"I was then with my people" A. Akhmatova. I was then with my people ... Mikhail Viktorovich Ardov

... I am happy that I lived in these years and saw events that had no equal. A. Akhmatova Anna Akhmatova is a poet who came to literature in the first decade of the new, XX century and left the world when the XX century passed far beyond sixty. The closest analogy, which already arose among her first critics, turned out to be the ancient Greek love singer Sappho: young Akhmatova was often called Russian Sappho.

The childhood of the poetess passed in Tsarskoe Selo, she spent her holidays in the Crimea, by the sea, which she will write about in her youthful poems and in the first poem “By the Sea”.

At the age of fourteen, she met Nikolai Gumilyov, and friendship and correspondence with him had a serious influence on the formation of her tastes and literary predilections. In a poem by Marina Tsvetaeva, it is written about her: “Oh, the Muse of Lamentation, the most beautiful of muses!” Anna Akhmatova was a great tragic poetess who found herself in the formidable era of the “change of times” with revolutionary upheavals that followed one after another, with world wars.

Living, constantly developing Akhmatov's poetry has always been associated with the national soil and national culture. Zhdanov, in his report on the magazines Zvezda and Leningrad, wrote that "Akhmatova's poetry" was completely far from the people; this is the poetry of ten thousand upper layers of old noble Russia, doomed, for whom there was nothing left but to sigh for the “good old times”. In the opening quatrain - the epigraph to her "Requiem" - Akhmatova answers Zhdanov: No, and not under an alien firmament, And not under the protection of alien wings, - I was then with my people, Where my people, unfortunately, were. “Requiem” is the pinnacle of civil poetry in the literature of the 20th century, the life work of the poetess. This is a monument to all the victims of Stalin's repressions.

The thirties were sometimes the most difficult trials for the poetess. She spends these years in constant expectation of arrest, monstrous repressions did not bypass her house, her family. Akhmatova turned out to be the divorced wife of the “counter-revolutionary” N. Gumilyov, the mother of the arrested “conspirator”. The poetess feels like a part of the people who spent long months in long prison lines to hand over the transmission and learn at least something about the fate of a loved one.

In the poem "Requiem" it is not only about the personal fate of Akhmatova, she is imbued with a sense of hopeless longing, deep grief. And of course, it is no coincidence that she is attracted by biblical imagery and associations with gospel stories. The national tragedy, which absorbed millions of destinies, was so huge that only the biblical scale could convey its depth and meaning. The “crucifixion” in the poem is similar to a psalm: Magdalene fought and sobbed, The beloved disciple turned to stone, And where Mother stood silently, So no one dared to look. “Crucifixion” is a universal sentence to an inhuman system that dooms a mother to immeasurable and inconsolable suffering, and her only son to non-existence.

The final part of the "Epilogue" develops the theme of "Monument". Under the pen of Akhmatova, this theme acquires an unusual, deeply tragic appearance and meaning. The poetess erects a monument to all the victims of repressions in the terrible years for our country. A. Akhmatova met the Great Patriotic War in Leningrad, and there she survived almost the entire blockade, without stopping writing poems that became a reflection of that time - “Northern Elegies”, “Bible Verses”, the cycle “In the fortieth year”: We know that now lies on the scales And what is happening now. The hour of courage has struck on our watch, And courage will not leave us.

Akhmatova's military poems are yet another requiem that combines grief for the dead, pain for the suffering of the living, the tragedy of war, the senselessness of bloodshed. A kind of requiem for an entire historical and cultural epoch is the Poem Without a Hero. Undoubtedly, Akhmatova had a tragic gift.

He allowed her to convey with great poetic power the events of the revolution, terror, war, forced silence as a personal tragedy and at the same time as a tragedy of the people, the country.

1. In the grandiose picture of Russian life created by Tolstoy in the first quarter of the 19th century, an important place is occupied not only by the images of individual representatives of the nobility - the main characters of the novel, but also by the images of numerous secondary and ...
2. The history of Russian poetry cannot be imagined without the name of Anna Andreevna Akhmatova. She began her creative path by joining the “Poets’ Workshop”, and then becoming an “acmeist”. Many critics immediately noted, perhaps, ...
3. A good woodpecker is busy: Repairing a hollow. He will fix everything skillfully, It will be warm in the house. Plan 1. Russian lesson. 2. Description of the woodpecker. 3. Works of students. 4. There is no worse beast than a woodpecker! One day...
4. The description of events in the novels and other works of Afanasy Afanasyevich Fet is one of the pinnacles of Russian poetry. He is the finest lyric poet, bold to the point of insolence in poetic impulses and insights, a poet who joyfully sang...
5. Lev Nikolaevich Tolstoy in his epic novel "War and Peace" showed that the war of 1812 from the first days takes on a popular character. Napoleon's army was advancing. She destroyed and plundered captured cities and...
6. 1861 marked itself the year of the abolition of serfdom. But did the peasants become happy, did they become rich, and did they live in grand style? Answer: no. The people became free, but ...
7. Pechorin and Onegin belong to that social type of the twenties of the nineteenth century, who were called "superfluous" people. “Suffering egoists”, “smart useless things” - Belinsky so figuratively and accurately defined the essence of this type ....
8. Topic: Amazing adventures in the country of the Mother tongue. Objectives: To convince students that language is the main means of communication, an indicator of a person's internal culture and should be treated with care; develop...
9. For those who in their lessons read and study with students two novels of the Enlightenment - Defoe's "The Adventures of Robinson Crusoe" and Swift's "Gulliver's Travels", we suggest, as an option, to hold the final ...
10. Present Simple Tense Test 1 1. … you know Patrick Rich? a) Do b) Does 2. He usually… a sports car! a) drive b) drives 3. He doesn’t… slow cars....
11. October 26, 2012 - THE DAY OF THE POCHATKOV LIGHTING Bless us! 7 times choose the daily newspaper of friends. 7 times bestow sacred professionalism, wisdom, creativity and relevance. 7 times pіdіymaє...
12. In his stories, A.P. Chekhov describes a phenomenon that became ubiquitous in his era - the “case” of the life of most people, general stagnation and unwillingness to develop. All the heroes of his stories live idle, boring...
13. Ivan Alekseevich Bunin is a subtle lyricist and connoisseur of the human soul. He knew how to very accurately and fully convey the most complex experiences, the interweaving of human destinies. Bunin can also be called an expert on the female character. Heroines...
14. Analysis of the story “I Believe!” Yes, this seems to be a familiar person. N. Gogol Vasily Makarovich Shukshin is a writer who came to literature with his own theme, even philosophy. His short stories make you think...
15. Tolstoy shows us the Patriotic War of 1812 as a national war. All people stood up to defend Russia, regardless of social status and financial situation. Prior to these events, Andrei and Pierre led the usual ...
16. From day to day we exchange information, learn new things, communicate, share our thoughts and feelings with others. All this would be simply impossible without the existence of the Russian language, the role of which ...
Municipal educational institution LYCEUM No. 6 of the Voroshilovsky district of Volgograd 400074, Volgograd, st. Socialisticheskaya, 23 Tel.-fax 93-16-52 E-mail: lawlu [email protected] Common crawl en Synopsis of extra-curricular activities Own game: material processing technology.
17. The basis of the plot of the novel "Crime and Punishment" is the murder committed by the protagonist. Rodion Raskolnikov - "a young man expelled from university students" and "living in extreme poverty" - six months before the commission of ...

... I am happy that I lived in these years and saw events that had no equal.
A. Akhmatova

Anna Akhmatova is a poet who came to literature in the first decade of the new, 20th century and left the world when the 20th century was well past sixty. The closest analogy, which already arose among her first critics, turned out to be the ancient Greek love singer Sappho: young Akhmatova was often called Russian Sappho. The poetess spent her childhood in Tsarskoe Selo (where she studied at the gymnasium), spent her holidays in the Crimea, by the sea, which she will write about in her youthful poems and in the first poem “By the Sea”. At the age of fourteen, she met Nikolai Gumilyov, and friendship and correspondence with him had a serious influence on the formation of her tastes and literary predilections. In a poem by Marina Tsvetaeva, it is written about her: “Oh, the Muse of Lamentation, the most beautiful of muses!” Anna Akhmatova was a great tragic poetess who found herself in the formidable era of the “change of times” with revolutionary upheavals that followed one after another, with world wars. Living, constantly developing Akhmatov's poetry has always been associated with the national soil and national culture.
Zhdanov, in his report on the magazines Zvezda and Leningrad, wrote that "Akhmatova's poetry" was completely far from the people; this is the poetry of ten thousand upper layers of old noble Russia, doomed, for whom there was nothing left but to sigh for the “good old times”. In the opening quatrain, the epigraph to her Requiem, Akhmatova answers Zhdanov:
No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
Where my people, unfortunately, were.
“Requiem” is the pinnacle of civil poetry in the literature of the 20th century, the life work of the poetess. This is a monument to all the victims of Stalin's repressions. The thirties were sometimes the most difficult trials for the poetess. She spends these years in constant expectation of arrest, monstrous repressions did not bypass her house, her family. Akhmatova turned out to be the divorced wife of the “counter-revolutionary” N. Gumilyov, the mother of the arrested “conspirator”. The poetess feels like a part of the people who spent long months in long prison lines to hand over the transmission and learn at least something about the fate of a loved one. In the poem "Requiem" it is not only about the personal fate of Akhmatova, she is imbued with a sense of hopeless longing, deep grief. And of course, it is no coincidence that she is attracted by biblical imagery and associations with gospel stories. The national tragedy, which absorbed millions of destinies, was so huge that only the biblical scale could convey its depth and meaning.
The "crucifixion" in the poem is like a psalm:
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
“Crucifixion” is a universal sentence to an inhuman system that dooms a mother to immeasurable and inconsolable suffering, and her only son to non-existence.
The final part of the "Epilogue" develops the theme of "Monument". Under the pen of Akhmatova, this theme acquires an unusual, deeply tragic appearance and meaning. The poetess erects a monument to all the victims of repressions in the terrible years for our country.
A. Akhmatova met the Great Patriotic War in Leningrad, where she survived almost the entire blockade, without stopping writing poems that became a reflection of that time - “Northern Elegies”, “Bible Verses”, the cycle “In the fortieth year”:
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our clocks,
And courage will not leave us.
Akhmatova's military poems are yet another requiem that combines grief for the dead, pain for the suffering of the living, the tragedy of war, the senselessness of bloodshed. A kind of requiem for an entire historical and cultural epoch is the Poem Without a Hero.
Undoubtedly, Akhmatova had a tragic gift. He allowed her to convey with great poetic power the events of the revolution, terror, war, forced silence as a personal tragedy and at the same time as a tragedy of the people, the country.

... Her poetry... one of the symbols
greatness of Russia.
O. Mandelstam

Akhmatov's poetry, which vividly reflected all the unusualness of the era at the turn of the century, entered the ocean of Russian culture like a majestic ship. She connected the broken, as it seemed to many, “connection of times” - the 19th century and the 20th century, captured the passage of time, in her own way told about the tragic history of our Motherland:

What is war, what is plague?
The end is in sight for them:
Their verdict is almost pronounced.
How are we to deal with the horror that

Was the run of time once named?

Now Anna Andreevna Akhmatova is a recognized classic of Russian literature, her name shines among the greatest poets of the 20th century: A. Blok, N. Gumilyov, B. Pasternak, V. Mayakovsky and others. “Generously exacted by wondrous fate,” she worked at a turning point for Russian culture, Russian spirituality, Russian self-awareness of the era. And her original voice was heard not only in Russia, but all over the world. It was the muse of Anna Akhmatova that did not allow to forget about humanity and kindness, about the soul and God in their original, saving understanding. With her bright, not feminine, masculine talent, the poetess earned the right to immortality:

Forget! That's what surprised!
I've been forgotten a hundred times
A hundred times I lay in the grave
Where maybe I am not now.
And the Muse was both deaf and blind,
In the ground decayed with grain,
So that after, like a Phoenix from the ashes,
In the mist rise blue.

The poetic power of creativity, the elastic energy of verse are caused by its inexhaustible optimism, faith in the spiritual emancipation of the people.

The prophetic gift of Akhmatova was born in the depths of the high culture of bygone Russia, the ideal of which for the poet was A.S. Pushkin, "a swarthy youth" who appeared to her in Tsarskoye Selo Park. And the bright image of the first Russian poet illuminated her difficult path, full of trials and tragic breaks.

The “terrible path” that Russia embarked on at the beginning of the 20th century led to a new worldview, so deeply expressed by A. Blok - “the tragic tenor of the era.” Akhmatova learned to sing her songs from him and other symbolist poets. Intuition, visionary insights inspired her poems, in which she felt the pain of her country, the suffering of the people, the anxiety and excitement of the female heart more sharply and more subtly.

Bitterness, rather than repentance and regret, often sounds in the author's poetic masterpieces:

Not! and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
Where my people, unfortunately, were.
("Requiem")

In my opinion, in the poetic world of Akhmatova there are amazing parallels - “my people” and “my voice”. They are hardly accidental, although they are taken from works created at different times. They are so significant, so important that in the poem "Signature on the book" they are the semantic dominant, and in the "Requiem", repeated twice, they acquire a symbolic meaning. The tension of the author's civic feeling is so high, so piercing that it ignites the poetic memory of a reader-friend, and the lines of A.S. Pushkin:

Love and secret freedom

They inspired a simple hymn to the heart.
And my incorruptible voice
There was an echo of the Russian people.

The poetic formula of the "sun of Russian poetry" - "my voice // There was an echo of the Russian people" - echoed in the piercing intonations of Akhmatov's message "To Many" (1922):

After all, I'm with you to the end.

It seems to me that Akhmatova not only proclaims fidelity to the tradition founded by Pushkin, but also sharply, sensitively realizes that a great poet in the years of national upheaval cannot but be the “voice” of his Fatherland. This idea was embodied, perhaps, in the most interesting and artistically refined works of the master: “I had a voice. He called consolingly. “I am not with those who left the earth ...”, “Courage”, “Native land”. What unites these genuine masterpieces, created in different years, is the civic feeling that matured in the soul of Anna Akhmatova from an early age, becoming the moral core of her character.

It might seem to some that the vast country, the people, their harsh and simple life did not hurt the feelings of the lyrical heroine of Akhmatova's early collections of poems "Evening" and "Rosary". They revealed the main features of the poetess's artistic thinking: in-depth psychologism, associativity of the image, attention to detail. Reading poems from these collections, you feel anxiety, foresee the coming disaster, guess the specific signs of an era that promises "unheard of changes, unprecedented rebellions":

We are all thugs here, harlots,
How sad we are together!
Oh, how my heart yearns!

Am I waiting for the hour of death?
And the one that is dancing now
It will definitely go to hell.

I cannot fail to note the amazing ability of Akhmatova, even in the most intimate lyrical miniatures, to display the living pulse of modernity, to express dissatisfaction with the present, to vaguely foresee the future. This helps her to create poems that are unusually elegant in their simplicity:

I learned to live simply, wisely,
Look up to the sky and pray to God
And wander long before evening,
To relieve unnecessary anxiety.
I compose funny poems
About perishable life
Decaying and beautiful.

For anyone who knows the biography of Anna Akhmatova, it is clear that “unnecessary anxiety”, “perishable and beautiful” life are not just stylistic signs of the Silver Age, but a real reflection of the true feelings and insights of the recent Kiev student Anna Gorenko, whose life was poisoned by humiliating poverty, fear of death from tuberculosis and the prohibition of the father, who left the family, to sign poems with a family name. The author of books that gained wide popularity drew inspiration from everyday life, which allowed her to become a Russian national poet:

I don't need odic ratis
And the charm of elegiac undertakings.
Ho me, in verse everything should be out of place.
Not the way people do.

She strongly rejects accusations of elitism and sophistication:

When would you know from what rubbish
Poems grow, not knowing shame,
Like a yellow dandelion by the fence
Like burdock and quinoa.

During the war of 1914, Akhmatova became a poet of great social resonance, new facets of her talent were revealed.

Give me bitter years of sickness
Breathlessness, insomnia, fever,
Take away both the child and the friend,
And a mysterious song gift -
So I pray for your liturgy

After so many agonizing days
To cloud over dark Russia

Became a cloud in the glory of rays.

“Prayer” sounds so penetratingly and sincerely.

The existential, universal nature of creativity and its deep religious basis put forward Akhmatova among the original Russian poets. She turns to folk art, enriching her poetic arsenal, widely using both folk imagery and folk poetic genres - prayer, lamentation, lamentation.

Popular patriotic motives become leading in the 1921 collection "Plantain". The poem from this book “I had a voice is distinguished by the sharpness of the form and the sharpness of the content. He called consolingly ... ". Both the tense rhythmic pattern and the book's vocabulary emphasize the strength of the poet's indignation against those who fled the Russian revolution:

But indifferent and calm
I covered my ears with my hands
So that this speech is unworthy
He defiled the mournful spirit.

This is the most significant post-revolutionary work of Akhmatova, showing her as a person of great courage and patriotic loyalty to her native land.

Thoughts about the rightness of their path, which has not gone aside from the fate of the people, are also heard in another program poem:

He is not with those who left the earth

At the mercy of enemies.
I will not heed their rude flattery,
I won’t give mine to them.

In it, the poetess gives a rebuke not only to former emigrant friends, but also to the owners of the "new world". The whole poem is eloquent evidence of how Akhmatova perceives the power of the Bolsheviks and cannot imagine her fate outside the fate of Russia.

The bloody terror did not spare the independent and honest artist: he closed his mouth for a long fourteen years; snatched from the family circle the only son and husband. After the execution of N. Gumilyov and the death of A. Blok, this was a well-planned and immensely cruel blow. Akhmatova spent many months in prison lines, finding herself in the same ranks with the people, turned into camp dust.

The offended and humiliated "Sappho of Russian Poetry" could not but tell the descendants about this. She mourned the suffering and pain of the people in "Requiem":

The death stars were above us
And innocent Russia writhed

Under the bloody boots

And under the spikes of the black "marus".

In this mournful work, published many years after the death of Akhmatova herself, for the first time the people speak through the lips of the poetess. She was with her country during the Great Patriotic War, which she perceived as the most cruel tragedy in the world. That is why the “Oath” sounds so publicistically pointed, and “Courage” becomes a symbol of selfless love for Godina. “Russian speech, the great Russian word” becomes the beginning of all beginnings, the link between the nation and the country, the basis of Russian culture.

Pain, suffering, the loss of the war years is another unhealed wound on the heart of the poetess, who does not separate herself from the general grief:

And you, my friends of the last call!
To mourn you, my life is spared.
Above your memory, do not be ashamed of a weeping willow,
L shout to the whole world all your names!

With what impatience she brought victory closer, speaking with her poems to the soldiers, how she mourned and mourned for her dead brothers and sisters - Leningraders! And what a pain the "defilement of the most pure word" was in 1946, when a real hunt was launched against her and M. Zoshchenko.

However, a proud sense of self-worth and the highest poetic, philosophical, civic rightness, an organic inability to ostentatious and false repentance for the mercy of the rulers, contempt for one's tragic fate and devotion to one's Motherland made it possible to survive.

Patriotism A.A. Akhmatova is not an empty declaration at all, but a deep belief in her destiny - to be with the people, to be the voice of their hopes and aspirations. The best lyrical expression of civic feelings in world poetry was the 1961 poem by the poetess "Native Land".

And the autopigraph “And there are no people in the world without a trace, // Haughtier and simpler than us”, and the underlined ambiguity of the word “earth” revealed the utmost sincerity and depth of feeling:

We do not carry in treasured amulets on the chest,
We do not compose verses sobbingly about her,
She does not disturb our bitter dream,
It doesn't seem like a promised paradise.

Denial is replaced by a series of growing, ever-increasing affirmations:

Yes, for us it is dirt on galoshes,
Yes, for us it is a crunch on the teeth.
And we grind, and knead, and crumble
That unmixed dust.

The final opposition is a capacious, unquestionable conclusion:

Ho lie down in it and become it,
That is why we call it so freely - ours.

The very construction of the phrase leaves no doubt that Akhmatova speaks on behalf of the Russian people, that part of it that never and under no circumstances further thought about leaving their native land - the Motherland, the Fatherland.

In a brief autobiography written by the sick, dying Anna Andreevna, we read: “I did not stop writing poetry. For me, they are my connection with the time, with the new life of my people ... "

Years have passed since the sad 1966, sad for everyone who cares about the name of A.A. Akhmatova. Clouds of distrust and envy flew away, the fog of ill will and slander dissipated, and it turned out that: the lyrics of the poetess, like a huge ship, continue to sail, and everyone who takes the trouble to climb onto its decks will meet with genuine culture and spirituality, tragic and beautiful era, illuminated by the bright talent of the great artist, whose voice sounds and will sound in unison with time.

I am happy that I lived in these years and saw events that had no equal.
A. Akhmatova

Anna Akhmatova is a poet who came to literature in the first decade of the new, 20th century and left the world when the 20th century was well past sixty. The closest analogy, which already arose among her first critics, turned out to be the ancient Greek love singer Sappho: young Akhmatova was often called Russian Sappho. The poetess spent her childhood in Tsarskoe Selo (where she studied at the gymnasium), spent her holidays in the Crimea, by the sea, which she will write about in her youthful poems and in the first poem “By the Sea”. At the age of fourteen, she met Nikolai Gumilyov, and friendship and correspondence with him had a serious influence on the formation of her tastes and literary predilections. In a poem by Marina Tsvetaeva, it is written about her: “Oh, the Muse of Lamentation, the most beautiful of muses!” Anna Akhmatova was a great tragic poetess who found herself in the formidable era of the “change of times” with revolutionary upheavals that followed one after another, with world wars. Living, constantly developing Akhmatov's poetry has always been associated with the national soil and national culture.
Zhdanov, in his report on the magazines Zvezda and Leningrad, wrote that "Akhmatova's poetry" was completely far from the people; this is the poetry of ten thousand upper layers of old noble Russia, doomed, for whom there was nothing left but to sigh for the “good old times”. In the opening quatrain, the epigraph to her Requiem, Akhmatova answers Zhdanov:
No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
Where my people, unfortunately, were.
“Requiem” is the pinnacle of civil poetry in the literature of the 20th century, the life work of the poetess. This is a monument to all the victims of Stalin's repressions. The thirties were sometimes the most difficult trials for the poetess. She spends these years in constant expectation of arrest, monstrous repressions did not bypass her house, her family. Akhmatova turned out to be the divorced wife of the “counter-revolutionary” N. Gumilyov, the mother of the arrested “conspirator”. The poetess feels like a part of the people who spent long months in long prison lines to hand over the transmission and learn at least something about the fate of a loved one. In the poem "Requiem" it is not only about the personal fate of Akhmatova, she is imbued with a sense of hopeless longing, deep grief. And of course, it is no coincidence that she is attracted by biblical imagery and associations with gospel stories. The national tragedy, which absorbed millions of destinies, was so huge that only the biblical scale could convey its depth and meaning.
The "crucifixion" in the poem is like a psalm:
Magdalene fought and sobbed,
The beloved student turned to stone,
And to where silently Mother stood,
So no one dared to look.
“Crucifixion” is a universal sentence to an inhuman system that dooms a mother to immeasurable and inconsolable suffering, “and her only son to non-existence.
The final part of the "Epilogue" develops the theme of "Monument". Under the pen of Akhmatova, this theme acquires an unusual, deeply tragic appearance and meaning. The poetess erects a monument to all the victims of repressions in the terrible years for our country.
A. Akhmatova met the Great Patriotic War in Leningrad, where she survived almost the entire blockade, without stopping writing poems that became a reflection of that time - “Northern Elegies”, “Bible Verses”, the cycle “In the fortieth year”:
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our clocks,
And courage will not leave us.
Akhmatova's military poems are yet another requiem that combines grief for the dead, pain for the suffering of the living, the tragedy of war, the senselessness of bloodshed. A kind of requiem for an entire historical and cultural epoch is the Poem Without a Hero.
Undoubtedly, Akhmatova had a tragic gift. He allowed her to convey with great poetic power the events of the revolution, terror, war, forced silence as a personal tragedy and at the same time as a tragedy of the people, the country.

on the topic:

“I was then with my people…”

(On the life and work of Anna Akhmatova)

Teacher: L.N. Egorova

MOU "Secondary School No. 10"

G.KANASH

Lesson Objectives: 1). To acquaint graduates with the personality of the Silver Age poet Anna Akhmatova, the originality of her poetic heritage;

2) arouse interest in the personality and poetry of Akhmatova, develop the skills of independent research of the poet's work;

3). to instill in students a love for Russian classics and pride in their people, their homeland.
Lesson type: study lesson

Lesson Form: literary salon

Lesson design: a portrait of A. Akhmatova, slides about the life and work of the poet, an exhibition of A. Akhmatova's publications.

Board writing:

Requiem is a Catholic service for the deceased, as well as a mourning piece of music.

A folio is a thick old book in a large format.

Mass is a Catholic church service.

Apocalypse is a Christian church book containing a prophecy about the end of the world.
List of collections by A. Akhmatova: 1912 - "Evening"

1914 - "Rosary"

1916 - "The White Pack"

1921 - "Plantain"

1922 - "Anno Domini"

1945 - "Reed"
In the course of the lesson on the board, we fill out a table about the originality of A. Akhmatova's poetry:

I am a reflection of your face...

And a disheveled volume of Guys.

1st critic: How well the word "cherish" is chosen! We do not “hear”, we do not “remember”, but precisely we “cherish”, i.e. lovingly cherish in our memory. Alleys, lake, pine trees are living signs of the Tsarskoye Selo park. Pushkin's deep thought is conveyed by two small details: he threw away the unfinished book from himself. The line "Barely audible rustle of steps" by the selection of the sounds themselves perfectly conveys the rustle of autumn fallen leaves. To say a lot in a little is one of the testaments of true art. Akhmatova learned this from Pushkin, Baratynsky, Tyutchev, Annensky.

3rd researcher: From all the books of Akhmatova "Rosary » had the greatest success and at the same time the most controversial criticism. The "rosary" was supposed to put into practice the principles of acmeism as opposed to symbolism. But opinions on this matter are divided. Separating Akhmatova from acmeism, the poet B. Sadovsky wrote: “Mrs. Akhmatova is undoubtedly a talented poet, a poet, not a poetess. There is something akin to Blok in her poetry. Akhmatova's lyrics are sheer grief, repentance and torment, while a true acmeist should be self-satisfied. There is no tragedy in acmeism, there are no elements of true lyrics.

In 1964, speaking at a party dedicated to the 50th anniversary of the release of "The Rosary", the poet A. Tarkovsky said; "With the "Rosary" for Akhmatova, the time has come for popular recognition." (A song is performed with a guitar to the words of Akhmatova “I learned to live simply, wisely ...”).

4th explorer: However, Akhmatova would not have been an outstanding poet if she had remained in the circle of only personal experiences. The restless feeling of the era undoubtedly touched its seemingly closed world. The time was disturbing: the age-old foundations of the Russian Empire were shaking, the first imperialist war.

(The student reads the poem "Prayer"):

Give me bitter years not an arc,

Breathlessness, insomnia, fever,

Take away both the child and the friend,

So I pray for your liturgy

After so many agonizing days

To cloud over dark Russia

Became a cloud in the glory of rays.

The poet feels these moments of national disaster as a turning point in his personal destiny. Anxiety in Akhmatova's lyrics is born from a feeling of true patriotism, which later becomes one of the main motives of Akhmatova's work (an entry is made in a notebook). Love for the Motherland was never separated from her thoughts about the fate of the people. She firmly knew that in these historical days one must be in her native land, with her people, and not seek salvation abroad.

5
Teacher: Akhmatova's poems of the pre-revolutionary years are filled with vague pain and anxiety. Her lyrics become more and more tragic. The sensitive ear of the poet caught and conveyed the tragic catastrophe of the era. It is no coincidence that during the years of the revolution and later (in the books “Anno Domini”, “Plantain”), she increasingly thinks about the essence of her poetic craft, about the duties of a poet, writes about the artist’s duty to time.

Before us is a poet who felt the formidable responsibility of his art before the era, ready to make sacrifices and relying only on the strength and power of poetry:

(The student reads the poem “We have the freshness of words and feelings of simplicity ...).
We freshness of words and feelings of simplicity

Lose not only that the painter - vision,

And for a beautiful woman - beauty?

But don't try to keep for yourself

Given to you by heaven:

Condemned - and we know it ourselves -

We squander, not hoard...

As we can see, for Akhmatova, a sense of high moral responsibility to her contemporaries is of paramount importance. She approached this understanding of art and her place in modern times in 1917 and wrote the poem “I had a voice ...” (the student reads the poem):

He said, "Come here

Leave your land deaf and sinful,

Leave Russia forever.

I will wash the blood from your hands,

I will take out black shame from my heart,

I will cover with a new name

The pain of defeat and resentment.
But indifferent and calm

I covered my ears with my hands

So that this speech is unworthy

The mournful spirit was not defiled.

2nd critic: Why did the heroine of the poem "close her hearing"? Not from temptation, not from temptation, but from filth. And the idea is rejected not only of an external departure from Russia, but also the possibility of internal emigration in relation to it.

Teacher: The year 1921 was tragic for Akhmatova: as an enemy of the people, her husband Nikolai Gumilyov was shot on charges of conspiracy. Since the mid-20s, Akhmatova's poems have almost ceased to be printed, and the old ones were reprinted.

3rd critic: In spite of everything, the feeling of the motherland for Akhmatova is sacred, without a sense of the motherland, spiritual harmony is impossible for her. Akhmatova's image of Russia is inseparable from the fate of a generation, a people. In 1922 she writes:
I am not with those who left the earth

To be torn apart by enemies

I will not heed their rude flattery,

I won't give them my songs.
6
This was a response to the negative attitude towards her work.

5th explorer: The 30s - 40s were terrible not only for Akhmatova, but for the whole country. Seventeen months, from 1938 to 1939, Akhmatova spent in prison queues in connection with the arrest of her son, Lev Nikolaevich Gumilyov; he was arrested three times: in 1935, 1938 and 1939.

Teacher: Please remember why the 30s and 40s turned out to be terrible for our country? (Students can tell about the years of Stalinist repression).
Akhmatova(the student speaks on behalf of the poet): “During the terrible years of the Yezhovshchina, I spent 17 months in prison queues in Leningrad. Somehow, someone "recognized" me. Then the blue-lipped woman standing behind me, who, of course, had never heard my name in her life, woke up from the stupor characteristic of all of us and asked in my ear (everyone there spoke in a whisper):

Can you describe this?

And I said

5th explorer: This is how the "Requiem" appears, on which the author works from 1935 to 1940. In "Requiem" Akhmatova writes not only about her son Lev Gumilyov and about her own fate, but also about the fate of many, many people. The choice of the genre of the funeral mass, dedicated to the memory of the dead, helps Akhmatova to rise above personal pain and merge with the common people's suffering:

No, and not under an alien sky,

And not under the protection of alien wings, -

I was then with my people,

In "Requiem" Akhmatova spoke about the enormity of the totalitarian regime that swept Russia in the 30s and 40s, so for a long time our society pretended that there was no such work as "Requiem" in Anna Andreevna's work.

6th explorer: During the Great Patriotic War, the theme of the Motherland becomes the leading one in Akhmatova's lyrics. “She is a patriot,” the writer Pavel Luknitsky, who visited her in August 1941, wrote in his diary, “and the realization that she is now in spirit with the people apparently encourages her very much.” Another contemporary recalls the poet: “In the darkest days, she struck with a deep faith in victory. As if she knew something none of us knew yet." In the poem "The Oath", written in July 1941, the words proudly sounded:

We swear to children, we swear to graves,

7th explorer: Anna Andreevna for a long time refused to be evacuated to Tashkent. Even sick, exhausted by dystrophy, she did not want to leave her native Leningrad. In the poem "Courage", written in February 1942, the fate of the native land is associated with the fate of the native language, the native word, which serves as a symbolic embodiment of the spiritual beginning of Russia.
Teacher: In conclusion, I would like to suggest listening to this poem performed by the author himself. This is the living voice of Akhmatova herself, which has come down to us almost half a century later!

(A tape recording of the poem "Courage" performed by A. Akhmatova sounds).

The inseparability of the personal fate and the fate of the people and the country contains the true greatness of that love for man and the world around us, which sounds in Anna Akhmatova's poems:

I was then with my people,

Where my people, unfortunately, were.

7
Thus, Akhmatova's poetry is not only the confession of a woman in love, it is, first of all, the confession of a man who lives with all the troubles, pains and passions of his time and his land:

I am a reflection of your face.

Vain wings flutter in vain -

After all, I'm with you to the end.