"White flock".

The third book, published from the pen of Akhmatova, was the "white pack".
"In 1916, on the eve of the release of the" white flock ", Osip Mandelstam wrote in reviews for the collection of poems" Almans Muses ":" In the last verses, Akhmatova there was a fracture to the guearatic importance, religious simplicity and solemnity: I would say, after a woman came a turn of his wife after a woman . Remember: "Humped, dressed slaughtered, but the view of the stateless wife." The voice of the renunciation is growing more and more in the verses of Akhmatova, and at present its poetry is nearing to become one of the symbols of Russia's magnitude "44.
"White Freight" was published in September 1917. In all the few, under the conditions of the vague time, reviews for the third book of the poet there was its stylist difference between the first two.
A. L. Slonimsky saw in poems that were "white flock", "new in-depth perception of the world", which, in his opinion, was associated with the prevocation in the third book of the spiritual principle over the "sensual", and, according to Criticism, in " Some Pushkin's view from the side "45.
Another prominent critic, K. V. Mochulsky, believes that the "sharp fracture of Akhmatovsky creativity" is associated with the closer attention of the poet to the phenomena of Russian reality 1914 - 1917: "The poet leaves a circle of intimate experiences, the comfort of the" dark blue room " , Tangle of multicolored silk of volatile moods, exquisite emotions and whimsical tunes. It becomes more stricter, harsh and stronger. It goes under the open sky - and his voice is growing from salt wind and steppelight. In his poetic repertoire, the images of the Motherland appear in his poetic repertoire The buzz of war, hears a quiet whisper of prayer "46. Artistic generalization in this book was brought to typical significance.
Turning to the symbolism of the title, you can see that the fundamental component parts It will be the words "white" and "flock". Consider them alternately.
Everyone knows that colors affect our thinking and feelings. They become symbols, serve as signals that are warning us, please, are saddown, form our mentality and affect our speech.
White is the color of innocence and purity. White color symbolizes purity of thoughts, sincerity, youth, unspoance, inexperience. White vest gives the appearance of sophistication, the white dress of the bride means innocence, white spots on the geographic map - ignorance and unknown. In advertising, the concept of purity is often embodied in a sparkling snow-white tile. Doctors wear white bathrobes. The man who attracts white color seeks to perfection, he is constantly looking for himself. White color is a symbol of creative, vitality.
In Russia, white is a favorite color, this is the color of the "Holy Spirit". (He descends to the ground in the form of a white dove). White color is universally present in national clothes and ornaments. It is also marginal, (that is, it symbolizes the transition from one state to another: death and birth again, for a new life). The symbol of this is the white outfit of the bride, and the white saboan deceased, and white snow.
But white color has besides joyful and its sad side of the values. White is the color of death. No wonder this time of year, as winter, is associated with death in nature. The earth is covered with white snow, like Savan. While spring is the birth of a new life.
The symbol "White" finds its immediate reflection in the poems of the book. First, white - the color of love in Akhmatova, the personification of a quiet family life in the "White House". When love is out of herself, heroine leaves the "White House and Quiet Garden".
"White", as the personification of inspiration, creativity, is reflected in the following lines:
I wanted to give her dwarf
The one in the pigeon white,
But the bird itself flew
For my slim guests.
("Muza went on the road", 1915, p. 77).
White dove - a symbol of inspiration - flies after the muse, devoting himself to creativity.
"White" is the color of memories, memory:
Like a white stone in depth of the well,
Lies in me one memory.
("Like a white stone in the depths of the well", 1916, p. 116).
Or:
And walk in the cemetery in a memorial day
Yes, look at the White God Lilac.
("Better to me a chastushki zadorly launched", 1914, p. 118).
The day of salvation, paradise is also indicated by white in Akhmatova:
In the white paradise, the wicket was dissolved,
Magdalen Son took.
("Where, high, your gypsy", 1914, p. 100).
Bird image (for example, pigeon, swallows, cuckoo, swan, crow) deeply symbolic. And this symbolism uses Akhmatova. In her work "Bird" means a lot: poems, state of the soul, God's messenger. The bird is always an impersonation of free life, in cells we see a pitiful similarity of birds, not seeing their worship in the sky. Also in the fate of the poet: the genuine inner world is reflected in verses created by a free Creator. But it is her, freedom, in life is always lacking.
Birds rarely live alone, mainly by flocks, and the flock there is something single, cohesive, long-graded and multi-voice. If you remember the first two books ("evening", "rosary"), then the main characters will be: first, the point, (since "evening" - the personification of the beginning or, on the contrary, the end, some point of reference), secondly, Line (rosary in the form of "line"), thirdly, circle (rosary beads) and, fourth, spiral (line synthesis and circle). That is, these are symbols of something limited or a given trajectory of movement, space, or time, or all at the same time.
Looking at the symbolism title the third book of poems Akhmatova, we will see that here the temporary and spatial layer are not limited to anything. There is a break from the circle, the separation from the starting point and the intended line.
Thus, the "white flock" is an image indicating a change in the space-time continuum, estimates, views. He (image) declares about the position "over" to all and all, from a bird's eye view.
During the period of writing the first two books, the author was included in the events of the surrounding reality, while in one spatial dimension. In the "white flock" Ahmatov rises over the reality and, like a bird, trying to cover the huge space and most of his country's history with his gaze, it breaks out from under the authorities of the earth's experiencing.
Analysis of the symbolism of the title books and the search for inventory associations will start with the epigraph. He is taken from the poem I. Annensky "Honey":
Sorry and night the road is light.
At the heart of this poem - the plot telling about the criminal deliverance from the fetus of extramarital love.
The line that has become an epigraph acquires in the context of the "white flock" other, summary of the value. Annena shows a personal tragedy of a man, a grief of a concrete woman; At Akhmatova - the drama of a huge country, in which it seems to her will never sound the "voice of a man", and "only the wind of the stone century into the black gate is knocking."
The "white flock" is a set of poems of various focus: this is a civil lyrics, and the poems of love content; It sounds the theme of the poet and poetry.
The book opens with a poem of a civilian subject, in which tragic notes are felt (roll call with epigraph, but in a more enlarged scale):
Thought: the beggars we don't have anything
And how they became one after another,
So what happened every day
Memorial day, -
We started to seen songs
About the great generosity of God
Yes, about our former wealth.
("Thought: Beggars We, we have nothing," 1915, p. 73).
An important meaningful point of the "white flock" was, as mentioned above, the change in the aesthetic consciousness of the poet. Almost it influenced the evolution of the character of the lyrical heroine of Akhmatova. Individual Being in the Third Book is closed with the life of the people, rises to his consciousness. Not me alone, not we - you and me, and we are all, we are a flock. (Compare: "Evening" - "My Prayer"; "Rosary" - "My and Your Your Name"; "White Freight" - "Our Voices").
In the "white flock" it is a multifaceted polyphony becomes characteristic distinctive feature lyrical consciousness of the poet. The search for Akhmatova was religious. Save the soul, as it seemed to her, only by dividing the fate of many "beggars."
The theme of the beggars appeared in the poetry of Akhmatova in last years Before World War II. Votes of beggars external world, And the heroine of her poems at the time put on the mask of the bench.
The book "White Farn" "opens with a choral inspired showing the calm celebration of the novelty of the acquired experience" 47. "Every day - these are days of war, carrying new and new victims. And Akhmatova perceived the war as the greatest folk grief. And here the teres of the poet's testers turned into a choir of contemporaries of the poet, all people, regardless of social affiliation." For Akhmatova in the new book The most important spiritual unity of the people in the face of a terrible enemy. What kind of wealth speaks here a poet? Obviously, less than the material. Poverty is a backpage spiritual wealth"48. Choral" We "expresses in the" white flock "as it were, a popular point of view on what is happening around. As part of the composition of the whole book, the choir acts as active actor.
In the first poem there is also a motive of death, the topic of memory sounds.
The image of death is brighter, with even greater force acts in the poem "May snow", which gives rise to the third section of the book; Here the sounds of sobs are heard, the moods of sorrow are feeling:
Transparent pellena lies
Fresh Dern and imperceptibly melts.
Cruel, student spring
Power kidney kills.
And early death so terrible appearance
What I can not look at God's world.
In me, the sadness, which King David
In the royal godded millennium.
("May Snow", 1916, p. 95).
The last lines of the poem, as well as the epigraph, send us to the Holy Scripture. The image of King David, famous for his chants in the glory of God. The epigraph to the "May Snow" poem indicates the following lines from Psaltiri: "I am tired by my sinks: every night I wash my bed, my tears I am the ocher my bed" (Psalter. Psalm VI, 7). Here we encounter the word "night" (as in the epigraph to the whole book).
The night is the time of day, in which, usually granted himself, he is given time to reflect if he is alone, cry over his troubles, to be happy to good luck. The night is also - the time of the complete atrocities.
In the context of the book Akhmatova, as already mentioned, the grief acquires a huge scale. But this grief is sacred, as it is predetermined by God as a punishment for sins. And maybe, the Akhmatova night is the dark, a terrible path that the country and the heroine must pass, having received a blessing.
We see that the mood of two epigraphs determines the main tonality of the mood of the heroine and the book as a whole: sadness, sorrow, doom and predestination.
In the poem "May Snow" we meet one of the traditional interpretations of the value white color - This is the color of death. May is the time when the nature is full of life, and suddenly, and untouched the white "transparent decking" carries her on death.
White as a symbol of light, beauty we meet in verses dedicated to love, memories of the lover:
Your white house and a quiet garden will leave.
May the life of the desert and light.
You, you will glorify you in my verses,
As a woman could not glorify.
("Your White House and Quiet Garden will leave," 1913, p. 73).
Simultaneously with the Love theme in this poem, the theme of the poet and poetry is heard.
But sometimes love comes into confrontation with creativity. For Akhmatova Poetry, her poems are a "white bird", "Merry Bird", "White Farn". All - for your beloved:
All of you: and prayer day,
And insomnia swearing fever
And poems my white flock,
And the eyes of my blue fire.
("I don't know, you are alive or died", 1915, p.110).
But the beloved does not share the interests of the heroine. He puts it before choosing: or love, or creativity:
He was jealous, disturbing and gentle,
Like God's sun loved me,
And so that she does not sing about the same
He killed my white bird.

Craw, entering the sunset to Svetlitsa:
"Love me, Laugh, write poems!"
And I buried a cheerful bird
Behind the round well at the old alder.
("He was jealous, anxious and gentle", 1914, p. 75).
In this poem, the prohibition motive sounds through permission. Jumping "Fun Bird" Akhmatova, most likely, hides for a while in the bowels of his soul thirst to create, write poems.
She is experiencing a hero (gives him freedom from the shackles of passion). He leaves, but again returns:
I chose myself.
My heart is my friend:
I let go on the will
In his annunciation.
Yes, the pigeon is returned,
Beats wings in glass.
How from shine marvel
It became light in the hill light.
("I chose a share myself", 1915, p.107).
His beloved poet has a pigeon's pigeon, ordinary birds, - Akhmatova does not idealize his beloved, he is an ordinary person.
IN everyday life The presence of birds in nature says that nothing violates its normal flow. Sing birds - it means everything is fine, there is no trouble. When they shut down, therefore, something or has already happened, or will happen soon: trouble, tragedy. In this case, the bird is a normal indicator
the flow of life. At Akhmatova it sounds like this:
Smells to Garoy. Four weeks
Peat dry by swamps is burning.
Even poultry today did not sing
And the aspen is no longer trembling.
("July 1914", 1914, p. 96).
Akhmatova teacher in brevity, simplicity and authenticity of the poetic word was throughout her life A. S. Pushkin. It was he who suggested her the image of a muse, which would be the embodiment of Akhmatovsky consciousness. Through all her work, the image of the muse is girlfriend, sisters, teachers and comforters. In verses of the Ahmatova Muse is realistic, it often takes the human appearance - "Slender Guest", "Small".
The image of the bird depends on the state of the soul of the poet, from her desires, aspirations. But sometimes the imprint is not always a fair reality, breaking with a loved one. For example:
Whether I'm not talking to you
In the sharp cry of predatory birds,
Not in your eyes look
With white matte pages.
("I see, I see the lunar bow", 1914, p. 101).
Or:
So wounded crane
Your name is Others: Crooks, Course!
When spring fields
Both loans, and warm ...
("So wounded crane", 1915. p. 103).
Or:
Because dark in Svotlice,
Because my friends and friends
Like evening, sad birds,
About unprecedented love.
("I was born late, nor early," 1913, p. 117).
Bird at Akhmatova - and the mood of the heroine, the state of her soul.
Akhmatova in this book does not depart from the traditional interpretation of the image of a white bird like God's Messenger, angel with white wings:
Rays dawn up to midnight.
How good in my shutter is close!
About the most tender, always wonderful
With me, God's birds say.
("Immorter dry and roses. Clouds", 1916, p. 94).
Or:
Where we were married - do not remember
But this church sparkled
To the violent shyang,
That only angels know how
In white wings frig.
("We are together, cute, together", 1915, p.105).
Or:
Sky small rain sow
On the blooming lilac.
Out of the window of the wings
White, white spirits day.
("Sky Small Rain Sketch", 1916, p. 113).
For Akhmatova, God is the highest entity, immovable hyposta, which is subject to everything. And in the last poem of the book, recreation high above the ground, it proclaims it:
O. There are unique words,
Who told them - I spent too much.
Inexhaustible only blue
Heavenly, and the merciful of God.
("Oh, there are unique words." 1916. p. 120).
This is a poem of a philosophical nature. Becoming one of the voices of the choir at the beginning of the book, by the end of it lyrical heroine Akhmatova is combined with the whole universe.

So, in the third book "White Farn" Akhmatova consumes the meaning of the words "white", "flock", "bird", both in the traditional understanding, and adds the values \u200b\u200binherent in only her.
The "white flock" is her poetry, her poems, feelings, moods, poured on paper.
White bird - a symbol of God, his messengers.
The bird is an indicator of the normal flow of life on Earth.
"White flock" is a sign of the Commonwealth, connections to others.
The "white flock" is a height, flying over the Brennal Earth, is a traction to the divine.

MOU SOSH №3.

Essay in literature

"Rosary" and "white flock" -

two collections of Akhmatova.

p. Vanino.

Plan

I. Introduction.

II. "Rosary" - intimate experiences of the heroine

1. Features of the collection "Rosty"

a) the history of creation

b) individualism speech

c) basic motifs

2. Why "Rosary"?

a) what is due to the division of a book for four parts

b) composition and content of the first part

c) the movement of the soul of lyrical heroine in the second part

d) philosophical motifs in the third part

e) memory topic in the fourth part

III. "White flock" - a sense of personal life as a national life,

historical

1. Historical publications and symbolics titles

IV. Conclusion. Similarity and distinction of two collections

V. List of literature

Vi. application

Introduction.

A. A. Akhmatova is currently being considered as the poet of that period of the twentieth century, which, since 1905, covers the two world wars, revolution, civil War, Stalinist cleaning, cold War, thaw. She was able to create his own understanding of this period across the prism of the importance of his own destiny and the fate of the people close to her who embodied certain aspects of the overall situation.

Not everyone knows that for decades Akhmatova led the titanic and doomed struggle for conveying to their readers "royal word", stop being in their eyes only by the author of the "Seruoglasian King" and "confused gloves." In her first books, she sought to express a new understanding of the history and man in it. Akhmatova entered the literature immediately as a mature poet. She did not have to go through the school of the literary apprenticeship, which took place in the eyes of the readers, although this fate did not avoid many major poets.

But despite this, creative way Akhmatova was long and difficult. It is divided into periods, one of which is early creativity, to which the collections "Evening", "rosary" and "white flock" - a transitional book.

Inside early period The ideological growth of the poet consciousness occurs. Ahmatova perceives the surrounding reality in a new way. From the experiences of intimate, sensual it comes to solving moral global issues.

In this paper, I will consider two books of Akhmatova, who came out from 1914 to 1917, namely: "Rosary" and "White Farn".

The choice of the topic of my work, especially the chapters associated with the definition of the symbolism of the title of the poetic book, is not accidental. This problem has been little studied. A relatively small number of works are devoted to her, in which researchers in various aspects are suitable for analyzing books A. Akhmatova.

There is no work dedicated to a holistic analysis of collections, including an analysis of the symbolism of the title of books A. Akhmatova, which, in my opinion, is important, since Akhmatova, creating a book, has always paid special attention to its name.

Thus, the purpose of my work is the study of books, as well as the importance of the title of books in the works of A. Akhmatova. As a result, I will receive a very bright and multifaceted idea of \u200b\u200bthe spiritual and biographical experience of the author, a circle of mindwork, personal destiny, about the creative evolution of the poet.

In this regard, in front of me the following tasks arise:

1. Analyze the two collections of Akhmatova;

2. Note the main similarities and differences in books;

3. Disclosure in the abstract such current topicslike the topic of memory and nationality;

4. To emphasize religious motifs, "intimacy" and "choral" began in these compilations;

5. To compare the opinions of different critics according to one of the questions, compare them and make out of this for themselves;

6. To familiarize yourself with the theory of the title, analyze the title of these books in terms of the reflection of all possible associations in them and trace the dynamics of the formation of the poet's worldview.

§one. "Roski" - intimate experiences heroine

1. Output of the collection "Rosty"

The second book of poems Akhmatova had an extraordinary success. Her access to the publishing house "Hyperbori" in 1914 made the name of the Ahmatova All-Russian well-known. The first edition was considerable for that time in circulation - 1000 copies. In the main part of the first edition of "rosary" 52 poems, 28 of which were previously published. Until 1923, the book was reprinted eight times. Many poems "Rosal" are translated on foreign languages. Print feedback was numerous and mostly apparent. Ahmatov herself highlighted the article (Russian thought. - 1915. - № 7) Nikolai Vasilyevich Nikolay, criticism and poet, with whom she was well acquainted. The poem is undervalued Whole year You are not separated from me ... "in the" white flock ".

Epigraph - from the poem of E. Baratnsky "Excuse".

Like most young poets, Anna Akhmatova often meet words: pain, longing, death. This is so natural and therefore the wonderful youthful pessimism has so far been the property of the "pen samples" and, it seems, in the verses of Akhmatova, first received its place in poetry.

In it, a number of silent so far still have existences, are women lovers, dying, dreaming and enthusiastic people say, finally, their genuine and at the same time with an artistic and convincing language. The connection with the world, which was mentioned above and which is the lot of every genuine poet, Akhmatova is almost achieved, because she knows the joy of contemplation of external and knows how to transmit this joy to us.

Here I turn to the most significant in the poetry of Akhmatova, to her style: it almost never explains, it shows. This is achieved by the choice of images, very thoughtful and peculiar, but most importantly - their detailed development.
Epitts that determine the value of the subject (somehow: beautiful, ugly, happy, unhappy, etc.) are rare. This value is inspired by the description of the image and the relationship of images. Akhmatova has many techniques for this. We will specify some: comparison of the adjective, defining color, with the adjective, defining form:

... and thick ivy dark green

Wardly a high window.

... there raspberry sun

Over the shaggy Sizem smoke ...

repeating in two adjacent lines, doubling our attention to the image:

... Tell me how you kiss

Tell me how you kiss.

... in the snow branches of the black daw,

Black shelter.

fitting adjective to the noun:

... Orchestra fun playing ...

Color definitions are very much in the verses of Akhmatova, and most often for yellow and gray, still the most rare in poetry. And, maybe, as confirmation of the incomasure of this taste, most of the epithets emphasize precisely poverty and inappropriateness of the subject: "The rubbed rug, stop heels, a faded flag", etc. Akhmatova to love the world, you need to see it cute and simple.

Rhythmic Akhmatova serves as a powerful help to her style. The pauses help her to allocate the most necessary words in the line, and in the whole book there is not a single embodiment, standing on a bad word, or, on the contrary, words, in the meaning of shock, without emphasis. If someone takes the work from this point of view to see the collection of anyone modern poet, it will be convinced that it is usually different. For the rhythm of Akhmatova, the weakness and intermittentness of breathing are characteristic. Four stanza, and it is written almost the whole book, too long for her. Its periods are closed most often two lines, sometimes three, sometimes even one. The causal connection, which she tries to replace the rhythmic unity of the stanza, for the most part does not reach its goal.

The verse became harder, the content of each row is denser, the choice of words - chastely stupid, and, that best, disappeared the scattering of thought.

But with all its limitations, the poetic talent of Akhmatova, undoubtedly rare. Her deep sincerity and the truthfulness, the sophistication of the images, injecting the persuasiveness of rhythms and the singers of verse put it on one of the first places in the "intimate" poetry.

Almost avoiding word formation, - in our time so often unsuccessful, - Akhmatova knows how to say that the words have long been sounding new and sharply.

The chill of moonlight and tender, soft femininity blows from poems Akhmatova. And she herself says: "You breathe the sun, I breathe the moon." Indeed, she breathes by the Lunion, and the lunar dreams tells us, their dreams of love, overlooking the rays, and the motive of their simple, inexplicable.

There is no sunshine in her verses, there is no brightness, but they are strangely entrusting to themselves, sit down some kind of incomprehensible non-renewability and timid alarm.

Ahmatov almost always sings about him, about one, about whose name is "Favorite". For him, for her beloved, she protects her smile:

I have a smile alone.

So. Movement slightly prominent lips.

For you, I am her shore ... -

For her beloved longing and not even longing, and sadness, "tart sadness," sometimes tender and quiet.

It is afraid of betraying, losses and repetitions, "After all, so many seals in

ways "is afraid

What is close, close time,

That everyone he will measure

My white shoe.

Love and sadness, and dreams, all woven in Akhmatova with the most simple earthly images, and perhaps it lies in this charm.

"I am ... in this gray, everyday dress on Stopanny heels," she says about himself. On a week dress, her poetry and still she is beautiful, because Akhmatova is a poet.

Growing her poems, and it is a pity that the Earth's simplicity often brings them closer with deliberately primitive.

The feeling of happiness in the heroine cause objects that break into the shutter and may be. Drilling with themselves, but a sense of joy from communicating with a waking, reviving nature is stronger than death.

The true happiness of the heroine "Rosstock" finds in liberation from loads of things, grinding of stuffy rooms, in gaining full freedom and independence.

Many other verses from the book "Rosary" suggests that the search for Akhmatova was religious. This noted in his article about Akhmatova N. V. N. Uchobrovo: "The religious path is as defined in the gospel of Luke (ch. 17, p. 33):" It is also an estimate of the soul to save my soul, destroy Yu: And it's also takes it to destroy Yu, Livit Yu" .

Completing the conversation about the features of "Rosstock", it can be concluded that already in this collection there is a crisis of the individualistic consciousness of the poet and an attempt is made to go beyond the consciousness of one personality, to the world, in which the poet finds his circle, but also limited, and partly and illusive created by creative imagination based on the literary traditions mentioned above. The most appointment of the "masking" of the heroine under bench is connected, on the one hand, with an all-growing gap between the facts of the real biography of the poet and their reflection in verses and, on the other hand, with a certain desire of the author, to reduce this gap.

2. Why "Rosary"?

Here traced the religious and philosophical orientation of the creativity of Akhmatova.

Rosary are beads, strung on a thread or braid. Being an indispensable attribute of religious cult, rosary helps the believers conduct an account with prayers and knees. The rosary have a different form: they can be in the form of beads, (that is, beads are risen on the thread, whose end and start are connected), and can simply be "ruler."

Before us, two possible values \u200b\u200bof the "Rosary" symbol:

1. Linearity, (that is, the consistent development of events, feelings, gradual growth of consciousness, creative skill);

2. The symbol of the circle (movement in a closed space, cyclicity of time).

The value of linearity, ascending (and the Akhmatova is height) the forces of feelings, the consciousness approaching in its volume to moral versatility, is reflected in the composition and the overall content of the four parts of the book "Rosary".

But still we cannot bypass the interpretation of the "rosary" as a circle, analyzing the symbolism of the title of this book, as everyone should use possible options values.

We will try to connect together a line and a circle. The movement of the line in a circle without connecting the beginning and end will give us the so-called spiral. The direction forward over the spiral implies on some particular segment returning back (repeated element for a certain period of time).

Thus, perhaps the author's worldview of Akhmatova developed not in a straight line, but, in conjunction with the circle, the spirals. Will this, if this, having considered four parts of the book, namely, we define how the principles were divided into parts, what motives, images, themes are leading in each of the parts, whether they are changing during the book, which in this connection seems Copyright.

Analysis of the internal content of the book Let's start with the epigraph taken from the poem of E. Baratynsky "Establishment":

Sorry forever! But know that two guilty,

Not one, there will be names

In my poems, in love leishes.

At the beginning of the book, these lines declare a lot, namely, the fact that in the "rosary" it will be no longer about individual experiences of lyrical heroine, not about her suffering and prayers ("my prayer", "I"), and about Feelings, experiences, responsibility of two people ("You and I", "Our Names"), that is, the topic of love is immediately announced in the epigraph as one of the dominant in this book. The phrase "in legends of love" in the "rosary" themes of time and memory are introduced.

So, we define what principle the division of the book on the part. In our opinion, - on the basis of logical development, the consolidation of images, motives, and those claimed in the first book, as well as in connection with the gradual transition from personal to more general, (from the feelings of confusion, misfortune in love, dissatisfaction with itself through memory (One of the most important for all the creativity of Akhmatova) to the foreboding of the impending catastrophe).

Consider the composition and content of the first part.

Thematic dominant of this part will be a poem of a love plan (17 poems). And they are about love without reciprocity, which makes it suffer, leads to separation, it is "tombstone", pressing on the heart. Such love does not cause inspiration, it is difficult to write:

Do not love, do not want to watch?

Oh, how beautiful you are damned!

And I can not takele

And since childhood was a winged.

("Confusion", 2, 1913, p. 45).

The feelings were outlined, but the road "Memory of the first gentle days." The heroine no longer caused pain and suffering itself, but she was doing the same with her. Not only one is guilty. N. Nechobrovo caught this change in the consciousness of the heroine, seeing in the poetry "rosary" "Lyrical soul rather rigid than too soft, rather cruel than a tearful, and clearly dominant than the oppressed." And indeed it is:

When happiness

You will live with a friend of cute

And for the Sweetheart

Everything will become immediately pushed -

In my solemn night

Do not come. I know you.

And what could help you

I do not heal from happiness.

("I do not love your love", 1914, p. 47).

The heroine makes sentenced to himself and the lover: we can not be together, because we are different. Rodinitis is just that both can love and love:

Let's not drink from one glass

Neither water we nor red wine

Neither kiss we in the morning early

And I will not see the window.

You breathe the sun, I breathe the moon,

But alive we love one.

("Let's not drink from one glass", 1913, p. 52).

And this is a love breath, the story of the feelings of two people will remain in memory thanks to the poems:

In your poems, my breath buzz.

Oh, there is a fire that does not dare

Touch either oblivion nor fear.

("Let's not drink from one glass", 1913, p. 52 - 53).

The poem "We are all the brahniks here, the harlot", in the first part of the "rosary" gives rise to the development of the topic of guilt, sinfulness, life of life:

Oh, how my heart whips!

Not a mortal waiting?

And the one that is still dancing,

Certainly will be in hell.

("We are all the brahniks here, the harlot", 1912, p. 54).

In the second part of the "rosary" feelings of two lovers replaces loneliness of the heroine. The lyric heroine reiterates itself in all troubles and misunderstandings. How many times is this banal: "Sorry!" From her mouth:

Forgive me, boy cheerful,

That I brought you death. - ...

As if copied signs

My dislike. Sorry!

Why did you take vows

Sufferer path? ...

Forgive me, boy cheerful,

Soching my son! ...

("High Vaults of Church", 1913, p. 56).

Thus, the heroine is trying to repeat the movement of his own soul. She is defended from the upcoming feelings, trying to lead a religious lifestyle, which sulies her soothing and stability:

I learned just, wisely live,

Look at the sky and pray to God

And long before wandering,

To quench an unnecessary alarm.

She even suggests that if the hero knocks on her door, then she probably will not hear this:

And if you knock on my door,

I think I will not even hear.

("I learned simply, wisely live", 1912, p. 58).

But immediately, in the poem "insomnia", she can't fall asleep, listening to remote steps, in the hope that they can belong to him:

Somewhere cats are praised,

The sound of steps I made fishing ...

("Insomnia", 1912, p. 59).

We see that throwing in the soul of the heroine, there is again a mess, chaos. She is trying to return to the already experienced again, but the general progressive movement of consciousness is still felt.

In the second part, two poems ("voice of memory" and "here are all the same, the same as before") is devoted to the topic of memory. Ahmatova recalls the royal village, where anxiety reigns, and Florentine gardens, where the spirit of death and, "breaking his close bad weather," smoke "low".

In the third part of the book "Roski" there is a new round of "Spirals".

Step back: The heroine does not again consider himself the only guilty. In the first poem of this part, the philosophical motives appear on the lavetled "of the lost": the heroine asks why God punished her day after day and an hour for an hour? In search of a heroine response browsing his life. Although she did not fully justify themselves for the guilt, but detects their own guilt is insufficient to explain the punishment. The reason that the lyrical heroine in the end calls, completely different about the order: "Or is it an angel pointed to me the light invisible for us?"

The heroine, however, considers himself an unfairly accused victim. But instead of the rebellion - more passive resistance: sorrow, the question. She obeys Divine Punishment, finding something good in it.

And the new step in the "twist of the spiral" becomes the change in the look of the Heroine Akhmatova on the former. It becomes somewhat eliminated, from somewhere on top, from that height, when there is a sobriety, the objectivity of the assessment. She opposes themselves to others ("We" - "You"):

I will not drink wine with you,

Because you are a boy naughty.

I know - you have

Who comes to kiss under the moon.

And we have - quiet yes,

God's grace.

And we have bright eyes

There is no order to raise.

("I will not drink wine with you", 1913, p. 65).

The heroine leaves the beloved in a worldly life, wishes happiness with a new girlfriend, good luck, honor, wants to protect him from the experiences:

You do not know that I'm crying

I lose day.

("You will live, not knowing Likha", 1915, p. 66).

She frees him from mutual responsibility and ranks himself to the crowd of wanderers of God, praying for human sins:

Many of us such homeless

Our power is

What is for us, blind and dark,

The bright of God's house.

And for us, prone dol

Altari are burning

("You will live, not knowing Likha," 1915, p. 66 - 67).

Beloved Akhmatova retains in itself only as a part of the memory, on the leaving of which she prayes from the "prophecies" "from the dilapidated books":

So that in a volatile rim

You did not say.

("Dying, tormented about immortality", 1912, p. 63).

The dominant theme of the fourth part of the "rosary" is the topic of memory.

The heroine returns to the abandoned past, visits the beloved heart of the place: the royal village, where "Iva, the Tree of Mermaids" stands in a barrier on her way; Petersburg, where "The wind is silent and stern from the black pipes sweeps by Gar"; Venice. She expects a meeting with her beloved. But it looks more like a collision that everyone has all:

And eyes looked dimly

Did not reduce from my ring.

None moves muscle

Enlightenly evil face.

Oh, I know: his reflection -

Tensely and passionately know

That he does not need anything

What I am not able to refuse.

("Guest", 1914, p. 71).

Akhmatova comes and to visit the poet (poem "I came to the poet to visit" with dedication to Alexander block), a conversation with whom she thinks, will remember for a long time, do not forget her and the depths of his eyes.

The last poem of the fourth part and the book "Rosary" is three-hundred. It is quite significant, as it is like a transitional bridge to the book "White Farn" (1917). And strings

In the canals of the Vienevsky shoam lights.

The tragic autumn is scarcated decoration.

("Will this November days forgive me", 1913, p.72)

as if prophesy about the impending changes, the transformation of the usual flow of life.

Thus, considering four parts of the book "Rosary", we saw that experiences, the thoughts of the heroine did not proceed in a limited direct line, and develop on the helix. There are oscillations, reversals of the same movement, throwing. And, consequently, the formation of the image of the heroine, the author's position can be seen, only considering the book as a whole, and not for individual poems.

What is the movement on the spiral in this book?

On the soul of the heroine at a certain point - the tragedy, inner dorm, a sense of devastation. In order to somehow restore a lost sincere equilibrium, she rushes his thoughts into the past, wants to resurrect the bright moments of love, friendship. And if it does not help - looking for a new solution. That is, in this book, the topics of love, creativity closely intertwined with the theme of memory as an integral part of the poet's being.

On the question of the relationship of the title book "Rosary" and its content can be answered as follows: Most likely, the image of "rosary" introduces two time reservoirs in the book:

1. Past, associated with legends on the past feelings, events, meetings;

2. Real, associated with a suspended look from above, with an objective position.

The connection of the linear and cyclic values \u200b\u200bof "rosets", as mentioned earlier, gives a "spiral", according to which the inner world of heroine occurs, including alternately and elements of the past and the present.

In the book S. I. Kormilov, there are such words that the name of the book "Rosary" "contain a hint of a sedative mechanical movement of fingers." If we consider this assumption to be correct, then in the context of this book it can be submitted: all household problems, the intensity of reality for Akhmatova is only short phenomena. Riding the beads of the rosary, the poet from above, as if with an external indifference, looks at the brangny human being, internally preparing for a meeting with a certain highest force. Consequently, we meet with another value of the "rosary" symbol. Rosary - reminder of staticness, limb outside of life.

§2. "White Farn" - a sense of personal life as a national, historical life

1. History of publication and symbolism names

With the beginning of the First World War, Akhmatova sharply limits his public life. At this time she suffers from tuberculosis, illness, who did not let her go. In-depth reading of the classics (A. S. Pushkin, E. A. Baratsky, Rasin, etc.) affects her poetic manner, the oscillation of the faded psychological sketches is inferior to the neoclassicistic solemn intonation. The insightful criticism is guessing in her collection "White Farn" (1917) the growing "sense of personal life as a life of national, historical." Inspiring in the early poems atmosphere "Riddles", aura of an autobiographical context, Akhmatova introduces free "self-expression" as a style of a stylist principle. The apparent fragmentaryness, enthusiasm, the spontaneity of lyrical experience is increasingly subordinated to the strong integrating the beginning, which gave rise to V. V. Mayakovsky: "The poems of Akhmatova are monolithic and will withstand the pressure of any voice without giving cracks."

The third book of the poems of Akhmatova reached in the publishing house "Hyperbori" in September 1917 by edition of 2000 copies. Its volume is significantly more than previous books - in four sections of the collection there were 83 poems; The fifth section was the poem "At the very sea". 65 poems of the book were printed earlier. Many critics celebrated new features of Akhmatova poetry, strengthening in her Pushkin began. O. Mandelshtam still wrote in Article 1916: "The voice of the renunciation is growing more and more in verses of Akhmatova, and at present its poetry is nearing to become one of the symbols of Russia." The fracture in Akhmatovsky work is associated with the attention to real reality, to the fate of Russia. Despite the revolutionary time, the first edition of the book "White Farn" was rated quickly. The second was published in 1918 in the publishing house "Prometheus". Until 1923, two more editions of the book with minor changes and additions came out.

Epigraph - from the poem I. Annensky "Cute".

Turning to the title symbolism, it can be seen that it will be the fundamental components of it the words "white" and "flock". Consider them alternately.

Everyone knows that colors affect our thinking and feelings. They become symbols, serve as signals that are warning us, please, are saddown, form our mentality and affect our speech.

White is the color of innocence and purity. White color symbolizes purity of thoughts, sincerity, youth, unspoance, inexperience. White vest gives the appearance of sophistication, white bride dress means innocence.

The man who attracts white color seeks to perfection, he is constantly looking for himself. White color is a symbol of creative, vitality.

In Russia, white is a favorite color, this is the color of the "Holy Spirit". (He descends to the ground in the form of a white dove). White color is universally present in national clothes and ornaments. It is also marginal, (that is, it symbolizes the transition from one state to another: death and birth again, for a new life). The symbol of this is the white outfit of the bride, and the white saboan deceased, and white snow.

But white color has besides joyful and its sad side of the values. White is the color of death. No wonder this time of year, as winter, is associated with death in nature. The earth is covered with white snow, like Savan. While spring is the birth of a new life.

The symbol "White" finds its immediate reflection in the poems of the book. First, white - the color of love at Akhmatova, the personification of a quiet family life in the "White House". When love is out of herself, heroine leaves the White House and Quiet Garden.

"White", as an imitation of inspiration, creativity, is reflected in the following lines:

I wanted to give her dwarf

The one in the pigeon white,

But the bird itself flew

For my slim guests.

("Muza went on the road", 1915, p. 77).

White dove - a symbol of inspiration - flies after the muse, devoting himself to creativity.

"White" is the color of memories, memory:

Like white stone in the depths of the well

Lies in me one memory.

("Like a white stone in the depths of the well", 1916, p. 116).

The day of salvation, paradise is also indicated by white in Akhmatova:

In the white paradise, the wicket was dissolved,

Magdalen Son took.

("Where, high, your gypsy", 1914, p. 100).

Bird image (for example, pigeon, swallows, cuckoo, swan, crow) deeply symbolic. And this symbolism uses Akhmatov. In her work "Bird" means a lot: poems, state of the soul, God's Messenger. The bird is always an impersonation of free life, in cells we see a pitiful similarity of birds, not seeing their worship in the sky. Also in the fate of the poet: the genuine inner world is reflected in verses created by a free Creator. But it is her, freedom, in life is always lacking.

Birds rarely live alone, mainly by flocks, and the flock there is something single, cohesive, long-graded and multi-voice.

Looking at the symbolism title the third book of poems Akhmatova, we will see that here the temporary and spatial layer are not limited to anything. There is a break from the circle, the separation from the starting point and the intended line.

Thus, the "white flock" is an image indicating a change in spatial time, evaluations, views. He (image) declares about the position "over" to all and all, from a bird's eye view.

During the period of writing the first two books, the author was included in the events of the surrounding reality, while in one spatial dimension. In the "white flock" Akhmatova rises over the reality and, like a bird, trying to embrace the huge space and most of his country's history with his gaze, it breaks out from under the authorities of the earth's experiencing.

The "white pack" is a combination of poems of various focus: this is a civil lyrics, and the poems of love content; It sounds the theme of the poet and poetry.

The book opens with a poem of civil subjects, in which tragic notes are felt (roll-up with an epigraph, but in a more enlarged scale). ("Thought: Went we, we don't have anything," 1915)

In the "white flock" it is a multifaceted polyphony becomes a characteristic distinctive feature of the lyrical consciousness of the poet. The search for Akhmatova was religious. Save the soul, as it seemed to her then, you can only divide the fate of many "beggars."

So, in the third book "White flock" Akhmatova consumes the meaning of the words "white", "flock", "bird" both in the traditional understanding, and adds the values \u200b\u200binherent only to it.

The "white flock" is her poetry, her poems, feelings, moods, poured on paper.

White bird - a symbol of God, his messengers.

The bird is an indicator of the normal flow of life on Earth.

The "white flock" is the sign of the Commonwealth, connections to others.

"White flock" is a height, flying over the Brennal Earth, is a traction to the Divine.

2. "Choir" - endeavors and main topics

The White Farn collection opens with a choral inspiration showing a calm celebration of the novelty of the acquired spiritual experience:

I thought: the beggars we, no, we have nothing

And how they became one after another,

So what happened every day

Memorial day, -

We started to seen songs

About the great generosity of God

Yes, about our former wealth.

"Every day" is the days of war, carrying new and new victims. Anna Akhmatova perceived the war as the greatest folk mountain. And here in a godine testing chores, more literary, rather than the earthly image, turned into a choir of contemporaries of the poet, all people, regardless of their social affiliation. For Akhmatova in the new book, the spiritual unity of the people in the face of a terrible enemy is most important. What kind of wealth speaks here a poet? Obviously, less than the material. Poverty is the reverse side of spiritual wealth. One of the Russian patriots wrote shortly before, on the eve russian-Japanese war: "If life is abundant, if there is the accumulation of noble legends, if there are many objects of art - clean and applied, if nature is preserved - the eternal book, beyond which there is no wisdom, the people in such a country are formed from the cradle." So, the choral "we" expresses in the "white flock" as it were, a popular point of view on what is happening around. "Choir" - the value is not calculated specifically, it may consist of several friends of the poet, and may include the whole of Russia. As part of the composition of the whole book, the choir acts as an active acting person. This is a acting person, repeat, characterizes the people's point of view on what is happening around. Already the very presence of such a point of view in the book of lyric poems was the discovery of Akhmatova. Love dialogues are present on the pages of this collection, but above them, some ethical heat, spiritual maximalism, with which the lyrical heroes cannot fail to be considered.

The poet on the pages of the "White Farn" can turn into a chorus and replace the choir, taking the ancient and responsible role of the Bulletin.

In the "white flock", religious motives are sharply intensified, and previously inherent in Ahmatov poetry, but, as V. M. Zhirmunsky, "the household religiousness of these poems justly noted. I made them at that time consonant with the experiences of a simple person from the people, on behalf of whose poet. "

The transformation of the poet in a person from the people is usually happening when it comes to values \u200b\u200bequally expensive and for the poet, and for any participant or participants of the choir. On the pages of the "White Farn" for the first time, the Akhmatova motherhood theme for the first time appears. The topic of this blood is connected with the war: "The soldiers cry over the guys, the widow of the village rings."

Give me the bitter years of illness,

Zagania, insomnia, fever.

And a child and a friend

And the mysterious song gift.

So pray for your liturgy

After so many troubling days

To cloud over the dark Russia

Became a cloud in glory rays.

("Prayer", 1915)

On this poem, the opinions of some critics were divided.

V. Marantzman believes that: "With the war to Akhmatova, fanatic patriotism came to Ahmatova, who dictated a" prayer "in 1915, similar to spell, cruel and terrible.

I will allow myself myself will not agree with this statement, because it was not fanatic patriotism, and the pain is pain for his country, and for what is happening in it. I'm closer to the statement of L. Chukovoy on this poem:

"In the summer of 1915, at the time of mortal hazard for Russia, Akhmatova prayed, feeling a nationwide pain as his own and sacrificing a nationwide pain to all that is in the human heart of the cherished, personal."

I fully agree with Chukovskaya. And after all, indeed, the patriotic impulse of Akhmatova is so great that in the name of salvation of "dark Russia", she is ready to sacrifice the most expensive thing that she has - a child.

But the victim is accepted by another woman, which in the multi-voiced composition of the entire collection is perceived as an ordinary representative of the choir. The poet shares the mountain of this elder mother as a common grief of many Russian mothers, which make up a special sorrowful choir.

The composition of the "white flock" is a meaningful moment of inclusion of the poet into the sphere of popular consciousness and therefore deserves a special study, which I propose in this work.

A. Slonimsky saw in the poems that were "white flock", the "new in-depth perception of the world", which, in his opinion, was associated with the prevocation of the third collection of the spiritual principle over the "sensual", "very feminine", and the spiritual began is approved by Pages of "white flocks" in the "Some Pushkin view from the side."

To me, after the first, already mentioned, critics, who wrote about the "white flock", it seems that an important meaningful moment that was reflected in this book was a change in the aesthetic consciousness of the poet. Almost it influenced the evolution of the character of the lyrical heroine of Akhmatova.

The individualistic being of the lyrical heroine is closed with the life of the choir, i.e. it connects to the popular consciousness. In the third book, it is a multifaceted polyphony becomes a characteristic, distinctive feature of the lyrical consciousness of Akhmatova. The monologue of the lyrical hero as the main form of expression of a lyrical entity in the "White Stay" undergoes changes: the poetic novel, in which the lyrical hero lives its autonomous life, as a result of which the illusion of the "multicorality" of the first two books of Akhmatova is being created in the third book by voices from the choir.

Choral start, laid Akhmatova based on the composition of the "white flock", is, of course, not only the feature of the poetic form this collection. This is gradually aware of the artist in the process of creativity to the nationality, in recent years it has been repeatedly declared in an open form: "I was then with my people where my people, unfortunately, was" (1961). The study, it would seem a private question about changing the aesthetic consciousness of Akhmatova on a relatively narrow section of time (1913 - 1916), however, not only local importance, but it connects to the question of the paths of overcoming the poet of the sin of individualism and the acquisition of the most important, without which art is deprived The rights are called such, "nation. But the path of Anna Ahmatova to gaining nation was far from simple - all the long, the life released to her went to it, became a difficult dear to the people.

Conclusion.

Similarity and distinction of two collections

In conclusion, the purpose of which was the analysis of two collections, the study of the symbolism of the title books Anna Akhmatova, as well as finding out what importance is the title of books in its work as a whole, you can do the following conclusions:

1. The fundamental difference between the "style" of the "white flock" from "manners" "Rosstock" noted K. V. Mochulsky 5 . "A sharp fracture of Akhmatovsky creativity" Mochulsky associated with its close attention to the phenomena of Russian reality 1914-1917. "The poet leaves a circle of intimate experiences, the comfort of the" dark blue room ", a ball of multicolored silk of volatile moods, exquisite emotions and whimsical tunes. It becomes more stricter, harsh and stronger. It goes under the open sky - and from the salted wind and steppe air grows and strongly his voice. Images of the Motherland appear in his poetic repertoire, the deaf hum of war is given, a quiet whisper of prayer is heard. "

2. Collections have both similarities and differences. Similarity consists in religious motifs and their connection with intimate. And the differences in the transition from intimate experience to the public, which appears in the "white stack".

3. Religion, which occupies one of the central places in the poetics of Akhmatova, its images and symbols with great brightness reincarnated in the symbolism of the name of the books "Roski", "White Farn". And the patriotism of Ahmatova is so great that in the name of salvation of "dark Russia", she is ready to sacrifice the most expensive thing that she has - a child.

4. The process of the deployment of the poetic book is very important for Akhmatova, in the "creative workshop" a poet paid special attention. Title books focuses, integrates 6 Numerous aspects and lines of her poetic reflection, the whole philosophy of life and soul, views and ideals.

5 Mochulian K. Anna Akhmatova. // Modern notes, Paris. 1922. No. 10. P. 386.

6 Integrate - combine parts into one. http://www.akhmatova.org/articles/kralin2.htm - 2a # 2a

Comprehensive analysis of books and title helped me most closely approaching the understanding that Akhmatova was laid in the first word of the poetic text, in the poem of books, as well as learn the secret meanings and meanings.

In my abstract, I learned a lot for myself, first of all about the work of Akhmatova. I reached my goals set: revealed the themes of memory and religiosity, showed "choral" from the work of Akhmatova, revealed the essence of these collections.

Bibliography:

1. Mandelshtam O. "On modern poetry." In 2 tons. - M.: Fiction, 1990. - T. 2. - P. 260.

2. Eikenbaum B.M. "Anna Akhmatova. Experience analysis. " Russian literature - 1989. - №3 - P.97 - 108.

3. MM Kraklin "Choral Beginning" in the book Akhmatova "White Farn". PB., 1987. P.9. - 37.

4. Leonid Cannegisser "Anna Akhmatova. Beads". Pro et Contra - SPb.: Rhgi, 2001 - p.89 - 91.

5. Nikolai Gumilev "Anna Akhmatova. Beads". Pro et Contra - SPb.: Rhgi, 2001 - p.88

6. O. Voronovskaya "Rosty. Anna Akhmatova". Russian literature - 1989. - №7 - C.12 - 13

7. Dzhanjakova E. V. On the poetics of the title // Linguistics and poetics. - M. - 1979.

8. Kormilov S. I. Poetic creativity A. Akhmatova. - M.: Publishing House of Moscow State University, 1998.

9. Lamzina A. V. Zaglavia // Introduction to literary studies. - M. Publishing high school", 1999.

10. Lotman Yu. M. Analysis of the poetic text. - M. - 1972.

11. Black V. A. Comments // Akhmatova A. A. Works in 2 thousandt. - T.1. - M.: Panorama, 1990.

12. Heit A. Anna Akhmatova. Poetic travel. - M.: Raduga, 1991 .

N. V. Anna Akhmatova // Russian thought. 1915. No. 7. P. 65.

Kormilov S. I. Poetic creativity A. Akhmatova. - M.: Publishing House of Moscow State University, 1998.

Slonimsky A. "White Farn" // European Bulletin. 1917. No. 12. P. 405-407.

Collection "White Farn"

The third book, published from under Pen A. Akhmatova, became the "white pack".

In 1916, on the eve of the release of the "white flock", Osip Mandelstam wrote in reviews on the collection of poems "Almans Mus": "In the last verses, Akhmatova there was a fracture to the guirachic importance, religious simplicity and solemnity: I would say, after the woman came a turn of his wife. Remember: "Humped, wearing a slaughter, but the view of the Glooring Wife." The voice of renunciation is growing more and more in verses of Akhmatova, and at present, her poetry is nearing to become one of the symbols of Russia's greatness. "

The "white flock" was published in September 1917. In all a few, under the conditions of the vague time, reviews for the third book of the poet, it was noted by her style difference from the first two.

A. L. Slonimsky saw in poems that were "white flock", "new in-depth perception of the world", which, in his opinion, was associated with the prevocation in the third book of the spiritual principle over "sensual", and, according to criticism, in " Some Pushkin's view from the side. "

Another prominent critic, K. V. Mochulsky, believes that the "sharp fracture of Akhmatovsky creativity" is associated with the close attention of the poet to the phenomena of Russian reality 1914 - 1917: "The poet leaves a circle of intimate experiences, the comfort of the" dark blue room " , a ball of multicolored silk of volatile moods, exquisite emotions and whimsical tunes. It becomes more stricter, harsh and stronger. It goes under the open sky - and from the salted wind and steppe air grows and strongly his voice. Images of the Motherland appear in his poetic repertoire, the deaf hum of war is given, a quiet whisper of prayer is heard. " Artistic generalization in this book was brought to typical significance.

The era of the "white flock" marks the sharp fracture of Akhmatov creativity, a huge take-off to Paphos, the deepening of poetic motifs and the completed skill of the form. The poet leaves a circle of intimate experiences, the "comfort of the dark blue room", a ball of multicolored silk of volatile moods, exquisite emotions and whimsical tunes. It becomes more stricter, harsh and stronger. It goes under the open sky and from salted wind and steppe air grows and strongly his voice. In his poetic repertoire, images of the Motherland appear, a deaf hum of war is given, a quiet whisper of prayer is heard.

After the feminine grace of "Rosstock" - strict masculinity, sorrowful solemnity and prayer of the "white flocks". Previously, the poems were familiar to recognition or a conversation with Mile - now they take the form of reflection or prayer. Instead of "little thoughtless life": flowers, birds, fans, spirits, gloves - lush high-style speech. It was in the "white flock" from the "rull" manner, genuine poetic style is paid and miscourse. The collection reflects the reflection of the heroine about the creativity and the creative gift, about love, which always owned it. But the gone love no longer gives rise to despair and longing. On the contrary, songs that bring to get rid of pain are born from grief and sadness. The heroine is feeling a quiet bright sadness, she hopefully thinks about the future and draws strength in her loneliness. For the sake of their country, the heroine is ready to sacrifice many.

Turning to the symbolism of title, it can be noted that it will be the words "white" and "flock" by the rod components. Consider them alternately.

Everyone knows that colors affect our thinking and feelings. They become symbols, serve as signals that are warning us, please, are saddown, form our mentality and affect our speech. Color is one of the elementary and at the same time significant sensations. The world of color exists independently of us, we are accustomed to staying in the world in the world, and the nature itself spontaneously offers a person all the color models. That is how artists and writers are clear and whole worldview. At the origins of culture, the color was equivalent to the word, the color and item was one whole

White is the color of innocence and purity. White color symbolizes purity of thoughts, sincerity, youth, unspoance, inexperience. White vest gives the appearance of sophistication, the white dress of the bride means innocence, white spots on the geographic map - ignorance and unknown. Doctors wear white bathrobes. The man who attracts white color seeks to perfection, he is constantly looking for himself. White color is a symbol of creative, vitality.

In Russia, white is a favorite color, this is the color of the "Holy Spirit". (He descends to the ground in the form of a white dove). White color is universally present in national clothes and ornaments. It is also marginal, (that is, it symbolizes the transition from one state to another: death and birth again, for a new life). The symbol of this is the white outfit of the bride, and the white saboan deceased, and white snow.

But the white color has besides joyful and his sad side of the values, as it is also a color of death. No wonder this time of year, as winter, is associated with death in nature. The earth is covered with white snow, like Savan. While spring is the birth of a new life.

The symbol "White" finds its immediate reflection in the poems of the book. First, white - the color of love at A. Akhmatova, the personification of quiet family life in the "White House". When love is out of herself, heroine leaves the White House and Quiet Garden.

"White", as an imitation of inspiration, creativity, is reflected in the following lines:

I wanted to give her dwarf

The one in the pigeon white,

But the bird itself flew

For my slim guests.

("Muza went on the road", 1915).

White dove - a symbol of inspiration - flies after the muse, devoting himself to creativity.

"White" is the color of memories, memory:

Like white stone in the depths of the well

Lies in me one memory.

("Like a white stone in the depths of the well", 1916).

And walk in the cemetery in a memorial day

Yes, look at the White God Lilac.

("Better I would donate the chastushki," 1914).

The day of salvation, paradise is also indicated by white in Akhmatova:

In the white paradise, the wicket was dissolved,

Magdalen Son took.

("Where, high, your gypsy", 1914).

As for birds, they have always been the symbols of incredit, soul, spirit, divine manifestation, climbing the sky, the opportunity to communicate with the gods or enter higher state Consciousness, thoughts, imagination. Bird image (for example, pigeon, swallows, cuckoo, swan, crow) deeply symbolic. And this symbolism uses A. Akhmatov. In her work "Bird" means a lot: poems, state of the soul, God's Messenger. The bird is always an impersonation of free life, in cells we see a pitiful similarity of birds, not seeing their worship in the sky. Also in the fate of the poet: the genuine inner world is reflected in verses created by a free Creator. But it is her, freedom, in life is always lacking. Birds rarely live by one, mainly by flocks, and the flock there is something single, cohesive, multi-chart. If you remember the first two books ("evening", "rosary"), then the main characters will be the following: first, the point, (since "evening" - the personification of the beginning or, on the contrary, the end, some point of reference); secondly, the line (rosary in the form of "ruler"); Third, the circle (rosary beads) and, fourth, spiral (synthesis of the line and circle). That is, these are symbols of something limited or a given trajectory of movement, space, or time, or all at the same time. If you pay attention to the symbolism of the title of the third book of poems A. Akhmatova, then you can see that here the temporary and spatial layer are not limited to anything. There is a break from the circle, the separation from the starting point and the intended line.

Thus, the "white flock" is an image indicating a change in space-temporary continuum, ratings, views. This image declares the position "above" to all and all, from a bird's eye view.

During the period of writing the first two books, the author was included in the events of the surrounding reality, while in one spatial dimension. In the "white flock" A. Akhmatova rises over the reality and, like a bird, trying to cover the huge space and most of the history of his country, it breaks out from under the authorities of the earth's experiences.

Analysis of the symbolism of the title books and the search for inventory associations will start with the epigraph. He is taken from the poem of I. Annensky "Honey":

Sorry and night the road is light.

At the heart of this poem - the plot telling about the criminal deliverance from the fetus of extramarital love.

The line that has become an epigraph becomes in the context of the "white flock" other, generalizing value. I. Annensky showed a personal tragedy of a person, a grief of a concrete woman; A. Akhmatova is the drama of a huge country in which it seems to her will never sound the "voice of man", and "only the wind of the stone century in the gate of black knocking."

The "white pack" is a combination of poems of various focus: this is a civil lyrics, and the poems of love content; It sounds the theme of the poet and poetry.

The book opens with a poem of a civilian subject, in which tragic notes are felt (roll call with epigraph, but in a more enlarged scale):

Thought: the beggars we don't have anything

And how they became one after another,

So what happened every day

Memorial day, -

We started to seen songs

About the great generosity of God

Yes, about our former wealth.

("Thought: Went we, we don't have anything," 1915).

An important meaningful point of the "white flock" was, as mentioned above, the change in the aesthetic consciousness of the poet. Almost it influenced the evolution of the character of lyrical heroine A. Akhmatova. Individual Being in the Third Book is closed with the life of the people, rises to his consciousness. Not me alone, not we - you and me, and we are all, we are a flock. (Compare: "Evening" - "My Prayer"; "Rosary" - "My and Your Name"; "White Farn" - "Our Voices").

In the "white flock" it is a multifaceted polyphony becomes a characteristic distinctive feature of the lyrical consciousness of the poet. Searches A. Akhmatova was religious. Save the soul, as it seemed to her then, you can only divide the fate of many "beggars."

The theme of the beggars appeared in poetry A. Akhmatova in recent years before the First World War. The vocals were called the outside world, and the heroine heroine of her poems at the time put on the mask of the Nurse.

The book "White Farn" "opens with a choral inspired showing the calm celebration of the novelty of the acquired experience." Every day - these are days of war, carrying new and new victims. And the poetess perceived the war as the greatest folk mountain. And here in a godine tests of chores turned into a choir of contemporaries of the poet, all people, regardless of social affiliation. "For Akhmatova, the spiritual unity of the people in the face of a terrible enemy is most important in the new book. What kind of wealth speaks here a poet? Obviously, less than the material. Poverty is a reverse side of spiritual wealth. " Choir "We" expresses in the "white stake" as it were, a popular point of view on what is happening around. As part of the composition of the whole book, the choir acts as an active acting person.

In the first poem there is also a motive of death, the topic of memory sounds. The image of death is brighter, with an even greater force acts in the poem "May Snow", which gives rise to the third section of the book; Here the sounds of sobs are heard, the moods of sorrow are feeling:

Transparent pellena lies

Fresh Dern and imperceptibly melts.

Cruel, student spring

Power kidney kills.

And early death so terrible appearance

What I can not look at God's world.

In me, the sadness, which King David

In the royal godded millennium.

("May Snow", 1916).

The last lines of the poem, as well as the epigraph, send us to the Holy Scripture. The image of King David, famous for his chants in the glory of God. The epigraph to the "May Snow" poem indicates the following lines from Psaltiri: "I'm tired by my sinking: every night I wash my bed, my tears I am the ocher my bed" (Psalter. Psalm VI, 7). Here we encounter the word "night" (as in the epigraph to the whole book).

The night is the time of day, in which, usually granted himself, he is given time to reflect if he is alone, cry over his troubles, to be happy to good luck. The night is also - the time of the complete atrocities.

In the context of the book by A. Akhmatova, as already mentioned, the grief acquires a huge scale. But this grief is sacred, as it is predetermined by God as a punishment for sins. And, maybe A. Akhmatova night - that dark, the terrible path that the country and the heroine should pass, having received a blessing.

We see that the mood of two epigraphs determines the main tonality of the mood of the heroine and the book as a whole: sadness, sorrow, doom and predestination.

In the poem "May Snow" we celebrate one of the traditional interpretations of white values \u200b\u200b- this is the color of death. May is the time when the nature is full of life, but suddenly, and untouched the white "transparent decking" encourages her to death.

White as a symbol of light, beauty we meet in verses dedicated to love, memories of the lover:

Your white house and a quiet garden will leave.

May the life of the desert and light.

You, you will glorify you in my verses,

As a woman could not glorify.

("Your White House and Quiet Garden will leave", 1913).

Simultaneously with the Love theme in this poem, the theme of the poet and poetry is heard. But sometimes love comes into confrontation with creativity. For A. Akhmatova Poetry, her poems are a "white bird", "cheerful bird", "white flock". All - for your beloved:

All of you: and prayer day,

And insomnia swearing fever

And poems my white flock,

And the eyes of my blue fire.

("I don't know, you are alive or died", 1915).

But the beloved does not share the interests of the heroine. He puts it before choosing: or love, or creativity:

He was jealous, disturbing and gentle,

Like God's sun loved me,

And so that she does not sing about the same

He killed my white bird.

Craw, entering the sunset to Svetlitsa:

"Love me, Laugh, write poems!"

And I buried a cheerful bird

Behind the round well at the old alder.

("He was jealous, anxious and gentle", 1914).

In this poem, the prohibition motive sounds through permission. Jumping "Funny Bird" A. Akhmatova, most likely, hides for a while in the bowels of his soul thirst to create, write poems.

She is experiencing a hero (gives him freedom from the shackles of passion). He leaves, but again returns:

I chose myself.

My heart is my friend:

I let go on the will

In his annunciation.

Yes, the pigeon is returned,

Beats wings in glass.

How from shine marvel

It became light in the hill light.

("I chose the stake myself", 1915).

His beloved poet has a pigeon's pigeon, ordinary birds, - A. Akhmatova does not idealize his beloved, he is an ordinary person.

In everyday life, the presence of birds in nature says that nothing violates her normal flow. Sing birds - it means everything is fine, there is no trouble. When they shut down, therefore, something or has already happened, or will happen soon: trouble, tragedy. In this case, the birds are the indicator of the normal course of life. A. Akhmatova is like this:

Smells to Garoy. Four weeks

Peat dry by swamps is burning.

Even poultry today did not sing

And the aspen is no longer trembling.

(July 1914, 1914).

The teacher A. Akhmatova in brevity, simplicity and authenticity of the poetic word was throughout her life A. S. Pushkin. It was he who suggested her the image of a muse, which would be the embodiment of Akhmatovsky consciousness. Through all her work, the image of the muse is girlfriend, sisters, teachers and comforters. In verses, A. Akhmatova Muse is realistic, it often takes the human appearance - "Slender Guest", "Double".

The image of the bird depends on the state of the soul of the poet, from her desires, aspirations. But sometimes the imprint is not always a fair reality, breaking with a loved one. For example:

Whether I'm not talking to you

In the sharp cry of predatory birds,

Not in your eyes look

With white matte pages.

("I see, I see the lunar bow", 1914).

So wounded crane

Your name is Others: Crooks, Course!

When spring fields

Both loans, and warm ...

("So wounded crane", 1915).

Because dark in Svotlice,

Because my friends and friends

Like evening, sad birds,

About unprecedented love.

("I was born nor late, nor early", 1913).

Bird at A. Akhmatova - and the mood of the heroine, the state of her soul.

A. Akhmatova in this book does not depart from the traditional interpretation of the image of a white bird like God's Messenger, an angel with white wings:

Rays dawn up to midnight.

How good in my shutter is close!

About the most tender, always wonderful

With me, God's birds say.

("Immorter dry and roses. Clouds", 1916).

Where we were married - do not remember

But this church sparkled

To the violent shyang,

That only angels know how

In white wings frig.

("We are together, cute, together", 1915).

For A. Akhmatova, God is the highest entity, immovable hyposta, which is subject to everything. And in the last poem of the book, recreation high above the ground, it proclaims it:

O. There are unique words,

Who told them - I spent too much.

Inexhaustible only blue

Heavenly, and the merciful of God.

("Oh, there are unique words", 1916).

This is a poem of a philosophical nature. Becoming one of the voices of the choir at the beginning of the book, by the end of its lyrical heroine A. Akhmatova unites from the whole universe.

So, in the third book "White Farn" A. Akhmatova consumes the meaning of the words "white", "flock", "Bird", both in the traditional understanding, and adds the values \u200b\u200binherent only to it.

The "white flock" is her poetry, her poems, feelings, moods, poured on paper. White bird - a symbol of God, his messengers. The bird is an indicator of the normal flow of life on Earth.

The "white flock" is the sign of the Commonwealth, connections to others.

"White flock" is a height, flying over the Brennal Earth, is a traction to the Divine.

Preface

Just stronger on earth sadness.

A. Akhmatova

Anna Akhmatova's creative fate was so that only five of her poetic books - "Evening" (1912), "Rosets" (1914), "White Farn" (1917), "Plantain" (1921) and "Anno Domini" (in two The editions of 1921 and 1922-1923) are compiled by it. Over the next two years, Akhmatov verses occasionally appeared in periodicals, but in 1925, after the next ideological meeting, on which, according to the expression of Anna Andreevna, she was sentenced to "civic death", it was stopped to print. Only after fifteen years, in 1940, almost miraculously broke through to the readers of the Tomik of the Selected Works, and did not choose Akhmatov, but the compiler. True, Anna Andreevna was still able to include in this publication in the form of one of the sections of fragments from the handwritten "reed", the sixth of his book, which was personally accounted for in the late 1930s. And yet, in general, the 1940 collection with the impersonal name "of six books", like all the other fisosal elected, including the famous "Running Time" (1965), did not express the author's will. According to the legend, Stalin himself was the initiator of this miracle. Seeing that his daughter Svetlana rewrites in the notebook poems Ahmatova, he allegedly asked someone from the people of his suite: why didn't Ahmatov publish. Indeed, in the last pre-war year in the creative life of Akhmatova there was some fracture for the better: except for the collection "of six books," and several publications in the journal "Leningrad". Anna Andreevna believed in this legend, even believed that with his salvation, the fact that it was taken out of the blockade city in the fall of 1941 on a military aircraft, she was also obliged to Stalin. In fact, the decision on the evacuation of Akhmatova and Zoshchenko signed by Alexander Fadeev and, apparently, at the persistent request Alexei Tolstoy: Red Count was a liberated cynic, but Anna Andreevna and Nikolai Gumileva knew and loved with his youth and never forgot about it ... Tolstoy, it seems , contributed to the exit and the Tashkent collection of Akhmatova in 1943, which, however, it was not difficult for him, since it happened after the publication in the "truth" of her poem "courage" ... that was the author "Peter the First", albeit Not too, but a slightly defended Ahmatov, confirms such a fact: after his death in 1944, no one could help her, nor Nikolay Tikhonov, nor Konstantin Fedin, nor Alexey Surkov, despite all his considerable literary ranks ...
The present edition includes the texts of the first five books of Anna Akhmatova, in the edition and in the order in which they first saw the light.
The first four compilations - "Evening", "Roski", the "white flock" and "plantain" are published on the first edition, "Anno Domini" - on the second, more complete, Berlin, printed in October 1922, but with a margin: 1923. All other texts follow in chronological order, without taking into account those subtle ties and clips, in which they exist in the author's "Samizdat" plans: until the death of Anna Akhmatova continued and writing poetry, and put them in cycles and books, still hoping What can go to your reader not only with the main poems that were invariably stuck in the viscous Tine of Soviet censorship, but also with the books of poems. Like many poets of the Silver Age, she was convinced that between lyric plays, combined only by the time of their writing, and the author's book of poems - "The Devil's Difference".

The first collection of Anna Akhmatova "Evening" came out at the very beginning of March 1912, in St. Petersburg, in the Akmeist Publishing House "Platzheh Poets". To publish 300 copies of this thin little book, Anna Akhmatova's husband, he is the head of the publisher, the poet and critic Nikolai Stepanovich Gumilev posted one hundred rubles from his own pocket. The "Triumps" of Young Akhmatova, the discovery of which the founders were led by the discovery of which founders were preceded by the readership success of the "Evenings" on the tiny stage of the literary cabaret "Stray Dog", the discovery of which the founders were timed to the Wires of 1911. Artist Yuri Annenkov, Author of several portraits of young Akhmatova, remembering the slope of years the appearance of his model and her performances on the stage of the "Intimate theater" (the official name of the "Stray Dog": "The Art Society of Intimate Theater"), wrote: "Anna Akhmatova, shy and Elegant-negligent beauty, with his "unauthorized bang", covered the forehead, and with a rare grace of semi-movements and semi-gestures, - read, almost singing, their early poems. I do not remember anyone else who would own such a skill and such a musical readiness reading ... ".
Exactly two years after the release of the first edition, in March 1914, "rosary" appeared on the shelves of the bookstores of St. Petersburg, this book, Akhmatova no longer had to be published at his own expense ... She was withstanding many reprints, including several " Pirate. " One of these collections dated 1919. Anna Andreevna very much paid to this edition. Hunger, cold, devastation, and people still need poems. Her poems! Gumilev, as it turned out, was right when he said, after reading the "rosary" correction: "Or maybe it will have to be sold in every petty shop." Marina Tsvevaeeva quite calmly met the first Ahmatov compilation, because her own first book came out two years earlier, unless he was the coincidence of the names: she had an "evening album", and Anna - "Evening", but "Roski" led her to delight. She fell in love! And in poems, and, in absentia, in Akhmatov, although he felt a strong rival in it:

You are the sun in dash
All stars in your handstone.

At the same time, after the "rosary", Tsvetaeva called Akhmatov "Anna All Russia", she also owns two more poetic characteristics: "Musa Crying", "Tsarskostskaya Muse". And what is the most amazing, Marina Ivanovna guess that fate wrote them, so different, one of the hedgehogo:

And one in the emptiness of the
Givenaya we are given.

"Rosary" the most famous book by Anna Akhmatova, it was she who brought her fame, not just fame in a narrow circle of lovers of elegant literature, but a real glory. Meanwhile, Akhmatova itself from his early books, much more "rosary" loved the "white flock" and "plantain" ... and let the person who is dedicated to the "white flock" and "plantain" - Boris Vasilyevich Arena, as it turned out after many years, It turned out to be not worthy of this great earthly love and the poem of the fate of Anna All Russia remained without the main character, what about? Wars and kings were passed, and poems about the hopeless love of the most charming woman of the "Silver Petersburg" to "Lychom Yaroslavl", who was trained in the velvet greenery of English lawns, did not have lost their pristine freshness ... In 1945, on the eve of the next catastrophe when In August of the next 1946, Anna Akhmatov, the famous resolution of the Central Committee on the magazines "Star" and "Leningrad" once again sentenced to "Civic Death", she, after reading the Roman Mikhail Bulgakov "Master and Margarita" manuscript, wrote such avenue verses:

Tasted the death of witnesses of Christ
And gossips old women, and soldiers,
And the procurator of Rome - everyone went
Where Arch was once rumped up,
Where the sea beat where Chernell Rock, -
They drank them in wine, breathed with dust hot
And with the smell of sacred roses.

Rust gold, and elapses steel,
Marble crumbs - everything is ready for death.
Everything is stronger on earth sadness
And durable - royal word.

In the situation of 1945, when, after a few spring months of the National Holiday Victory, the power was again and cool began to "screw the nuts", such verses not only read out loud, but also to keep in boxes of a written table, and Anna Andreevna, never forgetting anything, forgot they were, more precisely, so deeply hid in the basement of memory, which could not find a whole decade, but after the XX Congress - immediately remembered ... Friends were not found for her provincial, she foresaw a lot, in advance, and the approach of misfortune was not one before her arrival, none From the blows of fate did not find it by surprise; Constantly living "on the edge of the death", she was always ready for the worst. But her main books were lucky, they somehow managed to jump out from under the printed machine on the eve of the next steep turn - either in her own life or in the destiny of the country.
"Evening" appeared on the eve of the birth of the first and sole son.
"Roski" - on the eve of the First World War.
"White flock" - on the eve of the revolution, and literally on the eve: in mid-September 1917.
"Plantain" (April 1921) - On the eve of great grief: in the summer of 1921, Akhmatova learned about the suicide of the senior beloved brother Andrei, in August, the block was first left, and then Gumilev. Mikhail Zenkevich, who found Anna Andreevna that tragic winter in someone else's loose housing, was amazed with a change with her. That Anna, with what he broke up, leaving from Petrograd in 1918, that she lived and sang in the "evening", "rosary", "white flock" and "plantain", no more; The book she wrote after the terrible August 1921 - "Anno Domini" was a book of grief. (In the first edition - PB: "Petropolis", 1921 - the end of the old and start of a new life is marked with Roman numbers already in the title of the collection: "Anno Domini Mcmxxi" ("From Christmas 1921".) Reading a few new poems to a friend with his poetic Youth and noting that Zenkevich is amazed, explained: "I lived among deaths. My brother died, my brother died and ... Block. I don't know how I could survive it."
In the first edition, the Anno Domini collection was released, as already mentioned, at the end of October, the poems about the new mountain went to a flat stream, to publish them in Russia, where the name of the executed Gumilyev was banned, became dangerous: the second, supplemented, the edition had to be printed already in Berlin, which took the center of Russian emigration by 1922. Here it was still possible to keep the epigraph from Gumileev in the "voice of memory" cycle, but even a simple mention of a meeting with the emperor, Nikolai Winter Evening in the snow-covered Tsarskoye village had to encrypt. In the now famous poem "Meet" (1919), the final quatrains - "and the split guiduk \\ costs real estate, \\ and strange the king looks around with empty bright eyes" in Berlin version it looks like this:

And Sroll Gaiduk
Costs real estate.
And strange you look around
Empty blond eyes.

But this is the only forced compromise. In general, "Anno Domini" is free and from the author, and from Soviet censorship ...
In the year of her first civic death Anna Akhmatova was only thirty-six years old, about that earthly period that she still had a chance to live, she always spoke briefly and bitterly: after all. However, this is another, replaced life ("I was replaced by life, she drove into another river and in a different way ...") was life, and there were love, and betrayal, and flour, and the golden gifts late, but fruitful Autumn, and even the test of glory. But this was bitter, the grieving glory, because all the best things were not printed in their homeland. They were brought by a secret from Munich, Paris, New York, they were remembered by heart from the voices, rewritten from the hands and on the machine, intertwined and gave friends and loved ones. Akhmatova knew about it and still suffered ... from all the fatal "nestrech" nestreach his reader It was for her the most patient pain. The pain of this separation is not in portable at all, and literally ruined her exhausted heart, she killed him. According to the strange coincidence, March 5, 1966: on the death day of the main culprit of all her troubles - Joseph Stalin.

Alla Marchenko

Evening

I.

Love

Then snake, curling the ball,
He myself sore,
Then whole days dove
On a white windshield

Then in more than bright bright,
Verify in the dentition of the left ...
But right and secretly leads
From joy and at rest.

Know how to cry so sweet
In the prayer of the tricky violin,
And terribly guess
In another unfamiliar smile.

November 24, 1911.
Tsarskoye Selo

In the royal village

I.

Alley spend horses,
Long wave of combing mahs.
About the captivating city of riddles,
I am sad, love you.

Strange to remember! Shower
Suffocated in the death rack,
And now I became a toy,
As my pink friend's friend.

The breast of the foreboding of pain is not compressed,
If you want - in the eyes of looking,
I do not like only an hour before sunset,
Wind from the sea and the word "RED".

November 30, 1911.
Tsarskoye Selo

II.

... and there is my marble twin,
Defeated under the old maple

Lake waters gave the face,
He also hesitate green.

And smelled light rains
His burglary wound ...
Cold, white, wait,
I am also marble.

1911

III

And boy ...

And the boy that plays a voyage,
And a girl that his wreath rings,
And two in the forest of crossed paths,
And in the far field of the distance light, -

I see everything. I remember everything
Lovely Crotko in the heart of the shore,
Only one I never know
And I can't even remember.

I do not ask any wisdom, no strength
Oh, just let the fire!
I'm cold ... Winged Ile Bloomy,
Merry God will not visit me.

November 30, 1911.
Tsarskoye Selo

Love conquers ...

Love conquers fraudulently
Veneer simple insecual.
Still so recently strange
You were not gray and sad.

And when she smiled
In your gardens, in the house, in the field,
Everywhere it seemed to you
What's free you and in the will.

Was bright you taken by her
And fed her poison.
After all, the stars were larger,
After all, they smelled otherwise herbs,
Autumn herbs.

Autumn 1911.
Tsarskoye Selo

Squeezed hands ...

Squeezed hands under the dark veil ...
"Why are you pale today? .."
- because I am tart sad
I drank him.

How to forget? He came out, staggering,
Brushed painfully mouth,
I escaped the railing without touching,
I fled behind him to the gate.

Touching, I shouted: "Joke
All that has gone before. You will go, I will die. "
Smiled calmly and terribly
And he told me: "Do not stand in the wind."

January 8, 1911.
Kiev

The memory of the sun ...

Glasses
Wind snowflakes running
Hardly

Iva in the sky empty molten
Fan through.
Maybe it's better that I did not
Your wife.

The memory of the sun in the heart weakens,
What is it? - dark?
May be! For the night you will come
Winter.

January 30, 1911.
Kiev

High in the sky…

High in the sky cloud of Seremo,
As a Belich, an unbalanced skin.
He told me: "It's not a pity that your body
Melts in March, fragile Snow Maid! "

In the fluffy coupling, the hands were chopped,
I became scary, it became somehow vaguely,
Oh, how to return you, fast weeks
His love air and minute!

I do not want a bitterness, nor a lot
Let you die with the last white blizzard,
Oh, I wondered on the eve of baptism,
I was his girlfriend in January.

Spring 1911.
Tsarskoye Selo

The door is semi-open ...

Half open door
Linden linden sweet ...
On the table forgotten
Chlystik and glove.

Circle from the lamp yellow ...
Shorokham to look.
What are you left from?
I do not understand…

Joy and clear
Tomorrow will be morning
This life is beautiful,
Heart, be wisely.

You are very tired,
You fight quieter, gloover,
You know, I read,
That the soul is immortal.

February 17, 1911.
Tsarskoye Selo

Want to know…

... Do you want to know how it was all this? -
Three in the dining room struck
And, saying goodbye, holding the railing,
She seemed to say with difficulty:
"It's all, oh no, I forgot
I love you, I loved you
Already then!"
"Yes?!"

October 21, 1910.
Kiev

Song of the last meeting

So helpless breasts chopped,
But my steps were easy,
I put on my right hand
Glove with left hand.

It seemed that many steps,
And I knew them only three!
Between maples whisper autumn
I asked: "Melci me!

I deceived, hear, dull,
Changeable, evil fate. "
I replied: "Cute, cute!
And me too. - I will die with you ... "

This is the song of the last meeting,
I looked at the Dark House
Only in the bedroom burned candles
Indifferent yellow fire.

September 29, 1911.
Tsarskoye Selo

Like straw ...

As a straw, drink my soul.
I know the taste of her town and Hamlen,
But I am not broken with a prayer,
Oh, peace is multicone.

When you end, say: not sad,
That my soul is not in the world
I'll go dear short
See how children play.

The gooseberry blooms on the bushes
And bring bricks for the fence,
Who is he! - My brother or lover,
I do not remember and not remember.

How light here and how sniable
Resting the tired body ...
And passersby think vaguely:
True, only yesterday widowed.

February 10, 1911.
Tsarskoye Selo

I went crazy ...

I went crazy about the boy strange
Wednesday, three hours!
Pointed finger non-name
I have a ringing wasp.

I was inadvertently pressed,
And it seemed, she died,
But the end of the poisoned sting
There was an acute spindle.

Whether I will pay strange about you
Will you smile your face?
Look! On a finger Unnamed
So beautiful smooth ring.

March 18-19 1911.

I do not need my more legs ...

I do not need more feet
Let it turn into a fishe tail!
Sailing, and gladly cool,
Believes dimly distant bridge.

I do not need a soul submissive,
Let it become smoke, light smoke,
Tuck over black embankment,
It will be gentle blue.

Look how deeply dive,
Hold for algae hand
No words I repeat
And do not captivate a busty ...

And you, my distant, really
Became pale and sad?
What do I hear? For three weeks
All whisper: "Poor, why?!"

<1911?>

II.

Further

I.

Spring Sun is drunk
And on the terrace the smell of roses heard,
And the sky is brighter blue faience.
Notebook in the cover of a soft saffian
I read in it Elegy and stons,
Written my grandmother.

I see the road to the gate, and the couch
Be whiten clearly in Emerald Turne,
Oh, the heart loves sweet and blindly!
And please the exquisite flower beds,
And a sharp cry of crows in the black sky,
And in the depths of the alley of the archcoole.

November 2, 1910.
Kiev

II.

It's hot breath fastened,
Sun hands burned
It is necessary for me by the arch air,
Like a blue glass.

Immorler smell dryly
In the stitching spit
On the trunk of the Korii ate
Formic highway.

Pond lazily silver
Life in a new one is easy,
Who will dream today
In mild grid hammock?

January 1910.
Kiev

III

Blue evening. Winds meekly stych
Bright light calls me home.
I guess: who is there? - Do not faint whether
Do not faint it? ..

On the terrace the silhouette is familiar
I barely audible a quiet conversation.
Oh, so captivating island
I still did not know.

Poplar was alarmingly stuck
Gentle of them visited dreams,
Sky color of blond steel,
Matovo-pale stars.

I carry a bouquet of levkoev white,
In them, the mystery is hidden fire,
Who, taking flowers from the hands of frozen,
Tries the warm palm.

September 1910.
Tsarskoye Selo

IV

I wrote words
What a long time did not dare.
Stupidly hurts head
The body is strange.

Smalc remote horn,
In the heart, all the same riddles,
Easy autumn snowball
Lit on the crocket site.

Leaves are the last to beat!
Thoughts the last languish!
I did not want to interfere
What should have fun.

Red forgave Gubam
I am their cruel joke ...
Oh, you will come to us
Tomorrow is the first one.

Candles in the living room lit,
Day of their Merzian tender,
A whole bouquet will bring
Roses from the greenhouse.

Autumn 1910.
Tsarskoye Selo

To me with you drunk ...

To me with you drunk fun,
There is no point in your stories;
Autumn early milled
Flags are yellow on knitting.

Both in the country fraudulent
Looked and bitterly
But why a smile strange
And smarily smile?

We wanted tormenting flour
Instead of happiness serene ...
I do not leave comrade,
And bless and gentle.

1911
Paris

Husband chuckle me ...

Husband whipped me patterned
Twice as folded strap.
For you in the window with stem
I'm sitting all night with fire.

Dawn. And over the blacksmith
The smoke rises.
Ah, with me, sad luck,
You could not stay again.

For you, I'm gloomy,
Flour accepted
Or love blonde
Or red-haired cute?

How can I hide you, wicked moans!
In the heart of Dark Forest Hop;
And the rays fall thin
On a non-dorn bed.

Autumn 1911.

Heart to heart ...

Heart to heart is not riveted,
If you want - go away.
Many happiness is prepared
Those who are waves on the way.

I do not cry, I do not complain
I'm happy not to go!
Do not kiss me, tired,
Death will come to kiss.

Tombey's days of sharp live
Together with white winter ...
Why, why are you
Better than my chosen one.

Spring 1911.

Song

I'm in the sunrise
About love I sing,
Knees in the garden
Swan Field.

I break out and throwing
(Let me forgive me)
I see barefoot girl
Crying at the shoulder.

I'm in the sunrise
About love I sing,
Knees in the garden
Swan Field.

March 11, 1911.
Tsarskoye Selo

I came here ...

I came here, the idleness,
Anyway, where to miss!
On the hillock the mill
Years can be silent here.

Above dried overwhelming
Gently swims bee,
At the pond mermaid click
And mermaid died.

Delighted Rusty Tinoy
The pond is wide, raised.
Over trembling aspinum
Light month of the slant.

I notice everything as a new one
Wet smells of poplar.
I'm silent. Silent, ready
Before you become you, - Earth.

February 23, 1911.
Tsarskoye Selo

White at night

Ah, the door did not lock
Did not light the candle
You do not know how tired,
I did not decide to lie down.

Watch how the stripes go
In a sunny darkness of the tea
Drunk sound voice
Looking like yours.

And know that everything is lost
What life is damned hell!
Oh, I was sure
What will you come back.

February 6, 1911.
Tsarskoye Selo

Under a canopy ...

Under the dark Riga can be hot,
I laugh, and in my heart I cry in my heart,
The old friend mutters me: "Do not karkay!
We will not meet good luck! "

But I do not believe the old to a friend
He is funny, blind and poor
He is all his life with the steps of Meryl
Long and boring roads.

September 24, 1911.
Tsarskoye Selo

Horon me, wind ...

Horoni, bury me, wind!
My relatives did not come,
I need a wandering evening
And the breath of a quiet land.

I was, like you, free,
But I really wanted to live:
See, the wind, my corpse is cold,
And some hands fold.

Close this black wound
Intercession of evening darkness
And led blue fog
I need to read Psalms me.

And so that I easily, lonely,
Move away to the last sleep
Sob of high Russian
About spring, about my spring.

December 1909.
Kiev

You believe ...

Believe me, not snake acute sting
And my longing drank my blood.
In a white field, I became a quiet girl,

Just stronger on earth sadness.

A. Akhmatova

Anna Akhmatova's creative fate was so that only five of her poetic books - "Evening" (1912), "Rosets" (1914), "White Farn" (1917), "Plantain" (1921) and "Anno Domini" (in two The editions of 1921 and 1922-1923) are compiled by it. Over the next two years, Akhmatov verses occasionally appeared in periodicals, but in 1925, after the next ideological meeting, on which, according to the expression of Anna Andreevna, she was sentenced to "civic death", it was stopped to print. Only after fifteen years, in 1940, almost miraculously broke through to the readers of the Tomik of the Selected Works, and did not choose Akhmatov, but the compiler. True, Anna Andreevna was still able to include in this publication in the form of one of the sections of fragments from the handwritten "reed", the sixth of his book, which was personally accounted for in the late 1930s. And yet, in general, the 1940 collection with the impersonal name "of six books", like all the other fisosal elected, including the famous "Running Time" (1965), did not express the author's will. According to the legend, Stalin himself was the initiator of this miracle. Seeing that his daughter Svetlana rewrites in the notebook poems Ahmatova, he allegedly asked someone from the people of his suite: why didn't Ahmatov publish. Indeed, in the last pre-war year in the creative life of Akhmatova there was some fracture for the better: except for the collection "of six books," and several publications in the journal "Leningrad". Anna Andreevna believed in this legend, even believed that with his salvation, the fact that it was taken out of the blockade city in the fall of 1941 on a military aircraft, she was also obliged to Stalin. In fact, the decision on the evacuation of Akhmatova and Zoshchenko signed by Alexander Fadeev and, apparently, at the persistent request Alexei Tolstoy: Red Count was a liberated cynic, but Anna Andreevna and Nikolai Gumileva knew and loved with his youth and never forgot about it ... Tolstoy, it seems , contributed to the exit and the Tashkent collection of Akhmatova in 1943, which, however, it was not difficult for him, since it happened after the publication in the "truth" of her poem "courage" ... that was the author "Peter the First", albeit Not too, but a slightly defended Ahmatov, confirms such a fact: after his death in 1944, no one could help her, nor Nikolay Tikhonov, nor Konstantin Fedin, nor Alexey Surkov, despite all his considerable literary ranks ...

The present edition includes the texts of the first five books of Anna Akhmatova, in the edition and in the order in which they first saw the light.

The first four compilations - "Evening", "Roski", the "white flock" and "plantain" are published on the first edition, "Anno Domini" - on the second, more complete, Berlin, printed in October 1922, but with a margin: 1923. All other texts follow in chronological order, without taking into account those subtle ties and clips, in which they exist in the author's "Samizdat" plans: until the death of Anna Akhmatova continued and writing poetry, and put them in cycles and books, still hoping What can go to your reader not only with the main poems that were invariably stuck in the viscous Tine of Soviet censorship, but also with the books of poems. Like many poets of the Silver Age, she was convinced that between lyric plays, combined only by the time of their writing, and the author's book of poems - "The Devil's Difference".

The first collection of Anna Akhmatova "Evening" came out at the very beginning of March 1912, in St. Petersburg, in the Akmeist Publishing House "Platzheh Poets". To publish 300 copies of this thin little book, Anna Akhmatova's husband, he is the head of the publisher, the poet and critic Nikolai Stepanovich Gumilev posted one hundred rubles from his own pocket. The "Triumps" of Young Akhmatova, the discovery of which the founders were led by the discovery of which founders were preceded by the readership success of the "Evenings" on the tiny stage of the literary cabaret "Stray Dog", the discovery of which the founders were timed to the Wires of 1911. Artist Yuri Annenkov, Author of several portraits of young Akhmatova, remembering the slope of years the appearance of his model and her performances on the stage of the "Intimate theater" (the official name of the "Stray Dog": "The Art Society of Intimate Theater"), wrote: "Anna Akhmatova, shy and Elegant-negligent beauty, with his "unauthorized bang", covered the forehead, and with a rare grace of semi-movements and semi-gestures, - read, almost singing, their early poems. I do not remember anyone else who would own such a skill and such a musical readiness reading ... ".

Exactly two years after the release of the first edition, in March 1914, "rosary" appeared on the shelves of the bookstores of St. Petersburg, this book, Akhmatova no longer had to be published at his own expense ... She was withstanding many reprints, including several " Pirate. " One of these collections dated 1919. Anna Andreevna very much paid to this edition. Hunger, cold, devastation, and people still need poems. Her poems! Gumilev, as it turned out, was right when he said, after reading the "rosary" correction: "Or maybe it will have to be sold in every petty shop." Marina Tsvevaeeva quite calmly met the first Ahmatov compilation, because her own first book came out two years earlier, unless he was the coincidence of the names: she had an "evening album", and Anna - "Evening", but "Roski" led her to delight. She fell in love! And in poems, and, in absentia, in Akhmatov, although he felt a strong rival in it:

You are the sun in dash

All stars in your handstone.

At the same time, after the "rosary", Tsvetaeva called Akhmatov "Anna All Russia", she also owns two more poetic characteristics: "Musa Crying", "Tsarskostskaya Muse". And what is the most amazing, Marina Ivanovna guess that fate wrote them, so different, one of the hedgehogo:

And one in the emptiness of the

Givenaya we are given.

"Rosary" the most famous book by Anna Akhmatova, it was she who brought her fame, not just fame in a narrow circle of lovers of elegant literature, but a real glory. Meanwhile, Akhmatova itself from his early books, much more "rosary" loved the "white flock" and "plantain" ... and let the person who is dedicated to the "white flock" and "plantain" - Boris Vasilyevich Arena, as it turned out after many years, It turned out to be not worthy of this great earthly love and the poem of the fate of Anna All Russia remained without the main character, what about? Wars and kings were passed, and poems about the hopeless love of the most charming woman of the "Silver Petersburg" to "Lychom Yaroslavl", who was trained in the velvet greenery of English lawns, did not have lost their pristine freshness ... In 1945, on the eve of the next catastrophe when In August of the next 1946, Anna Akhmatov, a well-known decree of the Central Committee on the magazines "Star" and "Leningrad" once again sentenced to "Civic Death", she, after reading the Roman Mikhail Bulgakov "Master and Margarita," manuscript, wrote such invented poems.