epilogue"

The poem speaks on behalf of lyrical hero ... This is the "double" of the poetess, the author's method of expressing thoughts and feelings.

The main idea of ​​the work - an expression of the extent of the people's grief. As an epigraph, A. Akhmatova takes a quote from her own poem "So it was not in vain that we were in trouble together." The words of the epigraph express the nationality of the tragedy, the involvement of every person in it. And further in the poem this theme continues, but its scale reaches enormous proportions.

Anna Akhmatova, to create a tragic effect, uses almost all poetic sizes, different rhythms, as well as a different number of feet in lines. This personal technique of hers helps to acutely feel the events of the poem.

The author uses various trails that help to comprehend the experiences of people. it epithets : Russia "innocent", melancholy "mortal", the capital "wild", sweat "mortal", suffering "petrified", curls "silver". Lots of metaphors : "Faces fall", "weeks fly by", "mountains are bending before this grief", "locomotive sang the song of parting". Meet and antitheses : "Who is a beast, who is a man", "And a stone heart fell on my still living chest." There is comparisons : "And the old woman howled like a wounded animal."

The poem contains and symbols : the very image of Leningrad is an observer of grief, the image of Jesus and the Magdalene is an identification with the suffering of all mothers.

To leave a memory of this time, the author turns to a new symbol - a monument. The poetess asks to erect a monument near the prison wall not to her muse, but in memory of the terrible repressions of the 30s.

In 1940. the sixth collection "From six books" is published.

1941 - met the war in Leningrad. On September 28, at the insistence of doctors, she was first evacuated to Moscow, then to Chistopol, not far from Kazan, and from there through Kazan to Tashkent. A collection of her poems was published in Tashkent.

It includes poems "Courage", "Oath" and others.

1946 - Decree of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines "Zvezda" and "Leningrad" dated August 14, 1946, which sharply criticized the work of Anna Akhmatova and Mikhail Zoshchenko. Both of them were expelled from the Union of Soviet Writers.

"Alone in the dock

I have been sitting for almost half a century ... ”she writes these days.

O.E. Mandelstam and A.A. Akhmatova

A.A. Akhmatova and B.L. Pasternak

In 1951 it was reinstated in the Writers' Union. Akhmatova's poems are being printed. In the mid-1960s, Anna Andreevna received a prestigious Italian prize and published a new collection, The Run of Time. And the famous poetess is also awarded a doctorate by the University of Oxford.

At the end of his years, the world-famous poet and writer finally got his own home. The Leningrad Literature Fund allocated her a modest wooden dacha in Komarovo. It was a tiny house that consisted of a veranda, a corridor and one room.

1966

March 5 - Anna Andreevna Akhmatova died in a sanatorium in Domodedovo (Moscow region) in the presence of doctors and sisters who came to the ward to examine her and take a cardiogram. March 7 - at 22:00 on the All-Union Radio a message was broadcast about the death of the outstanding poetess Anna Akhmatova.

"To live - so free, To die - so at home "-

A.Akhmatova

Native land-1961

In cherished amulets we do not wear on the chest,

We don't write poems about her,

She does not disturb our bitter sleep,

Doesn't seem like a promised paradise

We do not do it in our soul

The subject of purchase and sale,

Sick, in distress, dumb on her,

We don't even remember her.

Yes, for us it's dirt on galoshes,

Yes, for us it's a crunch on our teeth

And we grind, have, and crumble

That dust is not mixed in anything.

But we lie down in it and become it,

That is why we call it so freely - ours.

-What can you say about the civic position of A.A. Akhmatova throughout her life?

Aphorisms of A.A. Akhmatova:

- I was in great glory, I experienced the greatest disgrace - and I became convinced that, in essence, they are one and the same.

- No despair, no shame, not now, not later, not then!

- The poet's gift cannot be taken away, except for talent he does not need anything.

Akhmatova Anna Andreevna (real name Gorenko) was born into the family of a marine engineer, captain of the 2nd rank, retired at st. Big Fountain near Odessa. A year after her birth, the family moved to Tsarskoe Selo. Here Akhmatova became a student of the Mariinsky gymnasium, but spent every summer near Sevastopol.

In 1905, after the divorce of her parents, Akhmatova and her mother moved to Evpatoria. In years. she studied in the final class of the Kiev Fundukleevskaya gymnasium, in the city of law at the Kirov Higher Courses for Women.

On April 25, 1910, beyond the Dnieper in a village church, she married N.S. Gumilyov, whom she met in 1903, when she was 14, and he was 17 years old. Akhmatova spent her honeymoon in Paris, then moved to St. Petersburg and from 1910 to 1916. She lived mainly in Tsarskoe Selo.

Anna Akhmatova's books The sadness that the Evenings poems breathed seemed to be the sadness of a wise and already tired heart and was permeated with the deadly poison of irony. "Rosary" (1914), a book by Akhmatova, continued the lyrical plot of "Evening". An autobiographical halo was created around the poems of both collections, united by a recognizable image of the heroine, which made it possible to see in them either a "lyric diary" or "romantic lyrics".

Glory After the Rosary, glory comes to Akhmatova. Her lyrics turned out to be close not only to schoolgirls in love, as Akhmatova ironically noted. Among her enthusiastic admirers were poets who were just entering the literature - M.I. Tsvetaeva, B.L. Pasternak. More restrained, but still approvingly reacted to A.A. Akhmatova. Blok and V.Ya.Bryusov. During these years, Akhmatova became a favorite model for artists and the addressee of numerous poetic dedications. Her image is gradually turning into an integral symbol of Petersburg poetry.

Since 1924 They stop printing to Akhmatova. In 1926, a two-volume collection of her poems was to be published, but the publication did not take place, despite prolonged and persistent efforts. Only in 1940 a small collection of 6 books was published, and the next 2 - in the years.

Tragic years In the tragic years, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, friends, her excommunication from literature by a party decree of 1946. Time itself was given the moral right to say, together with a hundred million people: "We have not rejected a single blow from ourselves." Akhmatova's work as the largest phenomenon of the 20th century. received worldwide recognition. In 1964 she became a laureate of the international Etna-Taormina prize, in 1965 she received an honorary doctorate in literature from the University of Oxford.

March 5, 1966 Anna Akhmatova - Muse of artists, composers and poets, keeper and savior of classical traditions left this world. On March 10, after the funeral service at the Nikolsky Naval Cathedral, her ashes were buried in the cemetery in the village of Komarovo near Leningrad. After her death, in 1987 during Perestroika, the tragic and religious cycle "Requiem" written in (supplemented)

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Presentation on the topic: Anna Akhmatova

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The beginning of life ... She was born in Odessa on June 11, 1889 in the family of the 2nd rank engineer-captain Andrey Antonovich Gorenko and Inna Erasmovna. After the birth of her daughter, the family moved to Tsarskoe Selo, where Anna Andreevna studied at the Mariinsky gymnasium. She was fluent in French. In 1905, Inna Erasmovna divorced her husband and moved with her children, first to Evpatoria, and then to Kiev. Here Anna Andreevna graduated from the Fundukleevskaya gymnasium and entered the law faculty of the Higher Courses for Women, still giving preference to history and literature.

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N. Gumilyov and A. Akhmatova Anna Gorenko met her future husband, poet Nikolai Gumilyov, as a fourteen-year-old girl. Later, a correspondence arose between them, and in 1909 Anna accepted Gumilyov's official offer to become his wife. On April 25, 1910, they got married in the Nicholas Church in the village of Nikolskaya Sloboda near Kiev. After the wedding, the young people went on a honeymoon trip, having stayed in Paris all spring. In 1912, they had a son, who was given the name Leo.

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The beginning of the creative path ... Since the 1910s, Akhmatova's active literary activity began. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 she published her first collection of poems "Evening". It is much less known that when the young poetess realized her destiny, then none other than Father Andrei Antonovich forbade her to sign her poems with the name of Gorenko. Then Anna took the name of her great-grandmother - the Tatar princess Akhmatova.

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In March 1914, the second book of poetry "Rosary" was published, which brought Akhmatova all-Russian fame. The next collection "White Flock" was published in September 1917 and was greeted with rather restrained responses. War, famine and devastation pushed poetry into the background. But those who knew Akhmatova closely understood the significance of her work.

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During the revolution, Anna Andreevna parted with N. Gumilev. In the autumn of the same year, Akhmatova married V.K.Shileiko, an assyrologist and translator of cuneiform texts. The poetess did not accept the October Revolution. For, as she wrote, "everything has been plundered, sold; everything has been devoured by hunger longing." But she did not leave Russia, rejecting the "comforting" voices calling to a foreign land, where many of her contemporaries ended up. Even after the Bolsheviks shot her ex-husband Nikolai Gumilyov in 1921.

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A new turn in life December 1922 was marked by a new turn in Akhmatova's personal life. She moved in with the art critic Nikolai Punin, who later became her third husband. The beginning of the 1920s was marked by a new poetic rise of Akhmatova - the publication of poetry collections "Anno Domini" and "Plantain", which consolidated her fame as an outstanding Russian poetess. Akhmatova's new poems have ceased to be published since the mid-1920s. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna.

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In the early 1930s, her son Lev Gumilyov was repressed. But later Lev Gumilyov was still rehabilitated. Later, Akhmatova dedicated her great and bitter poem Requiem to the fate of thousands and thousands of prisoners and their unfortunate families. In the year of Stalin's death, when the horror of the repressions began to recede, the poetess uttered a prophetic phrase: "Now the prisoners will return, and the two Russia will look into each other's eyes: the one that imprisoned and the one that was imprisoned. A new era has begun."

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During the Patriotic War, the Patriotic War found Anna Akhmatova in Leningrad. At the end of September, already during the blockade, she flew first to Moscow, and then was evacuated to Tashkent, where she lived until 1944. And suddenly everything was cut short. On August 14, 1946, the notorious decree of the Central Committee of the CPSU "On the magazines" Zvezda "and" Leningrad "was published, in which A. Akhmatova's work was defined as" ideologically alien. " thus she practically lost her means of subsistence. Akhmatova was forced to earn a living by translations. Opala was removed from Akhmatova only in 1962, when her "Poem without a Hero" was published.

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Recognition In the 1960s, Akhmatova finally gained worldwide recognition. Her poems have appeared in translations. In 1962, Akhmatova was awarded the Etna-Taormina International Poetry Prize in connection with the 50th anniversary of her poetry and the publication of a collection of Akhmatova's selected works in Italy. In the same year, Oxford University decided to confer an honorary doctorate in literature on Anna Andreevna Akhmatova. In 1964, Akhmatova visited London, where a solemn ceremony of dressing her in a doctoral mantle took place. For the first time in the history of Oxford University, the British broke the tradition: it was not Anna Akhmatova who ascended the marble staircase, but the rector went down to it. Anna Andreevna's last public appearance took place at the Bolshoi Theater at a gala evening dedicated to Dante.

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End of life In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiological sanatorium near Moscow. They buried Akhmatova at the Komarovskoye cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. In her short autobiography, compiled in 1965, just before her death, she wrote: “I never stopped writing poetry. For me, they are my connection with time, with the new life of my people. which sounded in the heroic history of my country. I am happy that I lived in these years and saw events that were unmatched. "

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Goals:

• educational: to acquaint students with the personality and peculiarities of A. Akhmatova's creativity; to show how the poet fulfilled the civil and poetic mission of Anna Akhmatova, how the history of the country is refracted and reflected in her work.
• developing: the ability to read poetry and respond emotionally to them; improve the skills of analyzing a poetic text, correlate the content with critical and memoir literature, biographical facts that have a direct connection with this work;
• educational: develop a sense of beauty, foster respect for the feelings of another person, the ability to empathize, patriotic feelings, show an example of civic courage.

Means of education- textbooks, anthologies, texts of poems by A. Akhmatova, basic notes, media.

Lesson type- lesson - presentation. Presentation.

Plan.

1. The history of the pseudonym "Akhmatova". Life and work.
2. Analysis of poems: "I clenched my hands under a dark veil ...".
3. Philosophical motives, a patriotic theme, the world of a woman's soul, a poet and a homeland in Akhmatova's lyrics: “I learned to live simply, wisely…”, “You are my letter, dear, do not crumple…”, “Prayer”.
4. Poem "Requiem".
5. Anna Akhmatova is “the voice of her generation”.

During the classes

Preliminary work.

The students had a preliminary task to get acquainted with the biography of A. Akhmatova, compile a chronological table of her life and work, memorize poems, recall information about the poets of the Silver Age and the peculiarities of this period in Russian poetry.

I. Organizing time. Enhancing student knowledge.

Completing the preliminary assignment, you got acquainted with the creative biography of Anna Andreevna Akhmatova, learned her poems. You have noticed that the beginning of her work is associated with the Silver Age of Russian poetry, and the last works appear in the 60s.

Assignment: - Remember, please, the definition of the Silver Age of Russian poetry.

(The Silver Age is usually called the heyday of Russian poetry at the beginning of the 20th century.)

And the silver month is bright
Frozen over the Silver Age. (A. Akhmatova)

II. Writing lesson topics and plan in notebooks.

1. The history of the appearance of the pseudonym “Akhmatova”.

Already in her gymnasium years, Akhmatova wrote poetry. Akhmatova is the surname of the grandmother (maternal pro-grandmother), which became the pseudonym of Anna Andreevna Gorenko.

From the biography of A. Akhmatova: was born on June 23 (n.s.) in 1889 in the village of Bolshoi Fontan near Odessa (real name Gorenko, married Gumelev).

Childhood years were spent in Tsarskoe Selo near St. Petersburg. Here she studied at the Tsarskoye Selo (Mariinsky) female gymnasium.

I spent my vacations near Sevastopol, on the shores of Streletskaya Bay (now it is one of the districts of Sevastopol). “The strongest impression of those years,” Akhmatova recalled, “was the ancient Chersonesos, near which we lived.”

In this area, on the seashore, a park is laid out to them. Anna Akhmatova. At the entrance to the park there is a memorial plaque on which the image of the poet's profile (she did not allow herself to be called a poetess) and the words taken from her wonderful poem “Requiem” are written:

I have a lot to do today:
Necessary kill memory to the end,
Necessary so that the soul turns to stone
Necessary learn to live again.

In 1903 he met Nikolai Gumelev. The first early poems were written. Then he studied at the Kiev Fundukleevskaya gymnasium. And in 1907, the first published poem by Akhmatova appeared in the Parisian magazine Sirius, published by N. Gumelev.

1908-1909 - Studying at the Faculty of Law of the Kiev Higher Courses for Women. And so in April 1910 “... I married NS. Gumeleva, and we, - writes Akhmatova, - went to Paris for a month ”.

... The love story of N. Gumilyov and A. Akhmatova was reflected in verses.

The first collections of poems by A. Akhmatova were called "Evening" (1912) (According to L. Chukovskaya, at first she wanted to call the collection "Evening" "Quinoa", but she was dissuaded).

"I clasped my hands under a dark veil" ( Annex 1.)

Preliminary questions: What is the theme of the poem “I clenched my hands under a dark veil ...”?

Who is the hero of this poem?
What paths have you noticed in the poem?
(Reading a poem.)

Analysis of the poem "She clenched her hands under a dark veil ..." (1911).

This is a characteristic poem from the book "Evening", which depicts the uneasy relationship between a man and a woman. The theme of the poem is love.

The lyrical heroine speaks with her conscience ( invisible hero) after a date with a person who has no identifying marks in the poem. The whole conversation is omitted, and its content is concentrated in one capacious metaphor "... I am tart sorrow / I made him drunk."

A woman, overwhelmed by sudden compassion, confesses her guilt to someone she makes suffer. They "made me drunk" with sorrow his, but now she is suffering, she herself is to blame. Repeating verbs speak about the strength of feelings: “I ran away,” “I ran,” “I shouted out of breath.” “Without touching the railing,” that is, swiftly, without any caution, is an acmeistically accurate, psychologically rich inner detail

At the end of the first verse of the last stanza, the word "joke" hangs, separated from the end of the phrase by a strong verse hyphenation. It is clear that all the preceding was serious.

On October 10, 1912, Anna Akhmatova's son Levushka was born (Lev Nikolayevich Gumelev is a historian, geographer, specialist in the ethnogenesis of the peoples of Eurasia).

In March 1914, the second book of poems "Rosary" was published, which included the poem "I learned to live simply, wisely ...", written in Florence (1912), where they rested with N. Gumelev for 10 days. (It is believed that the poem was written on his return from Italy in Kiev in the estate of Litki, owned by Akhmatova's relatives).

(Reading the poem “I have learned to live simply, wisely.”) (Appendix 2)

The year 914. In March, the second book of poetry "Rosary" is published.

It would seem that in the life of A. Akhmatova everything was going great: marriage with a loved one, recognition, the birth of a son. But the tragic era touched the life of every person.

1914 year. World War I. N. Gumilyov in the army. Correspondence.

(A prepared student reads the poem "You are my letter, dear, do not crumple ...") (Appendix 3)

In 1915, the poem "Prayer" (1915) appears. (Appendix 4)

Preliminary questions:

• To whom is the poem addressed?
• What sacrifice is she willing to make?
• What is this sacrifice for?

The blood connection with Russia was felt especially sharply during the most difficult times, starting with the First World War. M. Tsvetaeva called A. Akhmatova “the muse of crying”.

Revolution and Civil War. Refusal to leave Russia.

Not with those I who threw the ground
To be torn apart by enemies ...

Akhmatova's relationship with her homeland was not at all simple. Here she experienced suffering and torment, shared the pain with the people, whose voice she rightfully became. But for Akhmatova, the words "Motherland" and "power" have never been synonymous. She had no choice - to leave Russia or stay. She considers flight to be a betrayal:

In September 1917 the book of poems "White flock" was published.

Akhmatova lived through the tragic fate of Russia with her, she shared the fate of her homeland.

Already in the first post-revolutionary years, the name of Akhmatova was often contrasted with the names of the poets of revolutionary Russia.

In 1921 ... The book of poems "Plantain" was published.

A wave of Stalinist repressions covered Akhmatova as well. At the funeral of A.A. Blok, Akhmatova learns that her husband, Nikolai Gumelev, has been arrested, allegedly for participating in a counter-revolutionary conspiracy. (The case was fabricated by the Cheka). He was soon shot.

1922. The book of poems “Anno Domini” is published.

Mid-20s ...

1st student: "Since the mid-1920s, my new poems have almost ceased to be published, and my old ones have been reprinted."

2nd student: "Since 1925, the Central Committee issued a resolution (not published in the press) to remove me (meaning Akhmatova's poems) from circulation"

1935 year. The arrest of the only son of Anna Akhmatova, Lev Nikolayevich Gumelev (he was arrested three times - in 1935, 1938 and 1940). After the arrest of her son in 1938, Akhmatova began the poem Requiem.

Mass repressions in the country, personal tragic events brought this work to life.

“During the terrible years of Yezhovism, I spent seventeen months in prison lines in Leningrad. Someone once "identified" me. Then, a woman with blue lips standing behind me, who, of course, had never heard my name in her life, woke up from the numbness inherent in all of us and asked me in my ear (there everyone spoke in a whisper):

- Can you describe this?

And I said:

Then something like a smile slid over what had once been her face. "

Akhmatova worked intermittently for five years on this work. The poem was created in inhuman conditions.

Poems lived in the memory of friends and relatives, since it was dangerous to leave them on paper. Akhmatova, as Lydia Chukovskaya recalls, said: “11 people knew“ Requiem ”by heart, and no one betrayed me.”

The main motives of the poem are memory, the bitterness of oblivion, the unthinkable, the impossibility of death, the motive of the crucifixion, the gospel sacrifice.

The poem was composed of separate poems, created mainly in the pre-war period. These poems were finally assembled into a single work only in the fall of 1962, when it was first written on paper.

Upon acquaintance with the poem, its structural parts are struck by the interlacing of dates: "Instead of a preface" dated 1957, the epigraph "No, and not under an alien firmament ..." - 1961, "Dedication" - 1940, "Introduction" - 1935 -m

It is also known that the version of "Epilogue" was dictated by the author to a friend of L. D. Bolshintsova in 1964. Consequently, these dates are just different signs that Akhmatova turned to this creation during the last thirty years of her life. It is important to be able to disregard these numbers and perceive Requiem as a complete work dictated by a tragic time.

Word "Requiem" translates as "Funeral mass", as a service for the deceased. At the same time, it is the designation of a mourning piece of music.

Already in 1961, the poem was preceded by an epigraph, strictly but accurately reflecting the civic and creative position of the author:

Here the word "alien" is repeated twice, twice - the word "people". The idea of ​​uniting the fate of the people and its poet is expressed.

The title - "Requiem" - sets you in a solemn and mourning mood, it is associated with death, mournful silence, which is proportional to the exorbitant suffering.

Work with text. Reading a work

1. "Dedications"
2. "Introduction"
3. I. They took you away at dawn ... (Appendix 5).
   II. The quiet Don is pouring quietly ...
4. Pupils read the passage “Seventeen months screaming ...” (5 hours) (Appendix 6).

To save her son, Akhmatov wrote poetry for Stalin's birthday, turned to him with a request. Soon released, the son was arrested again, during the war he fought at the front until the victorious end, and in 1949 he was imprisoned for the third time, and only in May 1956 he was free /

(Reading the poem VI – X chapters and the epilogue.)

The last chapter is the longest. It presents the story of the tortured soul of the people: one half of them in prisons are husbands and sons, the other half are in prison lines, these are mothers and wives - all of Russia. Not a word about the executioners - they did not deserve words, but they deserved oblivion.

In the last chapter, a powerful chorus of women is not screaming, not crying - howling. This chapter gives no hope and promises no change: “the list was taken away and there is nowhere to find out”.

And only Memory and this poem are the main helpers, without which it is impossible to remain faithful to the past for the sake of the future.

1941 year. The Great Patriotic War. Leningrad blockade.

At the beginning of the war, Akhmatova remained in besieged Leningrad, then she was evacuated to Tashkent, and already in 1944 Akhmatova returned to liberated Leningrad.

During the Great Patriotic War, Akhmatova sees her purpose in becoming a voice of courage and sorrow, to share the grief of her country.

The homeland, in the poems of this period, is identified with the Russian speech with the native word, with the most dear, for which it is worth fighting, which must be sacrificed to defend. And if Akhmatova says “we”, this is the voice of all the people united by the Word.

The native land has always remained a fulcrum for Akhmatova, and with all her life she was connected with St. Petersburg. Every feature of his appearance is an important detail, a detail of her fate.

In 1946, a campaign was launched against Akhmatova, a persecution was organized: in the speech of A. Zhdanov and the subsequent Resolution of the Central Committee of the CPSU (b) “On the magazines“ Zvezda ”and“ Leningrad ”, Akhmatova's poetry was declared alien to the people, hostile to them.

Together with Akhmatova, M. Zoshchenko also fell under the pressure of the authorities. Both were expelled from the Writers' Union, deprived of their livelihood, and turned out to be outcasts in their own country. The circulation of the collection of poems by A. Akhmatova, already published in 1946, was destroyed.

She literally had to live in a gatehouse, a booth, in the suburb of Komarovo. But even here she had friends, students. One of them - I. Brodsky - became a Nobel Prize laureate. In 1956, his son was released. A. Akhmatova begins to publish again.

On March 5 (Stalin's birthday!) 1966, Anna Akhmatova passed away. But, apparently, even a dead, real poet is dangerous for unworthy rulers. In the poem "Requiem" through the lips of the poet, the people say, this is said directly: "And if they clamp my exhausted mouth, // With which the people of one hundred million are shouting ..."

In the Epilogue, the functions of the poet and poetry seem to merge with the idea of ​​great intercession for people. And this is the great heritage of Russian literature, which makes Akhmatova a national, folk poet. There is no grandiose monument on Akhmatova's grave, only a homemade cross. She doesn't need monuments. Her life and her poems have become the eternal and most lasting monument.

“I never stopped writing poetry. For me, they are my connection with the time, with the new life of my people. When I wrote them, I lived with those rhythms that sounded in the heroic history of my country ”. (Appendix 7)

And Anna Akhmatova has one more merit. "I taught women to speak ... But, God, how to silence them!" Indeed, with the arrival of Anna Akhmatova in literature, poetesses appeared: Marina Tsvetaeva, Rimma Kazakova, Bela Akhmadullina and many, many others.

IV. Homework. Analyze in writing Akhmatova's favorite poem.

Literature:

1. Summaries of lessons for the teacher of literature: 11th grade: The Silver Age of Russian Poetry: In 2 Ch. / Ed. L. G. Maksidonova... - M .: Humanit. Publishing Center VLADOS, 2000. - Part 2.
2. Russian literature: A large educational reference book for schoolchildren and those entering universities. - 3rd ed. - M., Bustard, 2001.
3. Exam questions and answers. Literature. 9th and 11th grades. Tutorial. - M .: AST-PRESS SCHOOL, 2002.
4. Pavlovsky A.I. Anna Akhmatova// Literature at school. - 2005. - No. 1.

Application.

1. I clenched my hands under a dark veil ...
"Why are you pale today?"
- Because I am a tart sorrow
I made him drunk.

How can I forget? He staggered out
A tortured mouth twisted ...
I ran away without touching the railing,
I ran after him to the gate.

Gasping for breath, I shouted: “Joke
All that has gone before. If you leave, I will die. "
Smiled calmly and eerily
And he said to me, "Don't stand in the wind."

2. I have learned to live simply, wisely,
Look up to the sky and pray to God
And wander long before evening
To tire out unnecessary anxiety.
When burdocks rustle in the ravine
And there is a bunch of yellow-red mountain ash,
I compose funny poems
About a perishable, perishable and beautiful life.

I'm coming back. Licks my palm
Fluffy cat, purrs more tenderly,
And a bright fire lights up
On the turret of the lake sawmill.

Only occasionally does the silence cut through
The cry of a stork flying to the roof.
And if you knock on my door,
I don't think I even hear.

3. You are my letter, dear, do not crumple,
Read his friend to the end.
I'm tired of being a stranger
Be a stranger in your path.
Don't look like that, don't frown angrily.
I am a lover, I am yours.
Not a shepherdess, not a queen
And I am no longer a nun -
In this gray, everyday dress,
On worn out heels ...
But, as before, the embrace is burning
The same fear in the huge eyes.
You are my letter, dear, do not crumple,
Do not cry about the cherished lie
You have him in your poor knapsack
Put it on the very bottom.
1912 Tsarskoe Selo

4. Prayer.
Give me the bitter years of sickness
Choking, insomnia, fever,
Fire up both the child and the friend,
And the mysterious gift of song -
So I pray for Your liturgy
After so many weary days
So that a cloud over dark Russia
Became a cloud in the glory of the rays

5. I
They took you away at dawn
I followed you, like on a takeaway,
Children were crying in the dark room
At the goddess, the candle swam.
On your lips the coldness of the icon,
Death sweat on his brow ... Do not forget!
I will be like streltsy women,
Howl under the Kremlin towers.
November. 1935. Moscow.

II.
The quiet Don is pouring quietly,
The yellow moon enters the house.
Enters with a hat on one side.
The yellow moon sees a shadow.
This woman is sick
This woman is alone.
Husband in the grave, son in prison
Pray for me.
1938

6. I've been screaming for seventeen months,
I call you home, I threw myself at the feet of the executioner,
You are my son and my horror.
Everything is confused forever
And I can't make out
Now who is the beast, who is the man,
And how long to wait for the execution.
And only lush flowers
And the ringing of the censer, and the traces
Somewhere to nowhere.
And looks straight into my eyes
And threatens with imminent death
A huge star.
1939

“I never stopped writing poetry. For me, they are my connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country ”.