Akhmatova how many requests her beloved always. Anna Andreevna Akhmatova. “So many requests from my beloved always! .... Analysis of Akhmatova’s poem “So many requests from a beloved always! ...”

“So many requests from a beloved always! ..”

So many requests from my beloved always!
A sweetheart does not have requests.
How glad I am that water is now
It freezes under the colorless ice.

And I will become - Christ, help! -
To this cover, light and brittle,
And you take care of my letters,
To be judged by descendants,

To make it clearer and clearer
You were seen by them, wise and courageous.
In the biography of your glorious
Can spaces be left?

“These torments, complaints and such extreme humility - is it not weakness of spirit, is it not mere sentimentality? Of course not: the very voice of Akhmatova, firm and even rather self-confident, the most calm in recognizing both pains and weaknesses, and, finally, the abundance of poetically tormented torment - all this does not indicate tearfulness on the occasion of trifles of life, but opens up the lyrical soul, rather tough than too soft, rather cruel than tearful, and clearly dominant, and not oppressed.

The great suffering of this vulnerable soul is not so easily explained by the size of her demands, by the fact that she wants to rejoice, whether to suffer only on great occasions. Other people walk in the world, rejoice, fall, hurt each other, but all this happens here, in the middle of the world circle; But Akhmatova belongs to those who somehow got to his “edge” - and what would they turn around and go back to the world? But no, they fight, painfully and hopelessly, at a closed border, and shout and cry. The one who does not understand their desires considers them cranks and laughs at their trifling moans, not suspecting that if these most miserable holy fools would suddenly forget their ridiculous passion and return to the world, then they would go with iron feet through the bodies of his living worldly man; then he would recognize the brutal force there by the wall by the trifles of teary caprices and caprices. ”

Nikolay Nedobrovo. "Anna Akhmatova"

Too sweet earthly drink
Love networks are too dense.
May my name ever be
Children read in the textbook,

And finding out the sad story
Let them smile slyly ...
Not giving me peace and love
Give me bitter glory.

1912 (?)

The music rang in the garden
So untold grief.
They smelled fresh and sharp in the sea
On a dish of oysters in ice.

He told me: “I am a true friend!”
And my dress touched.
How not like a hug
The touch of these hands.

Stroking cats or birds like that
So slender women look at riders ...
Just a laugh in his calm eyes
Under the light gold of eyelashes.

March 1913

"Flowers and inanimate things ..."

Colors and inanimate things
Pleasant smell in this house.
At the beds of piles of vegetables
Lying, variegated, on black soil.

The chill is still flowing
But the greenhouses are removed from the greenhouses.
There is a pond, such a pond,
Where tina is like brocade.

And the boy told me, afraid
Quite excited and quiet
That there lives a big crucian
And with him is a big crucian.

1913

“I see a faded flag above the customs ...”

I see a faded flag above customs
And yellow dregs over the city.
My heart is more careful
Freezes, and it hurts to breathe.

“It is especially difficult to talk about verses by Anna Akhmatova, and we are not afraid to admit it. Noting their charming intimacy, their refined melodiousness, the fragile subtlety of their seemingly careless form, we still will not say anything about what constitutes their charm. Akhmatova’s poems are very simple, eloquent, in them the poetess is consciously silent about a lot - and almost this is their main charm.

Vladislav Khodasevich. "Review of the book by Anna Akhmatova" Rosary "." 1914

Become a seaside girl again
Wear barefoot shoes
And lay the braids with a crown,
And sing in an excited voice.

   “All day I remember your lines about the“ seaside girl ”, they not only like me, they get me drunk. So much has been said so simply, and I am absolutely convinced that of all the post-symbolic poetry, yes, perhaps (in your own way), Narbut will turn out to be the most significant. ”

Anna Andreevna Akhmatova

So many requests from my beloved always!
   A sweetheart does not have requests.
   How glad I am that water is now
   It freezes under the colorless ice.

And I will become - Christ, help! -
   To this cover, light and brittle,
   And you take care of my letters,
   To be judged by descendants,

To make it clearer and clearer
   You were seen by them, wise and courageous.
   In the biography of your glorious
   Can spaces be left?

Too sweet earthly drink
   Love networks are too tight
   May my name ever be
   Children read in the textbook,

And finding out the sad story
   Let them smile slyly ...
   Not giving me peace and love
   Give me bitter glory.

In April 1910, Akhmatova married Gumilyov. The marriage was the result of long courtship by Nikolai Stepanovich.

Anna Akhmatova and Nikolai Gumilyov

He sought the love of the young poetess with extraordinary perseverance - he even tried to commit suicide a couple of times after her refusals. None of Anna Andreevna's relatives came to the wedding ceremony. In their opinion, this union was initially doomed. As a result, a gloomy prediction came true. After the wedding, Gumilyov quickly cooled to his young wife. Most likely, the conquest process for him was much more important and interesting than the subsequent possession of the prize received. In March 1912, Nikolai Stepanovich released the collection “Alien Sky”. On its pages, Akhmatova was either a poisoner, or a sorceress with Lysa Gora, or Margarita, who was in love with Mephistopheles. One way or another, a lyrical hero fought a woman not for life, but for death. In September 1912, Anna Andreyevna gave birth to a son Gumilyov, who was named Leo.

Leo with parents, Nikolai Gumilyov and Anna Akhmatova

Shortly after the boy was born, the relationship between the spouses finally turned into a formality. As Akhmatova recalled, they "ceased to be interested in the intimate side of each other's life." In the fall of 1913, Nikolai Stepanovich returned from another African expedition. Anna Andreyevna met her husband with letters addressed to him from actress Olga Vysotskaya.

Olga Vysotskaya

He only smiled shyly in response. After this episode, the poem "How many requests from a beloved always! .." was born.

The main thing that you need to know about the lyrical heroine of the text in question is given at the very beginning - a man fell out of love with her. An interesting point - nothing is said about his departure to another woman. It turns out that formally the relationship continues, but on the one hand there is no love anymore. The following is a landscape detail that helps to determine roughly the duration of the action: the water freezes under colorless ice, which means that autumn is in the yard. The heroine of the poem is ready to take a desperate step - to stand on thin ice. To her lover, her only request remains - to protect her letters, so that the descendants could judge them. With undisguised irony, she calls the man wise and courageous, and calls her biography glorious. In the finale of the text, the heroine expresses hope for posthumous fame, albeit bitter. This glory serves as a kind of compensation for the love and peace that the beloved could not give her in life.

To read the verse “So many requests from my beloved always!” By Anna Andreevna Akhmatova is necessary after reading the bitter episode of her family life. The work was written after Anna Andreyevna learned about the next betrayal of her husband.

The text of Akhmatova’s poem “So many requests from a beloved always!” Is ironic, but this irony has a bitter aftertaste of feelings experienced by a woman in love. The poet calls his beloved wise and courageous, but behind these words lies her bitter crafty mockery. She herself does not undertake to judge his actions, leaving this right to posterity.

To learn this poem in literature classes in high school is after reading other intimate poems by Akhmatova. On our site you can read the text of the work completely online or download it.

So many requests from my beloved always!
  A sweetheart does not have requests.
  How glad I am that water is now
  It freezes under the colorless ice.

And I will become - Christ, help! -
  To this cover, light and brittle,
  And you take care of my letters,
  To be judged by descendants,

To make it clearer and clearer
  You were seen by them, wise and courageous.
  In the biography of your glorious
  Can spaces be left?

Too sweet earthly drink
  Love networks are too tight
  May my name ever be
  Children read in the textbook,

And finding out the sad story
  Let them smile slyly ...
  Not giving me peace and love
  Give me bitter glory.

So many requests from my beloved always!
Sweetheart requests do not happen ...
How glad I am that water is now
It freezes under the colorless ice.

And I will become - Christ, help! -
To this cover, light and brittle,
And you take care of my letters,
So that descendants will judge us.

To make it clearer and clearer
You were seen by them, wise and courageous.
In your biography
Can spaces be left?

Too sweet earthly drink
Love networks are too dense ...
May my name ever be
Children read in the textbook,

And finding out the sad story
Let them smile slyly.
Not giving me peace and love
Give me bitter glory.

Comments: 28

poems to her husband

Vasya, you are not entitled to write such things at all! Not for you to judge a verse is good, or not! At least by the fact that not a single work has been created! Oh, do not touch the classics! If you could not instill a sense of taste, or even did not teach tact, this is your misfortune! Everyone has the right to express their thoughts, but you need to do this politely, and you are just a boor. And if rap, this is your ceiling, so be it !!!

***
How many of us, unloved, that happiness is waiting uncontrollably,
Not looking. Submissively. Soundlessly. Open. It is naive.
They don’t see us and they don’t sing songs about us.
Being crush strives for an indifferent avalanche.
Until the last moment, to the very edge of fate
A look full of hope, trusting, bright, does not go out ...
On the remainder of the breath, trembling from an unequal struggle,
Hundreds of us, unloved, still believing in happiness.

Everyone has different tastes, someone likes to swear in rhyme, someone to declare love ... in rhyme, but no one thinks that time goes ahead and does not stand still, then there was Akhmatova, Pushkin, Blok, Pasternak, now Guf, AK-47, but everyone still has different tastes ...

terrific poem

good poems. each girl will find a poem suitable for her life.
well done. everything turned out as Akhmatova wrote)))

"We will not drink from one glass ..."

Addressed to M. L. Lozinsky. Confirmation of this is in the record of L.K. Chukovskaya of May 10, 1940:

“... I dictated to me minor corrections to the poem“ Let's not drink from one glass ... ”- Mikhail Leonidovich was offended when he saw what I had changed, did not do as it was when I was young. And now, restoring in the old way, - she explained. "How? So, this is for him! ”I thought, but didn’t utter it” (Chukovskaya, vol. 1, p. 108).

“You cannot confuse real tenderness ...”

Analysis Involuntarily -

“Is the speech simple and colloquial to the point that, perhaps, this is not poetry? And what if you read it again and notice that when we talked like that, then for the complete exhaustion of many human relations, it would be enough for everyone to exchange two or three eight-verses - and there would be a kingdom of silence. And is it not in silence that the word grows to the power that transmutes it into poetry?

You cannot confuse real tenderness

With nothing… -

what a simple, quite everyday phrase, how calmly it goes from verse to verse, and how smoothly and with a drawback the first verse flows - pure anapaestos, whose stresses are distant from the ends of words, so by the way to the dactylistic rhyme of the verse. But now, smoothly moving into the second verse, the speech is compressed and cut: two anapestas, the first and third, are pulled together in iambic, and the stresses, coinciding with the ends of the words, cut the verse into firm feet. A continuation of a simple saying is heard:

... you cannot confuse tenderness

With nothing, and she's quiet, -

but the rhythm had already conveyed anger, somewhere deeply delayed, and the whole poem suddenly tensed to them. This anger decided everything: he had already subjugated and belittled the soul of the one to whom the speech was addressed; therefore, in the following verses the triumph of victory already came to the surface - in a chilly contempt:

You in vain carefully confuse ...

What makes the spiritual movement accompanying speech particularly clear? The very words are not spent on this, but again the flow and their fall works: it is “carefully muffled up” so figuratively and so, if you like, pampered that your beloved could be told, therefore it beats here. And then almost mockery in words:

My shoulders and chest are in fur ... -

it is a dative case, so approaching the sensation and betraying a sort of shudder of disgust, and at the same time sounds, sounds! “My shoulders and chest ...” - what a gentle crunch of all gentle, clear and deep sounds in this spondia and anapaest.

But suddenly a tone changes to a simple and significant one, and how this change is syntactically justified: repeating the word "in vain" with "and" in front of it:

And in vain the words obedient ...

A tough answer was given to the vain attempt of insolent tenderness, and then it was especially emphasized that humble words were in vain; The peculiarity of this shade is outlined in the fact that the corresponding verses are already included in another rhyming system, in the second quatrain:

And in vain the words obedient

Talking about first love.

As it is again said as if mediocre, but what reflections play on the gloss of this shield - the shield is the whole poem. But it is said: and in vain do you say submissive words ... Strengthening the notion of speaking is not already a revelation? And is there no irony in the words "submissive", "about the first"? And isn’t this why the irony is so felt that these words are pronounced on anapaestas pulled together in iamba, on rhythmic gates?

In the last two verses:

How do I know these stubborn

Your unsatisfied glances! -

again, the ease and moving expressiveness of dramatic prose in the phrase, and at the same time, the subtle lyrical life in rhythm, which, taking out the word "these" on the anapaet pulled in the iamb, makes the views that are actually referred to as "these", that is, here here now visible. And the very way to introduce the last sentence, after breaking off the previous wave, with the exclamation word “how” - it immediately shows that something completely new and final is waiting for us in these words. The last phrase is full of bitterness, reproach, sentence and something else. What? - Poetic liberation from all bitter feelings and from the person standing here; it is undoubtedly felt, and what is given? Only by the rhythm of the last line, pure, by these completely free, without any stretch, rolling anapaestas; in the words there is still bitterness “your unsatisfied glances”, but under the words is already a flight.