Akhmatova, how many requests from her beloved always. Anna Andreevna Akhmatova. “There are always so many requests from your beloved!…. Analysis of Akhmatova's poem "So many requests from the beloved always! ..."

"So many requests from your beloved always! .."

So many requests from your beloved always!
A lover has no requests.
How glad I am that now the water
Freezes under colorless ice.

And I will become - Christ, help! -
On this cover, light and brittle,
And you take care of my letters,
For our descendants to judge us,

To make it clearer and clearer
You were seen by them, wise and brave.
In your glorious biography
How can you leave gaps?

“These torments, complaints and such extreme humility - isn't it a weakness of spirit, isn't it simple sentimentality? Of course not: the very voice of Akhmatova, firm and rather self-confident, the very calmness in the recognition of both pains and weaknesses, the most, finally, the abundance of poetically transformed torment - all this does not indicate tearfulness on the occasion of life's trifles, but opens a lyrical soul, rather harsh than too soft, more cruel than tearful, and clearly dominant, not oppressed.

The enormous suffering of this not so easily vulnerable soul is explained by the size of its demands, by the fact that it wants to rejoice or suffer only for great reasons. Other people walk in the world, rejoice, fall, hurt themselves against each other, but all this happens here, in the middle of the world circle; but Akhmatova belongs to those who somehow reached his "edge" - and what would they turn around and go back into the world? But no, they fight, painfully and hopelessly, at a closed border, and scream and cry. He who does not understand their desire considers them eccentrics and laughs at their trifling groans, not suspecting that if these most pitiful holy fools suddenly forgot their absurd passion and returned to the world, they would walk with iron feet over the bodies of his, a living worldly man; then he would have recognized the cruel force there at the wall by the trifles of watery capricious women and capricious people. "

Nikolay Nedobrovo. "Anna Akhmatova"

The earthly drink is too sweet,
Love webs are too tight.
May my name someday
Children will read in the textbook,

And, having learned the sad story,
Let them smile slyly ...
Without giving me love and peace,
Give me bitter glory.

1912 (?)

Music rang in the garden
With such unspeakable grief
Smelled fresh and pungent of the sea
On a platter, oysters in ice.

He told me: "I am a faithful friend!"
And he touched my dress.
How not like a hug
The touch of these hands.

This is how cats or birds are stroked,
This is how they look at slender riders ...
Only laughter in the eyes of his calm
Under the light gold of the eyelashes.

March 1913

"Flowers and inanimate things ..."

Flowers and inanimate things
The smell in this house is pleasant.
There are piles of vegetables near the beds
They lie, variegated, on the black earth.

The chill is still streaming
But the matting has been removed from the greenhouses.
There is a pond, such a pond,
Where ooze looks like brocade.

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

1913

"I see a faded flag over customs ..."

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

“It is especially difficult to talk about Anna Akhmatova's poems, and we are not afraid to admit it. Having noted their charming intimacy, their exquisite melodiousness, the fragile subtlety of their seemingly careless form, we still do not say anything about what constitutes their charm. Akhmatova's poems are very simple, little-spoken, in them the poetess is deliberately silent about many things - and perhaps this is their main charm.

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

To become a seaside girl again
Put on shoes on your bare feet,
And lay the braids with a crown,
And sing in an excited voice.

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

Anna Andreevna Akhmatova

So many requests from your beloved always!
A lover has no requests.
How glad I am that now the water
Freezes under colorless ice.

And I will become - Christ, help! -
On this cover, light and brittle,
And you take care of my letters,
For our descendants to judge us,

To make it clearer and clearer
You were seen by them, wise and brave.
In your glorious biography
How can you leave gaps?

The earthly drink is too sweet,
Love webs are too tight
May my name someday
Children will read in the textbook,

And, having learned the sad story,
Let them smile slyly ...
Without giving me love and peace,
Give me bitter glory.

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

Anna Akhmatova and Nikolay Gumilyov

He sought the love of the young poetess with extraordinary persistence - a couple of times he even tried to commit suicide 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, the gloomy prediction came true. After the wedding, Gumilyov quickly lost interest in his young wife. Most likely, the process of winning 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 appeared either as a poisoner, or as a witch from Bald Mountain, or as Margarita in love with Mephistopheles. One way or another, the lyrical hero waged a life-and-death struggle with a woman. In September 1912, Anna Andreevna gave birth to a son to Gumilyov, who was named Lev.

Leo with his parents, Nikolai Gumilyov and Anna Akhmatova

A short time after the birth of the boy, the relationship between the spouses finally turned into almost 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 Andreevna 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 the beloved always! .."

The main thing that you need to know about the lyric heroine of the text in question is given at the very beginning - a man stopped loving her. An interesting point - nothing is said about his leaving for another woman. It turns out that formally the relationship continues, but on the one hand, love is no longer there. Further, a landscape detail is mentioned, which helps to determine approximately the time of action: the water freezes under colorless ice, which means that it is autumn in the yard. The heroine of the poem is ready to take a desperate step - to stand on thin ice. To her beloved, she has only one request - to take care of her letters so that the descendants can judge them. With undisguised irony, she calls the man wise and brave, and calls his biography glorious. At the end of the text, the heroine expresses hope for posthumous glory, albeit bitter. This glory serves as a kind of compensation for the love and peace that her beloved did not manage to give her during his lifetime.

Read the verse "So many requests from your beloved always!" Anna Andreevna Akhmatova is needed after getting acquainted with the bitter episode of her family life. The work was written after Anna Andreevna found out about another betrayal of her husband.

The text of Akhmatova's poem "So many requests from your beloved always!" differs in an ironic shade, but this irony has a bitter aftertaste of feelings experienced by a woman who has fallen in love. The poet calls his beloved wise and courageous, but behind these words lies her bitter sly mockery. She herself does not undertake to judge his actions, leaving this right to posterity.

It is worth learning this poem in literature lessons in high school after reading other intimate poems of Akhmatova. On our website you can read the text of the work completely online or download it.

So many requests from your beloved always!
A lover has no requests.
How glad I am that now the water
Freezes under colorless ice.

And I will become - Christ, help! -
On this cover, light and brittle,
And you take care of my letters,
For our descendants to judge us,

To make it clearer and clearer
You were seen by them, wise and brave.
In your glorious biography
How can you leave gaps?

The earthly drink is too sweet,
Love webs are too tight
May my name someday
Children will read in the textbook,

And, having learned the sad story,
Let them smile slyly ...
Without giving me love and peace,
Give me bitter glory.

So many requests from your beloved always!
A lover has no requests ...
How glad I am that now the water
Freezes under colorless ice.

And I will become - Christ, help! -
On this cover, light and brittle,
And you take care of my letters,
For our descendants to judge us.

To make it clearer and clearer
You were seen by them, wise and brave.
In your verbal biography
How can you leave gaps?

The earthly drink is too sweet,
Love nets are too tight ...
May my name someday
Children will read in the textbook,

And, having learned the sad story,
Let them smile slyly.
Without giving me love and peace,
Give me bitter glory.

Comments: 28

poems to my husband

Vasya, you have no right to write such things at all! It's not for you to judge whether the verse is good, or not! At least because not a single work has been created! Don't touch the classics! If you were not able to instill a sense of taste, or even not taught tact, this is your problem! Everyone has the right to express their thoughts, but you need to do it politely, and you are just a boor. And if rap is your ceiling, so be it !!!

***
How many of us, unloved, that happiness is unrestrainedly awaiting,
Regardless. Submissively. Silently. Open. It's naive.
They don't see us and they don't sing songs about us.
Being strives to press down with an indifferent avalanche.
Until the last moment, to the very edge of fate
The look, full of hope, trusting, bright, does not fade away ...
On the rest of the breath, trembling from the unequal struggle,
Hundreds of us, unloved, who still believe in happiness.

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

amazing poem

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

"Let's not drink from one glass ..."

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

“… She dictated to me minor amendments to the poem“ We will not drink from one glass… ”- Mikhail Leonidovich was offended when he saw that I had changed, I did not like it was in my youth. And now, I'm restoring the old way, - she explained. "How? So this is for him! " - I thought, but didn’t say it ”(Chukovskaya, vol. 1, p. 108).

"Real tenderness cannot be confused ..."

Analysis Unknowingly -

“The speech is simple and colloquial to the point, perhaps, that 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 relationships, everyone would have enough to exchange two or three eight-verses with everyone - and there would be a kingdom of silence. Is it not in silence that the word grows to the power that transforms it into poetry?

Real tenderness cannot be confused

With nothing… -

what a simple, completely everyday phrase, how it calmly passes from verse to verse, and how smoothly and with a delay the first verse flows - pure anapestas, whose accents are distant from the ends of words, so by the way to the dactylic rhyme of the verse. But now, smoothly passing into the second verse, the speech is compressed and cut: two anapestas, the first and the third, are pulled together into iambics, and the accents, coinciding with the ends of the words, cut the verse on solid feet. The continuation of a simple saying is heard:

... you can't confuse tenderness

With nothing, and she is quiet, -

but the rhythm had already conveyed anger, somewhere deeply held back, and the whole poem was suddenly strained by it. This anger decided everything: it had already subdued and belittled the soul of the one to whom the speech was directed; therefore, in the following verses, the triumph of victory has already surfaced - in coldish contempt:

You are in vain, carefully wrapping ...

What, then, is especially clearly indicated by the mental movement accompanying speech? The very words are not wasted on this, but the current and their downfall are working again: this is “carefully wrapped up” so figuratively and so, if you will, delicately, that it could be said to a loved one, that's why it beats here. And then it is almost a mockery in words:

My shoulders and chest are covered in furs ... -

these are the dative cases, so bringing the sensation closer and giving out some kind of shudder of disgust, and at the same time sounds, sounds! "My shoulders and chest ..." - what a gentle crunch of all tender, pure and deep sounds in this spondeya and anapesta.

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

And in vain are obedient words ...

A harsh response was given to a vain attempt at insolent tenderness, and then it was especially emphasized that humble words were also vain; the peculiarity of this shading is outlined by the fact that the corresponding verses are already included in another rhyme system, in the second quatrain:

And in vain are obedient words

You talk about first love.

As it is again, as if routinely said, but what reflections play on the gloss of this shield - the shield is, after all, a poem. But it is said: and in vain you speak obedient words ... Strengthening the idea of ​​speaking is not already an exposure? And is there not irony in the words "obedient", "about the first"? And isn't that why the irony is so felt that these words are carried out on anapestas tied in iamba, on rhythmic conceals?

In the last two verses:

How do I know these stubborn ones,

Your unfulfilled glances! -

again the ease and agile expressiveness of dramatic prose in a phrase, and at the same time a subtle lyrical life in a rhythm that, carrying out the word "these" in an iambic-tied anapest, makes the views mentioned, in fact, "these", that is here now visible. And the very way of introducing the last phrase, after the break of the previous wave, with the exclamation word "how" - it immediately shows that in these words something completely new and final awaits us. The last phrase is full of bitterness, reproach, judgment and something else. What? - Poetic liberation from all bitter feelings and from the person standing here; it is undoubtedly felt, but what is it given? Only by the rhythm of the last line, pure, these completely free, without any stretch of the rolling anapestas; in the words there is still bitterness "your unfulfilled glances", but under the words there is already flight.