From the memories of contemporaries about A. A. Akhmatova (ending)

Questions and tasks

1. What is characteristic of early lyrics A. A. Akhmatova?

2. How did A. A. Akhmatova perceived the People's Mountain during political repression and during the war years? What aware of her own destiny?

3. What seemed close to you in the poetry of the Great Akhmatova?

4. Based on the story about A. A. Akhmatova and independently read books and articles, prepare a story or essay about the poet.

5. One of the best critical analyzes of her poetess poems considered the article N. V. Uchobrovo, which ended in this way: "After the release of" Cholotok * Anna Akhmatova, "in view of the undoubted talent of poetess," will urge the expansion of the "narrow circle of her personal topics." I do not join this call - the door, in my opinion, should always be less than the chramine, in which it leads: only in this sense the circle of Akhmatova can be called narrow. And in general, her vocation is not in the spreading of stirre, but in the dissection of the reservoirs, because the tools are not an instrument of land, measuring the earth and the component of the ejection by rich lands, but the tools of the rally cutting into the depths of the values \u200b\u200bof precious ores.<...> Such a strong poet, as Anna Akhmatova, of course, will follow Pushkin's covenant. "

Carefully analyzes the unknown poem "True tenderness will not confuse ...". Analyze and you are a poem, think about the saying of criticism. Do you agree with his assessment? Argument your answer.

6. Yu. F. Karyakin wrote: "If I were a teacher now, I would have released kids with one, at least with one fine impression. I would release them with a deep, beautiful and tragic impression of "Requiem *. In order for them, they "Requiem" forever, like the fate of Russia and the fate of a woman who turned out to be courageous than millions of men. And it would be charge and compassion, and courage. " Do you agree with a criticism and publicist?

7. Think about the features of poetry A. Akhmatova. For example, literary critics believe that the emotion of the author in its poems is transmitted through the external image ("as Nesterpimo Bela ..."), through the item ("put on the right hand, ...") that the author often moves from a reduced vocabulary to high And from high to reduced that the poetic speech is often as if the continuation of the inner speech of the poet ("squeezed his hands under the dark veil ...") that the plot often refers to the past, and the poet appeals to the real and even to the future, for her The characteristic feature is the atmosphere of the mystery, finally, that by the end of his life, her voice in verses and especially in the cycle "Requiem" becomes more restrained, harsh, and feelings - ascetic ("and if my exhausted mouth will be lit, the monitoring people scream ... "," I was then with my people ... "). How do you understand these conclusions of critics, literary critics? Do you agree with them? What examples to confirm or can you lead?

Improve your speech

1. How do you understand the strings?

Not with those I who threw the land
On the enemies is touched.

From others I praise - that ash,
From you and hula - praise.

2. Prepare a story about Anna Akhmatova and the peculiarities of her creativity, accompanying him reading her poems.

3. Prepare the expressive reading of one of the Akhmatov poems by heart.

The topic of repression in the poem A.Akhmatova "Requiem"

Literature and library science

Akhmatova began writing his poem Requiem in 1935 when her only son Lev Gumilev was arrested. Like other mother's mothers of Sisters Ahmatov, many hours stood in a silent queue that led the crosses to the St. Petersburg prison. Only in 1940, Ahmatov completed his work published it was in 1987 many years after the author follows. Ahmatova talks about the history of the creation of the poem.

9. The topic of repression in the poem A.Akhmatova "Requiem"

A. Akhmatova began writing his poem "Requiem" in 1935, when her only son Lev Gumilev was arrested. Soon he was freed, but he was twice twice with arrest, imprisonment and reference. These were the years of Stalinist repression. Like other mothers, wives, sisters, Akhmatova stood many hours in a silent queue, which led to the St. Petersburg prison "Crosses". The most important thing is that she was ready for all this, "it is ready not only to survive, but also describe. Ahmatova in the early poem "silently walked around the house ..." There are lines: "Tell me, you can not forgive you?" And I said: "I can". The last words written in 1957 text to the poem ("instead of prefaces") is a direct quotation from this poem. When one of the women standing next to A. Akhmatova in line, barely audibly asked: "Do you can describe it?" She replied: "I can". Gradually, poems were born about terrible time, which was experienced with all the people. They made up the poem "Requiem", which became a tribute to the mournful memory of ruled in the years of the Stalin arbitrariness. Only in 1940, Ahmatov completed his work, it was published in 1987, many years after the author follow. In 1961, after the completion of the poem, the epigraph was written to her. These are compressed, strict four lines, striking in their severity: "No, and not under the strangers, and not under the protection of alien wings, - I was then with my people, where my people, unfortunately, was."

"Requiem" is a work about the death of people, countries, the foundations of being. The most frequent word in the poem is "death." It is always close, but never comes. A person lives and understands that it is necessary to live on, live and remember. The poem consists of several poems related to each other with one topic - the theme of memory of those who in the thirties were in prison ducts, and about those who courageously transferred the arrest of relatives, the death of loved ones and friends who tried to help them in a difficult moment . In the preface, A. Akhmatova talks about the history of the poem. Describe all the horrors of the daily asked her unfamiliar woman, as well as Ahmatov, who was standing in prison queues in Leningrad. In the "entry", Akhmatova draws a bright image of Leningrad, who appeared to her "Cleaning Letting" near the prisons, "convicted shelves", which were walking through the streets of the city, "Stars of Death", who stood over him. Bloody boots and buses of black marus (so called cars who came to arrest citizens at night) crushed "Evilless Rus." And she is only wring about them. Before us is the fate of mother and son, the images of which are correlated with Evangelical symbolism. Ahmatov expands the temporary and spatial framework of the plot, showing the universal tragedy. We see a simple woman who has a husband at night, the biblical mother whose son crucified. Here we have a simple Russian woman in the memory of which the children's crying will remain forever, the fallen candle of the Borean, the death sweat on the belly of a beloved person who will be taught at dawn. She will cry on it just like once under the walls of the Kremlin we were crying the shooting "Women's". That suddenly, before us the image of a woman, so similar to the Akhmatov itself, who does not believe that everything happens to her - "mockery", "the favorite of all friends", "Tsarskoyell's cheerful sinner". Could she ever think that he would stand three hundred in line in the crosses? And now her whole life in these queues. Seventeen months shouting, calling you home, thrown to the feet of the executioner, you son and my horror. Do not disassemble who "beast" who "man", because they are arrested by innocent people, and all the thoughts of the mother are involuntarily treated to death. And then the sentence sounds - "Stone Word", and you need to kill memory, make a petrified soul and learn to live again. And the mother thinks again about death, only now about his. She seems to her salvation, and it does not matter what kind of type it takes: "Poisoned projectile", "Girks", "Typhoic Chad" - the main thing that it will save from suffering from mental emptiness. These suffering are comparable only with the suffering of Mother Jesus, also lost her son. @ But understands the mother, that it is only madness, because death will not allow you to carry the sick's scary eyes -Cedo-channeled suffering, no day when the thunderstorm came nor the hour of prison diet, nor a cute hand cool, nor a lipa excited shadow, nor a remote lightweight Sound - the words of the last consolations. So you have to live. To live in order to name the names of those who died in Stalin's dungeons, remember, remember always and everywhere standing "and in a latter cold, and in the July-eyed dazzle steen." The poem has a poem called "Crucifixion". It describes the last minutes of the life of Jesus, his appeal to mother and father. The misunderstanding of what is happening is heard, and the reader comes to the realization that everything that happens is meaningless and unfair, because there is nothing worse than the death of an innocent man and the grief of the mother who lost his son. The biblical motives allowed her to show the scale of this tragedy, the impossibility of the forgiveness of those who worked this madness, and the impossibility of oblivion of what happened, because it was about the fate of the people, about millions of lives. Thus, the poem "Requiem" became a monument to innocent victims and those who suffered with them. In the poem A. Akhmatova showed its involvement in the destiny of the country. Famous Prose B. Zaitsev, reading "Requiem," said: "It was possible to assume ... that the fragile this and thin woman will publish such a cry - female, maternal, the cry is not only about themselves, but also about all the suffering - wives, mothers, brides , generally about all crucibles? " And it is impossible to the lyrical heroine to forget mothers, suddenly become gray-haired, howl old women, who lost his son, rumble of black marus. And he sounds over all those who died in the terrible time of the repressions of the poem "Requiem" as a memorial prayer. And while her people will hear, because together with her the whole "Stomil Nim", will not repeat the tragedy, which A. Akhmatova says. A.A. Ahmatov entered the literature as a poet lyrical, chamber. Her poems about undivided love, about the experiences of the heroine, her loneliness among people and bright, figurative perception of the world attracted the reader and forced him to penetrate the mood of the author. But it took time and terrible events who shook Russia, the war, revolution, - so that in verses A.A. Akhmatova arose civil, patriotic feeling. The poetess is making the motherland and their people, considering it impossible to leave it in difficult years of testing. But the years of Stalinist repressions were especially difficult for her. For the power of Akhmatov was a person of alien to hostile to Soviet. Resolution of 1946 confirmed this officially. She did not forget that her husband, Nikolai Gumilyov, was shot in 1921 for participating in a counter-revolutionary conspiracy (according to the official version), nor proud smoothness from the end of the 20s - the unofficial "internal emigration", which he chose for himself poetess. Akhmatova takes his fate, but this is not humility and indifference - willingness to surrender and endure everything that fell into a lot. "We have not rejected a single strike from ourselves," said Ahmatov. And her "Requiem", wrote from 1935 to 1940, not for printing - for himself, "on the table" - and published much later, is a testimony of a courageous civil position as the lyrical heroine of the poem and its author. Not only personal tragic circumstances are reflected here A. A. Akhmatova - Arrest Son, L.N. Gumileva, and Muga, N.N. Punin, - but also the grief of all Russian women, those wives, mothers, sisters that stood with her together of the 17st Invources in prison queues in Leningrad. This is said by the author in the preface to the poem - about the moral duty in front of his "sisters on misfortune", about the debt of memory before the innocently dead. Matern Mother and Wife is common to all women of all epochs, all troublesome times. His Akhmatova is divided with others, speaking of them, as about himself: "I will be, like shooting tower, under the Kremlin Towers to throw out". Mother, her inevitable grief, loneliness is emotionally paints events in black and yellow colors - colors traditional for Russian poetry, symbols of grief and illness. Scary loneliness sounds in these lines, and it seems especially piercing-sharp in contrast with a happy carefree past: "show you, mockery and a loved one of all friends, Tsarskoye cheerful sinner, what will happen to your life - as three-way, with transmission, under the crosses Will you stand and your departure of the hot New Year's ice led. The grief fasses consciousness, the heroine on the verge of madness: "Seventeen months shouting, calling you home, thrown to the feet of the executioner, you are my son and my horror. Everything was confused by forever, and I do not disassemble now, who is a beast, who is a person, and wait for a long time. " The worst thing in all this nightmare is the feeling that the victims are unhappy and in vain, because it is not by chance that the White Nights, according to the author, they say the son of "about your cross is high and about death." And the sentence of innocent sounds the "stone word", falls like a sword of unrighteous justice. How many courage and perseverance is required from the heroine! She is ready for the worst, to death - "I don't care now." As a man of Christian culture, Akhmatova in verses often meet those concepts that the Soviet power tried to strike out as socially alien Soviet power: a soul, god, prayer. To deprive a person of faith, educated centuries, the authorities turned out to be unable, because, like women from the people, the heroine in a difficult moment appeals to the saints for the Russian man's images - Mother of Christ, the personification of the entire maternal grief and maternal suffering. "Magdalene beat and sobbed, the student is beloved Kamenne, and there, where the mother was silent, so nobody look and did not dare. And it brings him closer with her people, makes it feel responsible as a poet for ensuring that everything that happens is in mind It came to the court of history.

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One of the peculiar features of the early lyrics of Akhmatova is the emergence of recognizable folklore motifs. Already contemporaries struck the features of the poetics of Akhmatova, allowed, according to O. Mandelstam, "in the literary Russian lady of the twentieth century guess the Baba and the peasantry." Despite the fact that the most famous works of such a sound belong to the "Evening" collection, folklore traditions are also distinguished in "rosys" and "white flock".

Special attitude to the people's poetic tradition was allocated to Akhmatov in a acmeist circle. In the poetic system of aqmeism there was a change in the functional role of folklore. In a certain way, this was due to declaratively declared Western orientation. Unlike the "younger" symbols appealed in their work to national roots, acmeism emphasized the continuity with the traditions of Shakespeare, Rabl, Viyon, T. Gauthier. According to the characteristic of A. Blok, Akmeism "did not carry any parents" Storms and Natiskov ", but was an imported" foreign thing. "Apparently, this partly explains the fact that the Russian folklore did not become one of the organic elements of the artistic system. Ambameists.

Against this background, the poetic face of Anna Akhmatova with its artistic searches, inextricably linked with the heritage of national culture, was particularly vividly distinguished. It is not by chance that A. Blok, speaking against the aesthethy and formalism of aqmeistov, allocated Akhmatov as an "exception". Right turned out to be V.M. Zhirmununsky, who already in 1916 connected the future of Russian poetry not with acmeism, but with overcoming it: "We are dreaming that new poetry can become wider - not individualistic, literary and urban, and nationwide, national, that it will include everything the diversity of forces dorming in the parel, in the provinces, estate and village, and not only in the capital, that it will be focused on all Russia, its historical legends and its ideal goals, joint and bound to life of all people who are not in a secluded cell, and in friendly connection with each other and with native land "Zhirmunsky V.M. Overcoming symbolism. // Russian thought, 1916, No. 12. It is through the line of overcoming the aqmeism, from subjectivity and closedness of a lyrical diary through difficult seizures of the epic form to the themes of a large civil sound was the evolution of the Akhmatova lyrics.

Poetry Akhmatova is an unusually complex and original alloy of the traditions of Russian and world literature. The researchers saw in the Ahmatov successor of Russian classical poetry (Pushkin, Baratynsky, Tyutchev, Nekrasov) and the perception of the experience of senior contemporaries (block, Annensky), put her lyrics in direct relationship with the achievements of psychological prose of the XIX century (Tolstoy, Dostoevsky, Leskov). But there was another, no less important for Akhmatova, the source of her poetic inspiration is Russian folk art.

People's poetic culture very specifically was elected in the poetry of Akhmatova, perceived not only in "pure form", but through the literary tradition (primarily through Pushkin and Nekrasov). Interest, manifested by Ahmatova to the folk poetic, was durable and stable, the principles of the selection of folklore material changed, reflecting the overall evolution of the Akhmatov lyrics. This gives reason to talk about folk traditions in Akhmatova poetry, followed by the process of conscious and targeted. V.M. Zhirmunsky, pointing to the need for a "more in-depth special study" the role of national poetic traditions in the development of Akhmatova as a national poet, warned against the enrollment of her "in the category of poets of the specifically Russian" folk style "." And yet it is not by chance, - researcher notes - "Songs" as a special genre category, stressed by the title, pass through all its creativity, starting with the book "Evening":

I'm in the sunrise

I sing about love.

Knees in the garden

Lebada Polyu

People's song Element turned out to be close to the poetic globility of the early Akhmatova. The leitmotif of the first collections Akhmatova is a female share of fate, the sorrow of the female soul, told by the heroine itself. The allocation of a female poetic voice is a characteristic feature of the era, a kind of reflecting the overall tendency of the development of Russian poetry of the beginning of the 20th century - strengthening the lyrical principle in poetic creativity.

The desire to portray female lyrical character with a special emphasis on the national, with an underlined appeal to the public start, at first glance, more informing M. Tsvetaeva with its bright "Russian style" of the end of the 10th-early 20s. Not so clearly, but deeper and more seriously, such processes occurred in the poetic thinking of Akhmatova. Her lyrical "I" seems to be divided into a heroine associated with the exquisite atmosphere of literary salons, "folk reflection" appears. As L. Ginzburg notes, "the city world, Akhmatova has ... a twin arising from a song, from Russian folklore ... These songs are important in the overall structure of the lyrical image of early Akhmatova. Psychological processes occurring in the specifics of urban defenders proceed at the same time And in the forms of popular consciousness, as it were, the original, universal "Cervinskaya O. Aquism in the context of the Silver Century and the tradition. - Chernivtsi, 1997. P.124. So, for example, it is clearly visible in the poem "You know, I'll talk in captivity":

You know, I'll talk in captivity,

About the death of the Lord Praying.

But all I remembered to pain

Tver scarce ground.

Crane at the Old Well,

Above him, like a boiler, clouds,

In the fields, the critches,

And the smell of bread, and longing.

And condemning views

Calm tanned women.

It is not by chance that Ahmatova applies here to the reception of opposition to journey, "tombyar" heroine and "calm tanned women" - through the relationship with the land of Akhmatov tries to overcome this gap, show its relativity.

This is the main thing in the interpretation of the lyrical character of the early Akhmatova, who lives in two worlds: the metropolitan noble and rustic. Such a reception in building a lyrical image in Akhmatova cannot be called a "folkloristic mask". And already because its "folk" heroine is deprived of a declarative conventionality. On the contrary, the poetess is trying to emphasize the inner relationship and the spiritual community of his heroin.

This unexpected dialing gives the key to understanding the features of Akhmatovsky folklorism. The richest imagery and symbolism of the folk song, the People's Poetic Language Element, Folklore Alluses and Reminiscences ("Lullaby" (1915), "Let's heal the faithful service ...") refract through the prism of individual poetic, thinking, combined with the peculiar young Akhmatian soulful , ohongom, sometimes sophisticated aestheticism.

With folk and religious motifs, Akhmatovskiy alluses are most often related - stylistic figures hinting through a similarity of the word or mention of a well-known real fact, a historical event, literary work. Past of Russia, her spiritual story inspire the poet to recreate the paintings of the past:

Tightly closed lips dry,

Hot flame of three thousand candles.

So Lied Princess Evdokia

On fragrant sapphire passage.

And, bent, hesitantly prayed

She is about a blind boy mother,

The air is silent to catch the lips.

And came from the southern edge

Black-eyed, humpback old man,

As if to the door of heavenly paradise,

To the darkened step.

Here, as in many of his poems, Akhmatova opposes the luxury of the Princely Odra (Sapphire Parcela, three thousand candles) and the poverty came to him (blind boy, humpback old man).

And in the poem "Confession" Ahmatov already drawn to the biblical motivations, conducting an analogy between the wonderful resurrection of the girl and his own spiritual update after communion.

Skins gone sin.

Lilius dusk quench the candle

And dark Epitrohil

She covered her head and shoulders.

Heart blows more often, more often,

Touch through the fabric

Hands dispelled by baking.

But the allusions of Akhmatova are not exhausted by the Russian folklore - in one of the poems of the collection "Rosty", it addresses the European folklore tradition, so that by a subtle hint of a unfulfilled happy fairy tale about Cinderella, tell about his love sophors and doubts.

And meet on the steps

Did not come out with a lantern.

In the wrong lunar light

I entered a quiet house.

Under the green lamp

With a smile inanimate

Friend whispers: "Sandrillon

In the fireplace goes out the flame

Toga cracking cricket.

Oh! Someone took the memory

My white shoe

And gave me three cloves,

Not latching eyes.

About cute evidence

Where can I hide you?

And the heart is bitterly believing

What is close, close time,

That everyone he will measure

My white shoe.

The four-stranded song of the choir, firmly associated in the literary tradition with the folk topics, the Akhmatova is connected with it indirectly, again the parallel with the spiritual world and the emotional state of the folklore heroine is put forward to the fore.

The early work of Akhmatova is primarily a love feeling, often undivided. The semantic accents that appear from Akhmatova in the interpretation of a love topics are largely close to the traditional lyrical song, in the center of which - a failed female fate. Often in the folk lyrics, passionate love seems to be a disease that is induced by a burner, carrying death. According to the testimony V.I. Dalya, "What we call love, Proshchyin calls a spherical, dry, which ... appeared." The motive of love-misfortune characteristic of the folk song, the vagueness, the attack of Akhmatova acquires that mental dome and passion, which does not know the folk heroine in the expression of his feelings.

Folklore motifs in Akhmatova often acquire a specific religious color, echoes with prayer, which also resembles folk songs. Sad song - Akhmatova complaint is filled with a vague threat, bitter reproach:

You will live, not knowing the lich,

Edit and judge

With his girlfriend quiet

Sons raise.

And in all of your luck,

From all honor,

You do not know that I'm crying

I lose day.

Many of us such homeless

Our power is

What is for us, blind and dark,

Bright God houses

And for us, prone dol

Altari are burning

In this poem, appeal to God as the last judgment emphasizes the hopelessness of grief, cruel insult of the heroine. Almost mystical faith is traced in the highest justice.

Especially noticeable manifestation of folklore motifs in the topics of bitter fate, mourning: Mother's crying about the son, about the husband - these rows are almost invented, they will still respond in the "Requiem" Gorky Baby Plastic "husband in the grave, son in prison // Pray for me." And in the collection "White Farn" it is until the song-prank about a ruined young life.

I wore you

I once in my arms,

To put the strength

In the blue eyes!

Grew slim and high

Song sang, Madera drank,

To Anatolia Dalenova

The Ministry of Users drove his own.

On Malakhov Kurgan

The officer was shot.

Weekly twenty years

He looked at the white light

But, in addition, Akhmatova has a tendency to laconism to the poetic expression of mental life events, marked with another first critics, one of its manifestations has been in circulation of Akhmatova to aphorist genres of folklore - proverbs, sayings, sending. The poetess either includes them in the structure of the very verse ("And we have a quiet yes, God's grace"; "And around the old town of Peter, that the people of the BOK will increase (as the people then spoke)"), or the means of his verse tries to transfer the syntactic and The rhythmic organization of folk speech (bicurity of the construction, internal rhyme, consonance of endings), a special, presses of comparison and comparisons, and in this case it is just repelled from the folk sample.

And we have - quiet yes,

God's grace.

And we have bright eyes

There is no order to raise.

Creatively learned experience of Russian classical literature and folklore, loyalty to the best traditions of domestic culture contributed to the formation of Akhmatova as a national poet. This path was long and complicated, marked with crisis doubts and creative takeoffs. Without losing his own individuality, Akhmatova sought to give his search for the focus inherent in the main lines of development of Soviet poetry. And traveling the theme of the Motherland served for her, the beginning of its own lyrical works, the beginning of the early lyrical works, were launched, including the collections of "rosary" and "white flock", which was continued in other, later collections A. Akhmatova.

N. Gumilyov
Mermaid

I love her, Muslim Undin,
Unpacked mystery night
I love her groove view
And burning Nehu Rubina ...

Marina Tsvetaeva
Anna Akhmatova.

In the morning sleeping hour, -
It seems a quarter of the fifth, -
I loved you
Anna Akhmatova.

Boris Pasternak

It happens in different Oster.
In different ways the image is accurate.
But the most terrible fortress solution -
Night distance under a white night view.
So I see your appearance and look ...

Arseny Tarkovsky

"The Museum of Akhmatova is peculiar to the gift of harmony, rare even in Russian poetry, to the greatest extent inherent in the Baratyan and Pushkin. Her verses are completed, it is always the final option. Its speech does not go into a cry, nor in the song, the word lives in the interaction of the whole ... The world of Akhmatova teaches sincere persistence, the honesty of thinking, the ability to escape himself and the world, teaches the ability to be a person who are striking to become. "

German Writer Hans Werner Richter wrote an essay for radio. It describes the reception of Akhmatova in Italy: "... Russia herself survived here in the middle of the Sicilian-home-Nican monastery, on a white lacquered garden chair, against the background of powerful columns of the monastic gallery ... The Great Princess of Poetry gave an audience in his palace. There were poets of all European countries - from the West and from the East - small, smallest and great, young and old, conservatives, liberals, communists, socialists; They stood up a long queue, which stretched along the gallery, and came up to kiss the hand of Anna Ahmatova ... Everyone came up, bowed, I met the gracious nod, and many - I saw - left, brightly painted. Everyone made this ceremony in the manner of his country, the Italians - charming, Spaniards - Majestically, Bulgarians - Dead, the British - calmly, and only the Russians knew the style that was worthy of Anna Akhmatova. They stood in front of their monarchines, they kneeling and kissed the earth. No, they did not do it, but it looked like this or that could be. Kissing the hand of Anna Akhmatova, they seemed to kiss the land of Russia, the tradition of their history and the greatness of their literature ...

After that, the poets present were asked to read the poems dedicated to Anna Akhmatova ... "

Questions and tasks

1. What is characteristic of early lyrics A. A. Akhmatova?
2. How did A. A. Akhmatova perceived the People's Mountain during political repression and during the war years? What aware of her own destiny?
3. What seemed close to you in the poetry of the Great Akhmatova?
4. Based on the story about A. A. Akhmatova and independently read books and articles, prepare a story or essay about the poet.
5. One of the best critical tests of her poetess poems was considered by article N. V. N. N., who ended in this way: "After the release of" chinkeeper "Anna Akhmatov," in view of the undoubted talent of poetess, "will urge the expansion of the" narrow circle of her personal topics. " I do not join this call - the door, in my opinion, should always be less than the chramine, in which it leads: only in this sense the circle of Akhmatova can be called narrow. And in general, its vocation is not in the spreading of the sewer, but in the dissection of the reservoirs, because the tools are not the guns of the land, measuring the earth and the component of it with rich lands, but the tools of the rally cutting into the depths of the precious ores.<...> Such a strong poet, as Anna Akhmatova, of course, will follow Pushkin's covenant. "

   Carefully analyzes the unknown poem "True tenderness will not confuse ...". Analyze and you are a poem, think about the saying of criticism. Do you agree with his assessment? Argument your answer.

6. Yu. F. Karyakin wrote: "If I were a teacher now, I would have released kids with one, at least with one fine impression. I would have released them with a deep, beautiful and tragic impression of Requiem. In order for them, they "Requiem" forever, like the fate of Russia and the fate of a woman who turned out to be courageous than millions of men. And it would be charge and compassion, and courage. " Do you agree with a criticism and publicist?
7. Think about the features of poetry A. Akhmatova. For example, literary critics believe that the emotion of the author in its poems is transmitted "through an external image (" as non-sterry ... "), through the part (" put on the right hand ... ") that the author often moves from a reduced vocabulary to high , and from high to reduced that the poetic speech is often as if the continuation of the inner speech of the poet ("squeezed hands under the dark veil ...") that the plot often refers to the past, and the poet turns to the present and even to the future that for It is a characteristic feature is the atmosphere of the mystery, finally, that by the end of his life, her voice in verses and especially in the "Requiem" cycle becomes more restrained, harsh, and feelings - ascetic ("And if my exhausted mouth will be lit, which shouts the stomil people .. . "," I was then with my people ... "). How do you understand these conclusions of critics, literary critics? Do you agree with them? What examples in confirmation or refutation can you lead?

Improve your speech

1. How do you understand the lines?

   Not with those I who threw the land
   On the enemies is touched.

   From others I praise - that ash,
   From you and hula - praise.

2. Prepare a story about Anna Akhmatova and the peculiarities of her creativity, accompanying him reading her poems.
3. Prepare an expressive reading of one of the Akhmatov poems by heart.