Goals:

• educational: introduce students to the personality and features of A. Akhmatova’s creativity; show how the poet fulfilled the civic and poetic mission of Anna Akhmatova, how the history of the country is refracted and reflected in her work.
• developing: the ability to read poetry and respond emotionally to them; improve the skills of analyzing a poetic text, correlating the content with critical and memoir literature, biographical facts that have a direct connection with this work;
• educational: develop a sense of beauty, cultivate respect for the feelings of another person, the ability to empathize, a patriotic feeling, and set an example of civil courage.

Means of education– textbooks, anthologies, texts of A. Akhmatova’s poems, supporting notes, media.

Lesson type– lesson – presentation. Presentation.

Plan.

1. The history of the pseudonym “Akhmatova”. Life and creativity.
2. Analysis of poems: “I clenched my hands under a dark veil...”.
3. Philosophical motives, patriotic theme, the world of a woman’s soul, poet and homeland in Akhmatova’s lyrics: “I learned to live simply, wisely...”, “You are my letter, dear, don’t crumple...”, “Prayer”.
4. Poem “Requiem”.
5. Anna Akhmatova is “the voice of her generation.”

During the classes

Preliminary work.

Students had a preliminary task to get acquainted with the biography of A. Akhmatova, create a chronological table of her life and work, memorize poems, remember information about the poets of the Silver Age and the features of this period in Russian poetry.

I. Organizing time. Activation of students' knowledge.

While completing the preliminary task, you became acquainted with the creative biography of Anna Andreevna Akhmatova and learned her poems. Have you noticed that the beginning of her work is associated with the Silver Age of Russian poetry, and her latest works appeared in the 60s.

Assignment: – Please remember the definition of the Silver Age of Russian poetry.

(The Silver Age is usually called the heyday of Russian poetry at the beginning of the 20th century.)

And the silver moon is bright
It was freezing over the Silver Age. (A. Akhmatova)

II. Recording the lesson topic and plan in your notebooks.

1. The history of the appearance of the pseudonym “Akhmatova”.

Already in her high school years, Akhmatova wrote poetry. Akhmatova is the surname of her grandmother (maternal great-grandmother), which became the pseudonym of Anna Andreevna Gorenko.

From the biography of A. Akhmatova: born on June 23 (NS) in 1889 in the village of Bolshoy Fontan near Odessa (real name Gorenko, married to Gumelev).

His childhood years were spent in Tsarskoe Selo near St. Petersburg. Here she studied at the Tsarskoye Selo (Mariinskaya) girls' gymnasium.

I spent my holidays near Sevastopol, on the shore of Streletskaya Bay (now one of the districts of Sevastopol). “The most powerful impression of these years,” Akhmatova recalled, “was ancient Chersonesos, near which we lived.”

In this area on the seashore there is a park named after. Anna Akhmatova. At the entrance to the park there is a memorial plaque on which is an image of the poet’s profile (she did not allow herself to be called a poetess) and written words taken from her wonderful poem “Requiem”:

I have a lot to do today:
Necessary completely kill the memory,
Necessary so that the soul turns to stone,
Necessary learn to live again.

In 1903 he met Nikolai Gumelev. The first early poems were written. Then he studied at the Kiev-Fundukleevskaya gymnasium. And in 1907, Akhmatova’s first published poem appeared in the Parisian magazine Sirius, published by N. Gumelev.

1908–1909 – study at the Faculty of Law of the Kyiv Higher Women's Courses. And in April 1910, “... I married N.S. Gumeleva, and we,” writes Akhmatova, “went to Paris for a month.”

. The love story of N. Gumilev and A. Akhmatova is reflected in poetry.

The first collections of poems by A. Akhmatova were called “Evening” (1912) (According to L. Chukovskaya, at first she wanted to call the collection “Evening” “Swan”, but she was dissuaded).

“Clenched her hands under a dark veil” ( Annex 1.)

Preliminary questions: What is the theme of the poem “Clenched hands under a dark veil...”?

Who is the hero of this poem?
What paths did you notice in the poem?
(Reading a poem.)

Analysis of the poem “Clenched her hands under a dark veil...” (1911).

This is a typical poem from the book “Evening”, which presents the difficult relationship between a man and a woman. The theme of the poem is love.

The lyrical heroine speaks to her conscience ( invisible hero) after a date with a person who has no identifying marks in the poem. The entire conversation is omitted, and its content is concentrated in one capacious metaphor: “...I made him drunk with tart sadness.”

A woman, overcome with sudden compassion, admits her guilt to those whom she makes suffer. They “drunk” with sadness his, but now she is suffering, and it is her own fault. The strength of feeling is indicated by repeated verbs: “ran away”, “I ran”, “out of breath, I screamed”. “Without touching the railing,” that is, quickly, without any caution, is an acmeistically precise, psychologically rich internal detail

At the end of the first verse of the last stanza, the word “joke” hangs, separated from the end of the phrase by a strong poetic transfer. It is clear that everything previous was serious.

On October 10, 1912, Anna Akhmatova gave birth to a son, Levushka (Lev Nikolaevich Gumelev - historian, geographer, specialist in the ethnogenesis of the peoples of Eurasia).

In March 1914, the second book of poems “Rosary” was published, which included the poem “I learned to live simply, wisely...”, written in Florence (1912), where they rested with N. Gumelev for 10 days. (It is believed that the poem was written upon returning from Italy in Kyiv on the Litki estate, owned by Akhmatova’s relatives).

(Reading the poem “I learned to live simply, wisely.”) (Appendix 2)

914 The second book of poems, “Rosary Beads,” will be published in March.

It would seem that everything was going great in A. Akhmatova’s life: marriage with a loved one, recognition, the birth of a son. But the tragic era touched the life of every person.

1914 World War I. N. Gumilev in the army. Correspondence.

(A prepared student reads the poem “You are my letter, dear, don’t crumple...”) (Appendix 3)

In 1915, the poem “Prayer” (1915) appeared. (Appendix 4)

Preliminary questions:

• To whom is the poem addressed?
• What sacrifice is she willing to make?
• For what purpose is this sacrifice made?

The blood connection with Russia was felt especially sharply in the most difficult times, starting with the First World War. M. Tsvetaeva called A. Akhmatova “the muse of crying.”

Revolution and Civil War. Refusal to leave Russia.

I'm not with those who abandoned the earth
To be torn apart by enemies...

Akhmatova’s relationship with her homeland was not at all simple. Here she experienced suffering and torment, shared the pain with the people, whose voice she rightfully became. But for Akhmatova, the words “Motherland” and “power” were never synonymous. There was no choice for her - to leave Russia or stay. She considers running away a betrayal:

In September 1917, the book of poems “The White Flock” was published.

Akhmatova experienced the tragic fate of Russia together with her; she shared the fate of her homeland.

Already in the first post-revolutionary years, the name of Akhmatova was often contrasted with the names of poets of revolutionary Russia.

In 1921... The book of poems “Plantain” was published.

The wave of Stalinist repressions also covered Akhmatova. At the funeral of A.A. Blok, Akhmatova learns that her husband, Nikolai Gumelev, has been arrested, allegedly for participating in a counter-revolutionary conspiracy. (The case was fabricated by the Cheka authorities). Soon he was shot.

1922. The book of poems “Anno Domini” is published.

Mid 20s...

1st student: “Since the mid-20s, my new poems have almost stopped being published, and my old ones have almost stopped being reprinted.”

2nd student: “Since 1925, the Central Committee issued a resolution (not published in print) to remove me (meaning Akhmatova’s poems) from circulation.”

1935 Arrest of Anna Akhmatova's only son, Lev Nikolaevich Gumelev (he was arrested three times - in 1935, 1938 and 1940). After her son's arrest in 1938, Akhmatova began the poem “Requiem.”

Mass repressions in the country and personal tragic events brought this work to life.

“During the terrible years of the Yezhovshchina, I spent seventeen months in prison lines in Leningrad. One day someone “identified” me. Then, a woman with blue lips standing behind me, who, of course, had never heard my name in her life, woke up from the stupor that is characteristic of us all and asked me in my ear (everyone there spoke in a whisper):

– Can you describe this?

And I said:

Then something like a smile crossed what had once been her face.”

Akhmatova worked on this work for five years, intermittently. The poem was created under inhuman conditions.

The poems lived in the memories of friends and relatives, since it was dangerous to leave them on paper. Akhmatova, as Lydia Chukovskaya recalls, said: “Eleven people knew “Requiem” by heart, and no one gave me away.”

The main motives of the poem are memory, the bitterness of oblivion, the unthinkability, impossibility of death, the motive of the crucifixion, the gospel sacrifice.

The poem was made up of individual poems created mainly in the pre-war period. These poems were finally compiled into a single work only in the fall of 1962, when it was first written on paper.

When getting acquainted with the poem’s structural parts, one is struck by the interstriations of dates: “Instead of a Preface” is dated 1957, the epigraph “No, and not under an alien firmament...” - 1961, “Dedication” - 1940, “Introduction” - 1935 -m

It is also known that the version of the “Epilogue” was dictated by the author to her friend L. D. Bolshintsova in 1964. Consequently, these dates are just different signs that Akhmatova turned to this creation over the last thirty years of her life. It is important to be able to look away from these figures and perceive “Requiem” as a holistic work dictated by a tragic time.

Word "Requiem" translated as "funeral mass" as a service for the deceased. At the same time, it is a designation for a mournful piece of music.

Already in 1961, the poem was preceded by an epigraph that strictly but accurately reflected the author’s civic and creative position:

Here the word “alien” is repeated twice, and the word “people” twice. The idea of ​​uniting the destinies of the people and their poet is expressed.

The title - “Requiem” - sets a solemn and mournful mood; it is associated with death, mournful silence, which is proportional to the immensity of suffering.

Work with text. Reading a work

1. "Dedications"
2. "Introduction"
3. I. They took you away at dawn...(Appendix 5).
   II. The quiet Don flows quietly...
4. Students read the passage “For seventeen months I have been screaming...” (V part) (Appendix 6).

To save her son, Akhmatova wrote poems for I. Stalin’s birthday and turned to him with a request. Soon released, the son was arrested again, during the war he fought at the front to the bitter end, and in 1949 he was imprisoned for the third time, and only in May 1956 was he freed/

(Reading the poem chapters VI–X and the epilogue.)

The last chapter is the longest. It presents the story of the tormented soul of the people: one half of them in prisons are husbands and sons, the other half in prison queues, these are mothers and wives - all of Russia. Not a word about the executioners - they did not deserve words, but they deserved oblivion.

In the last chapter there is a powerful chorus of women not screaming, not crying - howling. This chapter does not give hope and does not promise change: “the list was taken away and there is nowhere to find out.”

And only Memory and this poem are the main assistants, without which it is impossible to remain faithful to the past for the sake of the future.

1941 The Great Patriotic War. Leningrad blockade.

At the beginning of the war, Akhmatova remained in besieged Leningrad, then she was evacuated to Tashkent, and already in 1944, Akhmatova returned to liberated Leningrad.

During the Great Patriotic War, Akhmatova sees her purpose as becoming a voice of courage and sorrow, sharing the grief of her country.

The Motherland, in the poems of this period, is identified with Russian speech, with the native word, with the most precious thing, what is worth fighting for, what must be sacrificially defended. And if Akhmatova says “we”, this is the voice of the entire people, united by the Word.

Akhmatova’s support point has always been her native land, and throughout her life she was connected with St. Petersburg. Every feature of his appearance is an important detail, a detail of her fate.

In 1946, a campaign was opened against Akhmatova, persecution was organized: in the speech of A. Zhdanov and the subsequent Resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) “On the magazines “Zvezda” and “Leningrad”, Akhmatova’s poetry was declared alien to the people, hostile to them.

Together with Akhmatova, M. Zoshchenko also came under pressure from the authorities. Both were expelled from the Writers' Union, deprived of their livelihood, and found themselves outcasts in their own country. The circulation of the collection of poems by A. Akhmatova, already published in 1946, was destroyed.

She had to live literally in a gatehouse, a booth, in the suburbs of Komarovo. But even here she had friends and students. One of them, I. Brodsky, became a Nobel Prize laureate. In 1956, the son was released. A. Akhmatova begins to publish again.

On March 5 (Stalin's birthday!), 1966, Anna Akhmatova passed away. But, apparently, even a dead, real poet is dangerous for unworthy rulers. In the poem “Requiem” the people speak through the lips of the poet, this is stated directly: “And if they shut my tormented mouth, // To which a hundred million people are screaming...”

In the “Epilogue,” the functions of the poet and poetry seem to merge with the idea of ​​great intercession for people. And this is the great heritage of Russian literature, which makes Akhmatova a national, people's poet. There is no grandiose monument at Akhmatova’s grave, only a homemade cross. She doesn't need monuments. Her life and her poems became the eternal and most lasting monument.

“I didn’t stop writing poetry. For me, they contain my connection with time, with the new life of my people. When I wrote them, I lived in those rhythms that sounded in the heroic history of my country.” (Appendix 7)

And Anna Akhmatova has one more merit. “I taught women to speak... But, God, how can I silence them!” Indeed, with the advent of Anna Akhmatova in literature, poetesses appeared: Marina Tsvetaeva, Rimma Kazakova, Bela Akhmadullina and many, many others.

IV. Homework. Analyze in writing your favorite poem by Akhmatova.

Literature:

1. Lesson notes for literature teachers: 11th grade: The Silver Age of Russian Poetry: In 2 Parts /Ed. L.G.Maksidonova. – M.: Humanitarian Publishing Center VLADOS, 2000. – Part 2.
2. Russian literature: A large educational reference book for schoolchildren and those entering universities. – 3rd ed. – M., Bustard, 2001.
3. Exam questions and answers. Literature. 9th and 11th grades. Tutorial. – M.: AST-PRESS SCHOOL, 2002.
4. Pavlovsky A.I. Anna Akhmatova// Literature at school. – 2005. – No. 1.

Application.

1. Clasped her hands under a dark veil...
“Why are you pale today?”
- Because I am tartly sad
Got him drunk.

How can I forget? He came out staggering
The painful mouth twisted...
I ran away without touching the railing,
I ran after him to the gate.

Gasping for breath, I shouted: “It’s a joke.
All that has gone before. If you leave, I’ll die.”
Smiled calmly and creepily
And he told me: “Don’t stand in the wind.”

2. I learned to live simply, wisely,
Look at the sky and pray to God,
And wander for a long time before evening
To tire out unnecessary anxiety.
When the burdocks rustle in the ravine
And the bunch of yellow-red rowan will fade,
I write funny poems
About life that is perishable, perishable and beautiful.

I'm coming back. Licks my palm
Fluffy cat, purrs sweetly,
And the fire burns bright
On the turret of the lake sawmill.

Only occasionally the silence cuts through
The cry of a stork flying onto the roof.
And if you knock on my door,
I don't think I'll even hear it.

3. You are my letter, dear, don’t crumple it,
Read it to the end, my friend.
I'm tired of being a stranger
To be a stranger on your way.
Don't look like that, don't frown angrily.
I am beloved, I am yours.
Not a shepherdess, not a queen
And I’m no longer a nun -
In this gray, everyday dress,
In worn out heels...
But, as before, a burning embrace,
The same fear in the huge eyes.
You are my letter, dear, don’t crumple it,
Don't cry about your cherished lies,
You have it in your poor knapsack
Place it at the very bottom.
1912 Tsarskoye Selo

4. Prayer.
Give me the bitter years of illness,
Choking, insomnia, fever,
Take away both the child and the friend,
And the mysterious gift of song -
So I pray at Your liturgy
After so many tedious days,
So that a cloud over dark Russia
Became a cloud in the glory of the rays

5. I
They took you away at dawn
I followed you, as if on a takeaway,
Children were crying in the dark room,
The goddess's candle floated.
There are cold icons on your lips,
Death sweat on the brow... Don't forget!
I will be like the Streltsy wives,
Howl under the Kremlin towers.
November. 1935. Moscow.

II.
The quiet Don flows quietly,
The yellow moon enters the house.
He walks in with his hat tilted.
Sees the yellow moon shadow.
This woman is sick
This woman is alone.
Husband in the grave, son in prison,
Pray for me.
1938

6. I’ve been screaming for seventeen months,
I call you home, I throw myself at the feet of the executioner,
You are my son and my horror.
Everything's messed up forever
And I can't make it out
Now, who is the beast, who is the man,
And how long will it be to wait for execution?
And only lush flowers,
And the censer ringing, and the traces
Somewhere to nowhere.
And he looks straight into my eyes
And it threatens with imminent death
A huge star.
1939

“I didn’t stop writing poetry. For me, they contain my connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country.”

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Presentation on the topic: Anna Akhmatova

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The beginning of life... Born in Odessa on June 11, 1889 in the family of engineer-captain 2nd rank Andrei Antonovich Gorenko and Inna Erasmovna. After the birth of their daughter, the family moved to Tsarskoye Selo, where Anna Andreevna studied at the Mariinsky Gymnasium. She spoke French perfectly. In 1905, Inna Erasmovna divorced her husband and moved with her children, first to Evpatoria, and then to Kyiv. Here Anna Andreevna graduated from the Fundukleevskaya gymnasium and entered the law faculty of the Higher Women's Courses, still giving preference to history and literature.

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N. Gumilev and A. Akhmatova Anna Gorenko met her future husband, poet Nikolai Gumilev, when she was still a fourteen-year-old girl. Later, correspondence arose between them, and in 1909 Anna accepted Gumilyov’s official proposal to become his wife. On April 25, 1910, they got married in the St. Nicholas Church in the village of Nikolskaya Sloboda near Kiev. After the wedding, the newlyweds went on their honeymoon, staying in Paris all spring. In 1912, they had a son, who was given the name Lev.

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The beginning of her creative path... Since the 1910s, Akhmatova’s active literary activity began. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 her first collection of poems, “Evening,” was published. It is much less known that when the young poetess realized her destiny, it was none other than her father Andrei Antonovich who forbade her to sign her poems with the surname Gorenko. Then Anna took the surname of her great-grandmother - the Tatar princess Akhmatova.

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In March 1914, the second book of poems, “The Rosary,” was published, which brought Akhmatova all-Russian fame. The next collection, “The White Flock,” was released in September 1917 and was received rather restrainedly. War, famine and devastation relegated poetry to the background. But those who knew Akhmatova closely understood well the significance of her work.

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During the revolution, Anna Andreevna broke up with N. Gumilev. In the autumn of the same year, Akhmatova married V.K. Shileiko, an Assyrian scientist and translator of cuneiform texts. The poetess did not accept the October Revolution. For, as she wrote, “everything was plundered, sold; everything was devoured by hungry melancholy.” But she did not leave Russia, rejecting the “comforting” voices calling her to a foreign land, where many of her contemporaries found themselves. Even after the Bolsheviks shot her ex-husband Nikolai Gumilev in 1921.

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A new turn in life December 1922 was marked by a new turn in Akhmatova’s personal life. She moved in with art critic Nikolai Punin, who later became her third husband. The beginning of the 1920s was marked by a new poetic rise for Akhmatova - the release of the poetry collections "Anno Domini" and "Plantain", which secured her fame as an outstanding Russian poetess. New poems by Akhmatova were no longer published in the mid-1920s. Her poetic voice fell silent until 1940. Hard times have come for Anna Andreevna.

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In the early 1930s, her son Lev Gumilyov was repressed. But subsequently, Lev Gumilyov was nevertheless rehabilitated. Later, Akhmatova dedicated her great and bitter poem “Requiem” to the fate of thousands and thousands of prisoners and their unfortunate families. In the year of Stalin’s death, when the horror of repression began to recede, the poetess uttered a prophetic phrase: “Now the prisoners will return, and two Russias will look into each other’s eyes: the one that imprisoned, and the one that was imprisoned. A new era has begun.”

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During the Patriotic War, the Patriotic War found Anna Akhmatova in Leningrad. At the end of September, already during the blockade, she first flew to Moscow, and then evacuated to Tashkent, where she lived until 1944. And suddenly everything ended. On August 14, 1946, the notorious resolution of the CPSU Central Committee “On the magazines “Zvezda” and “Leningrad” was published, in which the work of A. Akhmatova was defined as “ideologically alien.” The Union of Writers of the USSR decided to “exclude Anna Akhmatova from the Union of Soviet Writers,” thus, she was practically deprived of her livelihood. Akhmatova was forced to earn a living by translating. Akhmatova’s disgrace was lifted only in 1962, when her “Poem without a Hero” was published.

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Recognition In the 1960s, Akhmatova finally received worldwide recognition. Her poems have appeared in translations. In 1962, Akhmatova was awarded the International Poetry Prize "Etna-Taormina" - in connection with the 50th anniversary of her poetic activity and the publication in Italy of a collection of selected works by Akhmatova. In the same year, Oxford University decided to award Anna Andreevna Akhmatova an honorary doctorate of literature. In 1964, Akhmatova visited London, where the solemn ceremony of putting on her doctor’s robe took place. For the first time in the history of Oxford University, the British broke tradition: it was not Anna Akhmatova who ascended the marble staircase, but the rector who descended towards her. Anna Andreevna's last public performance took place at the Bolshoi Theater at a gala evening dedicated to Dante.

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End of life In the fall of 1965, Anna Andreevna suffered a fourth heart attack, and on March 5, 1966, she died in a cardiological sanatorium near Moscow. Akhmatova was buried at the Komarovskoye cemetery near Leningrad. Until the end of her life, Anna Andreevna Akhmatova remained a Poet. In her short autobiography, compiled in 1965, just before her death, she wrote: “I never stopped writing poetry. For me, they contain my connection with time, with the new life of my people. When I wrote them, I lived those rhythms, which sounded in the heroic history of my country. I am happy that I lived in these years and saw events that had no equal."

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Akhmatova

Anna Andreevna

teacher at Velsk Economic College

Arkhangelsk region

The purpose of the lesson:

-Acquaintance with the life and creative path of the famous Russian poetess of the 20th century A.A. Akhmatova

Tasks:

-compile a chronological table about the life and work of A. Akhmatova,

-prepare an answer to the question “What can you say about the poetess’s civic position throughout her life?”

Anna Andreevna Akhmatova – famous Russian poetess of the 20th century, writer, translator, critic and literary critic. Author of the famous poem “Requiem” about the repressions of the 30s.

And there are no more tearless people in the world,

arrogant and simpler than us …

A. Akhmatova

The family had four children.

She spent her childhood “near the blue sea”, she studied at the Mariinsky gymnasium in Tsarskoe Selo, at the gymnasium in the city of Evpatoria, then in Kyiv at the Fundukleevskaya gymnasium. She attended historical and literary courses for women.

Gorenko family. I.E. Gorenko, A.A. Gorenko,

Rika (in arms), Inna, Anna, Andrey.

Around 1894

Anna met Nikolai Gumilyov while still a student at the Tsarskoye Selo girls' gymnasium. Their meeting took place at one of the evenings at the gymnasium. Seeing Anna, Gumilyov was enchanted, and since then the gentle and graceful girl with dark hair became his constant muse in his work. They got married in 1910.

Nikolai Stepanovich Gumilyov and

Anna Andreevna Akhmatova

1912 - a son, Lev Gumilev, a future famous historian, was born into the family.

In the same year, the first collection of poems by A. Akhmatova was published - "Evening".

In 1914, the second collection “Rosary Beads” brought Anna Andreevna real fame.

1917 - the third book “The White Flock”, twice as large.

N.S. Gumilyov and A.A. Akhmatova with their son Lev

1925 - another collection of Akhmatova’s poems was published. After this, the NKVD for many years did not allow any work of this poetess to pass through and called it “provocative and anti-communist.”

According to historians, Stalin spoke positively about Akhmatova. However, this did not stop him from punishing the poetess after her meeting with the English philosopher and poet Berlin. Akhmatova was expelled from the Writers' Union, thereby effectively dooming her to vegetating in poverty. The talented poetess was forced to translate for many years. But she did not stop writing poetry.

Personal life.

In 1918, the poetess’s life saw a divorce from her husband, and soon a new marriage to the poet and scientist V. Shileiko.

And in 1921, following a false denunciation, Nikolai Gumilyov was shot. She separated from her second husband.

In 1922, Akhmatova began a relationship with an art critic

N. Punin.

Studying the biography of Anna Akhmatova, it is worth noting that many people close to her suffered a sad fate.

Thus, Nikolai Punin was under arrest three times, and his only son Lev spent more than 14 years in prison.

20-30s.

A. Akhmatova lives in Tsarskoe Selo - the spiritual and artistic source of all her creativity. Everything here is permeated with the spirit of Pushkin’s poetry, this gives it the strength to live.

There are so many lyres hanging on the branches here,

But there seems to be a place for mine too.

He writes articles about Pushkin, about the architectural monuments of Tsarskoe Selo, and translates. The main themes of creativity are love, the purpose of the poet.

If only you knew what kind of rubbish

Poems grow without shame,

Like a yellow dandelion by the fence,

Like burdocks and quinoa...

The inner nature of her poems has always been deeply realistic, her Muse is close to Nekrasov’s:

Give me many years of illness,

Choking, insomnia, fever,

Take away both the child and the friend,

And the mysterious gift of song -

So I pray at my liturgy

After so many tedious days,

So that a cloud over dark Russia

Became a cloud in the glory of the rays.

“I have always been with my people...” - long before “Requiem” she determined the main thing for herself - to be with her homeland on all its paths and crossroads. And she, together with her people, together with her homeland, experienced everything that befell her.

For Anna Akhmatova, poetry was an opportunity to tell people the truth. She proved herself to be a skilled psychologist, an expert on the soul.

Akhmatova’s poems about love prove her subtle understanding of all facets of a person. In her poems she showed high morality. In addition, Akhmatova’s lyrics are filled with reflections on the tragedies of the people, and not just personal experiences.

… The air of exile is bitter - Like poisoned wine.

The poem "Requiem" (1935-1940) reflects the difficult fate of a woman whose loved ones suffered from repression. When Akhmatova's son, Lev Gumilyov, was arrested, she and other mothers went to the Kresty prison. One of the women asked if she could describe THIS. After this, Akhmatova began writing "Requiem".

By the way, Punin will be arrested almost at the same time as Akhmatova’s son. But Punin will soon be released, but Lev remains in prison.

Let's try to analyze the poem!

• What facts of A. Akhmatova’s life formed the basis of the poem?
• How would you define the genre of this work?
• What can you say about the composition of the poem?
• On whose behalf is the story told?
• For what purpose do you think A. Akhmatova wrote the poem “Requiem”, what is the idea of ​​the work?
• What visual and expressive means does the poetess use?

Let's sum it up!

Conclusions must be written down in your workbook!

Analysis of the poem "Requiem"

The poem “Requiem” by Anna Akhmatova is based on the personal tragedy of the poetess. An analysis of the work shows that it was written under the influence of what she experienced during the period when Akhmatova, standing in prison lines, tried to find out about the fate of her son Lev Gumilyov. And he was arrested three times by the authorities during the terrible years of repression.

The poem was written at different times, starting in 1935. For a long time this work was kept in A. Akhmatova’s memory; she read it only to friends. And in 1950, the poetess decided to write it down, but it was published only in 1988.

Genre - "Requiem" was conceived as a lyrical cycle, and later was called a poem.

Composition the works are complex. Consists of the following parts: “Epigraph”, “Instead of a Preface”, “Dedication”, “Introduction”, ten chapters. The individual chapters are titled: “The Judgment” (VII), “To Death” (VIII), “The Crucifixion” (X) and “Epilogue”

The poem speaks on behalf of lyrical hero . This is the poetess’s “double”, the author’s method of expressing thoughts and feelings.

The main idea of ​​the work - an expression of the scale of the people's grief. As an epigraph, A. Akhmatova takes a quote from her own poem “So it was not in vain that we suffered together.” The words of the epigraph express the nationality of the tragedy, the involvement of each person in it. This theme continues further in the poem, but its scale reaches enormous proportions.

To create a tragic effect, Anna Akhmatova uses almost all poetic meters, different rhythms, and also a different number of feet in the lines. This personal technique of hers helps to acutely perceive the events of the poem.

The author uses various trails that help make sense of people's experiences. This epithets : Rus' is “guiltless”, melancholy is “deadly”, the capital is “wild”, sweat is “mortal”, suffering is “petrified”, curls are “silver”. Lots of metaphors : “faces fall”, “weeks fly by”, “mountains bend before this grief”, “locomotive whistles sang a song of separation.” Meet and antitheses : “Who is the beast, who is the man”, “And a heart of stone fell on my still living chest.” Eat comparisons : “And the old woman howled like a wounded animal.”

The poem also contains symbols : the very image of Leningrad is an observer of grief, the image of Jesus and Magdalene is identification with the suffering of all mothers.

To leave a memory of this time, the author turns to a new symbol - a monument. The poetess asks to erect a monument near the prison wall not to her muse, but in memory of the terrible repressions of the 30s.

In 1940 The sixth collection “Out of Six Books” is published.

1941 - met the war in Leningrad. On September 28, at the insistence of doctors, she was evacuated first to Moscow, then to Chistopol, not far from Kazan, and from there through Kazan to Tashkent. A collection of her poems was published in Tashkent.

It included the poems “Courage”, “Oath”, etc.

1946 - Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines “Zvezda” and “Leningrad” dated August 14, 1946, in which the work of Anna Akhmatova and Mikhail Zoshchenko was sharply criticized. Both of them were expelled from the Union of Soviet Writers.

"Alone in the dock

I’ve been sitting for almost half a century…” she wrote these days.

O.E. Mandelstam and A.A. Akhmatova

A.A.Akhmatova and B.L.Pasternak

In 1951, she was reinstated in the Writers' Union. Akhmatova's poems are published. In the mid-1960s, Anna Andreevna received a prestigious Italian prize and released a new collection, “The Running of Time.” The University of Oxford also awards a doctorate to the famous poetess.

At the end of his years, the world-famous poet and writer finally had his own home. The Leningrad Literary Fund gave her a modest wooden dacha in Komarovo. It was a tiny house that consisted of a veranda, a corridor and one room.

1966

March 5 - Anna Andreevna Akhmatova died in a sanatorium in Domodedovo (Moscow region) in the presence of doctors and nurses who came to the ward to examine her and take a cardiogram. March 7 - at 22:00 the All-Union Radio broadcast a message about the death of the outstanding poetess Anna Akhmatova.

“To live like this in freedom, Dying is like home" -

A. Akhmatova

Native land - 1961

We don’t carry them on our chests in our treasured amulet,

We don’t write poems about her sobbingly,

She doesn't wake up our bitter dreams,

Doesn't seem like the promised paradise.

We don’t do it in our souls

Subject of purchase and sale,

Sick, in poverty, speechless on her,

We don't even remember her.

Yes, for us it’s dirt on our galoshes,

Yes, for us it's a crunch in the teeth,

And we grind, we grind, and we crumble

Those unmixed ashes.

But we lie down in it and become it,

That’s why we call it so freely – ours.

-What can you say about A.A. Akhmatova’s civic position throughout her life?

Aphorisms by A.A. Akhmatova:

- I was in great glory, experienced the greatest infamy - and was convinced that, in essence, it was one and the same thing.

- No despair, no shame, not now, not later, not then!

- A poet’s gift cannot be taken away; he needs nothing but talent.

Anna Andreevna Akhmatova (Gorenko) 1889 - 1966

From strange lyrics,

Where every step is a secret,

Where there are abysses left and right,

Where underfoot, like a withered leaf, is glory,

Apparently there is no escape for me.

Portrait of Anna Akhmatova. Artist N. Altman.

Akhmatova is the literary name of the poetess. According to family legend, her grandmother traced her descent from the Tatar Khan Akhmat:

Tatar, dense,

It came from nowhere.

Sticky to any trouble,

That itself is a problem...

• Anna Andreevna Akhmatova(surname at birth - Gorenko) ;
• Russian poet, writer, translator; one of the most famous Russian poetesses of the twentieth century.

• In addition to her artistic creativity, Akhmatova is known for her tragic fate. Although she herself was not imprisoned or exiled, three people close to her were subjected to repression (her husband N. Gumilyov was shot in 1921, Nikolai Punin, her life partner in 1930, was arrested three times, died in a camp in 1953.

• Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silencing, censorship and persecution (including a “personal” Decree Central Committee of the All-Union Communist Party(b) not canceled during her lifetime), many of her works were not published not only during the author’s lifetime, but also for more than two decades after her death. At the same time, her name was surrounded by fame among wide circles of poetry admirers, both in the USSR and in emigration, until the end of her life.

• She was born in the Odessa district of Bolshoi Fontan in the family of a hereditary nobleman, retired naval mechanical engineer A. A. Gorenko, who (after moving to the capital) became a collegiate assessor, an official for special assignments of the State Control. ] Her mother, Inna Erasmovna Stogova, was distantly related to Anna Bunina, considered the first Russian poetess.

• 1910 - married in April N. Gumileva .
• 1910-1912 - visited Paris twice, traveled around Italy. The impressions from these trips and from meeting her in Paris undoubtedly had a great influence on the poetess’s work.
• 1911- first publications under the name “Anna Akhmatova” (previously, in 1907, signed “Anna G.”

• In April 1921, the collection “Plantain” was published in a circulation of 1000 copies.
• This summer I broke up with V.K. Shileiko.
• On the night of August 3-4, Nikolai Gumilyov was arrested and then, three weeks later, executed.

• In 1922, she actually became the wife of art critic N.N. Punin.
• 22 of October 1935 - arrested and released a week later
• N. N. Punin and L. N. Gumilev.
• 1938 - son L. N. Gumilyov was arrested and sentenced to 5 years in forced labor camps.

• In 1943- Lev Gumilyov’s sentence ended in Norilsklage. His exile in the Arctic began. At the end 1944 he volunteered for the front, reached Berlin, after the war he returned to Leningrad and defended his dissertation.

• In 1958 - the collection "Poems" was published
• In 1962 - Anna Andreevna was nominated for the Nobel Prize in Literature.
• In 1964 she received the Etna-Taormina Prize in Italy.
• In 1965 he received an honorary doctorate from Oxford University.

• March 5, 1966 - died in a sanatorium in Domodedovo (Moscow region).
• On March 7, at 22:00, the All-Union Radio broadcast a message about the death of the outstanding poetess Anna Akhmatova. She was buried in the cemetery in Komarov near Leningrad.

• Either a nun or a harlot, or rather a harlot and a nun whose fornication is mixed with prayer. Such is Akhmatova with her small, narrow personal life, insignificant experiences and religious-mystical erotica . Akhmatov's poetry is completely far from the people. This is the poetry of ten thousand nobles of Russia, doomed... (From the speech of Politburo Member Andrei Zhdanov)

• “My heart is beating”, poem “I see, I see a moonbow” (music - Vladimir Evzerov performer - Aziza)
• "Culprit", poem
• “And in August the jasmine bloomed” (music - Vladimir Evzerov, performer - Valery Leontyev)
• “Dear traveler”, poem “Dear traveler, you are far away” (performer - “Surganova and Orchestra”)

• “The Gray-Eyed King” (music - Alexander Vertinsky, performer - Alexander Vertinsky)
• “Confusion” (music - David Tukhmanov, performer - Irina Allegrova)
• “I’ve lost my mind, oh strange boy” (music - Vladimir Davydenko, performer - Karina Gabriel, song from the television series "Captain's Children")
• “That night” (music by V. Evzerova
• Spanish Valery Leontyev)

• Love themes occupy one of the main places in the work of Akhmatova, who was called the Russian Sappho. Usually the poetess preferred to encrypt the recipients and heroes of her poems.

« She clasped her hands under a dark veil..."

• With a stinging hand under a dark veil..
• “Why are you pale today?...”
• - Because I have tart sadness
• Got him drunk.

• I ran away without touching the railing,
• I ran after him to the gate.

• How can I forget? He came out staggering
• The mouth twisted painfully,

• Gasping for breath, I shouted: “It’s a joke.
• All that has gone before. If you leave, I’ll die.”
• Smiled calmly and creepily
• And he told me: “Don’t stand in the wind.”

• Beginning in 1922, Anna Akhmatova's books were subject to strict censorship editing. All collections of her poems published since 1922 By 1966 gg., cannot be called fully the author's. Until 1964 she was “restricted from traveling abroad”.

• In this poem the figure of the hero is also not indicated, but literary scholars have suggested that it is connected with Akhmatova’s second husband V. Shileiko

• Before us are the heroine’s memories of her first meeting with her lover: “That’s when you approached, calm, to my porch.”
• Nature in the poem is not just a background, but a participant in events. The whole world gives the heroine a sign on how to perceive the meeting.
• And the meaning of the poem is to unravel these signs.

• The entire poem is permeated with a feeling of unusualness: “an unprecedented autumn,” lingering warmth, a shining sky. These lines seem to warn of a miracle, of good changes in fate.

• Already in the second stanza, alarming notes appear, nature changes: “the water became emerald,” “nettles smelled like roses” - changes its essence. The water put on the mask of a precious stone (it should be cloudy), the weed pretended to be a rose - something was wrong in nature.
• BESOVSKOE.

• All this is a deception. And the oxymoron “spring autumn” reminds us of this:
• The sun was like a rebel entering the capital,
• And the spring autumn caressed him so greedily,
• It seemed that the transparent snowdrop was about to turn white...
• The verb “caressed” gives a sign that it was not love that came at all, but passion. And in the last stanza the hero is debunked.

• My chest was so helplessly cold,
• But my steps were easy
• I put it on my right hand
• Glove from the left hand.
• It seemed like there were a lot of steps,
• And I knew - there are only three of them!
• Autumn whispers between the maples
• He asked: “Die with me!”

• I'm deceived by my sadness
• Changeable, evil fate."
• I answered: “Dear, dear!
• And me too. I will die with you..."
• This is the song of the last meeting
• I looked at the dark house.
• Only candles were burning in the bedroom
• Indifferent yellow fire.

• The poem is called a song, but is more reminiscent of a short story. The scene is the city.
• The time of action is a moment ago and now. There is infinity ahead.

« The memory of the sun in the heart is weakening..."

• The grass is yellower.
• The wind blows early snowflakes.
• Just barely.
• It no longer flows in narrow channels -
• The water is getting cold.
• Nothing will ever happen here -
• Oh, never!

• The willow spread out in the empty sky
• The fan is through.
• Maybe it's better that I didn't
• Your wife.
• The memory of the sun in the heart weakens.
• What is this? Dark?
• May be! Will be able to get through the night
• Winter.

• Withered grass, the first snowflakes, frozen water in the canal, bare willow branches...
• Autumn is the end of love, winter is the end of life. All in the past. Nature conveys the state of the human soul.

About the poet and poetry

"Creativity" (1936-1960)

• For her, the process of composing poetry is not shrouded in a romantic aura - it is a disease (“languor”, blood pulsating in the ears - “the chiming of the clock”):
• If only you knew what kind of rubbish
• Poems grow without shame,
• Like a yellow dandelion by the fence,
• Like burdocks and quinoa….

• Versification is often associated with the difficulty of choosing rhymes. But for Akhmatova, this is the simplest thing (“light rhymes are signal bells”). She believes that the main task of a poet is
• write your essay under the dictation of the Muse.

Slide 2

Anna Andreevna Akhmatova (surname at birth - Gorenko) is one of the largest Russian poets of the 20th century, writer, literary critic, literary critic, translator. Born on June 11, 1889 in the Odessa district of Bolshoy Fontan in the family of a hereditary nobleman], retired naval mechanical engineer Andrei Antonovich Gorenko (1848-1915), who became (after moving to the capital) a collegiate assessor, an official for special assignments of the State Control. Gorenko family: Inna Erasmovna and children Victor, Andrey, Anna, Iya. 1909 Her mother, Inna Erazmovna Stogova (1856-1930), was distantly related to Anna Bunina, considered the first Russian poetess.

Slide 3

Akhmatova recalled that she learned to read from Leo Tolstoy’s alphabet. At the age of five, listening to the teacher teach older children, she learned to speak French. Akhmatova wrote her first poem at the age of 11. She recalled: Anna Andreevna studied at the Tsarskoye Selo Mariinsky Gymnasium. In her words, “at first it’s bad, then it’s much better, but always reluctantly.” Poems began for me not with Pushkin and Lermontov, but with Derzhavin (“On the Birth of a Porphyrogenous Youth”) and Nekrasov (“Frost the Red Nose”). My mother knew these things by heart. “” In Tsarskoe Selo in 1903 she met her future husband, Nikolai Gumilyov. He was a frequent guest at the house of her friend, Valeria Sergeevna Tyulpanova. Anna's childhood passion for Gumilyov grew into love. N. Gumilev. Early 1900s, Anna Akhmatova. Evpatoria. 1905-1906.

Slide 4

In 1890 the family moved to Tsarskoe Selo. Here Akhmatova became a student at the Mariinsky Gymnasium, but spent every summer near Sevastopol, where she received the nickname “wild girl” for her courage and willfulness. In her own words: I got the nickname “wild girl” because I walked barefoot, wandered around without a hat, etc., threw myself off a boat into the open sea, swam during a storm, and sunbathed until my skin came off, and all this shocked the provincial Sevastopol young ladies. "" Remembering her childhood, the poetess wrote: My first memories are those of Tsarskoye Selo: the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where little colorful horses galloped, the old train station and something else that was later included in the “Ode of Tsarskoye Selo.” I spent every summer near Sevastopol, on the shore of Streletskaya Bay, and there I became friends with the sea. The most powerful impression of these years was the ancient Chersonesus, near which we lived. A. Akhmatova. Briefly about yourself. "" Anna Akhmatova in childhood.

Slide 5

In 1905, Inna Erasmovna, after divorcing her husband, took her children and moved to Crimea. For a whole year they lived in Yevpatoria, where Anna took the penultimate grade of the gymnasium at home. "...I yearned for Tsarskoe Selo and wrote a great many helpless poems." Since 1906, Anna lived with relatives in Kyiv, where she attended the last class of the Fundukleevskaya gymnasium, and in 1907 she entered the Higher Women's Courses. The course was university, taught by professors. But the courses were located outside the walls of the University of St. Vladimir - the government looked askance at higher education for women. Anna became a law student. The study of Latin aroused great interest. Acquaintance with ancient authors, with Latin poetry and prose, apparently, did not pass without a trace for her. The young “lawyer” willingly studied the history of law and Roman codes. I studied the first two courses with enthusiasm. Then came narrow practical subjects related to court cases, and interest faded. At the same time, she corresponded with Gumilev, who had gone to Paris, and her poem “There are many shining rings on your hand...” was first published in the Parisian Russian weekly Sirius (publisher N. Gumilev).

Slide 6

Nikolai proposed to Anna several times, but she refused, until finally, in the spring of 1910, she agreed to the marriage. Anna Gorenko and Nikolai Gumilev were married in the St. Nicholas Church in the village of Nikolskaya Slobodka near Kiev. Their honeymoon took place in Paris. After their honeymoon, Akhmatova and her husband went to Slepnevo, the Tver estate of A. I. Gumileva’s mother-in-law. After 1910, having arrived in St. Petersburg, Anna Andreevna did not return to legal disciplines, becoming a student of Raev’s Higher Historical and Literary Courses. At this time she was already writing poems that were included in her first book. Since the 1910s, Akhmatova’s active literary activity began. At this time, the aspiring poetess met Blok, Balmont, and Mayakovsky. She published her first poem under the pseudonym Anna Akhmatova at the age of twenty, and in 1912 her first collection of poems, “Evening,” was published. Anna Andreevna was always very proud of her name and even expressed this feeling in poetic lines: “At that time I was visiting the earth. I was given the name at baptism Anna, the sweetest for human lips and ears,” she wrote so proudly and solemnly about her youth. It is much less known that when the young poetess realized her destiny, it was none other than her father Andrei Antonovich who forbade her to sign her poems with the surname Gorenko. Then Anna took the surname of her great-grandmother - the Tatar princess Akhmatova.

Slide 7

Immediately after the publication of the collection “Evening,” Akhmatova and Gumilyov made a new trip, this time to Italy, and in the fall of the same 1912 they had a son, who was given the name Lev. Anna Akhmatova and Nikolai Gumilev with their son Leva. 1915 The writer Korney Chukovsky, who met Akhmatova at this time, described the poetess this way: Thin, slender, graceful, she never left her husband, the young poet N. S. Gumilyov, who then, at the first meeting, called her his student . That was the time of her first poems and extraordinary, unexpectedly noisy triumphs. " "

Slide 8

In 1917, she published the collection “The White Flock”. Mayakovsky said this about her work: In the same year, she accompanied N. Gumilyov abroad, to the Russian Expeditionary Force, and in 1918, when he returned from London to Petrograd, she finally broke off relations with Nikolai. For the last time together they went to Trinity to visit their son in Bezhetsk. They divorced in 1918. Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.” Anna Andreevna’s own opinion about the collection “The White Flock” was as follows: “Readers and critics are not fair to this book. For some reason it was believed that it was less successful than "The Rosary". This collection appeared under even more dire circumstances. Transport froze - the book could not be sent even to Moscow, it was all sold out in Petrograd. Magazines were closed, newspapers too. Therefore, unlike the Rosary, the White Flock did not have a noisy press. Hunger and devastation grew every day. Oddly enough, now all these circumstances are not taken into account. " "

Slide 9

Akhmatova’s second husband was Assyriologist, expert on the Ancient East, Vladimir Kazimirovich Shileiko. They met in the fall of 1918 at the Sheremetev Palace. At first they lived in Moscow, in 3rd Zachatievsky Lane, but soon moved to St. Petersburg, to an apartment in the Marble Palace. Gumilev came to Akhmatova and Shileiko at their home in the Marble Palace several times and brought his son with him. The fate of Akhmatova’s first husband is tragic. N. Gumilev was shot in 1921 on charges of counter-revolutionary conspiracy. Vladimir Kazimirovich Shileiko

Slide 10

In 1918, the “Workshop of Poets”, which had disintegrated during the war, was restored. Akhmatova did not join the revived “Workshop”. Acmeism was not on her way. The reasons were quite serious: the poetic positions of Akhmatova and Acmeism did not coincide from the very beginning. Akhmatova's first post-revolutionary years were marked by acute deprivation and distance from the literary environment. However, after the divorce from Shileiko, the death of Blok and the execution of Gumilyov in the fall of 1921, she returned to the “world of living people”, began to participate in literary evenings, in the work of writers’ organizations, and published in periodicals. In the same year, readers saw two more collections of her poems: “Plantain” and “AnnoDomini”. The poetess did not accept the October Revolution. For, as she wrote, “everything was plundered, sold; everything was devoured by hungry melancholy.” But she did not leave Russia, rejecting the “comforting” voices calling her to a foreign land, where many of her contemporaries found themselves. Anna Akhmatova. 1920s

Slide 11

December 1922 was marked by a new turn in Akhmatova’s personal life. She married for the third time, to art critic and museum worker Nikolai Nikolaevich Punin. In the fall of 1923, she moved in with him, in the inner (garden) wing of the Sheremetev Palace - the Fountain House, but continued to visit the Marble Palace, with Shileiko, taking care of both him and his dog. Anna Akhmatova and Nikolai Punin. 1927 In 1924, Akhmatova’s new poems were published for the last time before a many-year break. An unspoken ban was placed on her name; only translations appeared in print. On October 27, 1935, N. Punin and Lev Nikolaevich Gumilyov, Akhmatova’s son, were arrested, which is why she urgently left for Moscow. Here, on October 30, Anna Andreevna wrote, with the help of M. Bulgakov, a letter to Stalin asking for relief from the fate of her husband and son. They are released. In 1937, the NKVD was preparing materials to accuse her of counter-revolutionary activities.

Slide 12

In January 1936, Akhmatova, together with B. Pasternak, went to the USSR Prosecutor's Office with a request to mitigate the fate of the arrested O. Mandelstam. He was sent into exile for a year. On February 5 of the same year, she went to visit the Mandelstams exiled to Voronezh. At the end of May 1937, Mandelstam's exile ended, he and his wife returned to Moscow, after which Anna Andreevna immediately went to visit friends. In 1938, Akhmatova’s son was arrested again. The poems of this time, full of sorrow and suffering, made up the “Requiem” cycle. When Akhmatova wrote "Requiem", it was a requiem for "my people", the fate of which was shared by her loved ones. She recalled the terrible queue at the Leningrad Kresty prison: she had to stand there for hours, clutching a bundle with a package in her numb fingers - first for her husband, then for her son. A tragic fate united Akhmatova with hundreds of thousands of Russian women. "Requiem" - a cry, but a proud cry - became her most famous work. In the spring of 1938, Mandelstam secretly arrived in St. Petersburg, where his last meeting with Akhmatova took place. On the night of May 1-2, he was arrested. And on September 27, he died in the Vladivostok transit camp on the Second River, where he was buried, which Akhmatova learned about only at the beginning of 1939. In 1938, on September 19, she broke up with N.N. Punin, but remained to live in the same apartment, since she had no other living space. In 1939, on July 26, by the decision of a Special Meeting of the NKVD of the USSR, Lev Gumilyov was sentenced to 5 years in forced labor camps.

Slide 13

The Patriotic War found Anna Akhmatova in Leningrad. At the end of September, already during the blockade, she first flew to Moscow, and then evacuated to Tashkent, where she lived until 1944. Here the poetess felt less lonely. In the company of people close and pleasant to her - actress Faina Ranevskaya, Elena Sergeevna Bulgakova, the widow of the writer. There she learned about changes in the fate of her son. Lev Nikolaevich Gumilev asked to be sent to the front, and his request was granted. In the summer of 1944, Akhmatova returned to Leningrad. She went to the Leningrad Front to read poetry, and her creative evening at the Leningrad House of Writers was a success. In the spring of 1945, immediately after the victory, Leningrad poets, including Akhmatova, performed triumphantly in Moscow. But suddenly everything ended. On August 14, 1946, the sadly famous resolution of the CPSU Central Committee “On the magazines “Zvezda” and “Leningrad” was published, in which the work of A. Akhmatova and Zoshchenko was defined as “ideologically alien.” The general meeting of the Leningrad creative intelligentsia unanimously approved the line of the Central Committee in relation to him. And two weeks later, the Presidium of the Board of the Union of Writers of the USSR decided to “exclude Anna Akhmatova and Mikhail Zoshchenko from the Union of Soviet Writers,” thereby both writers were practically deprived of their livelihood. Akhmatova was forced to earn a living by translating, although she always believed that translating other people’s and writing your own poetry is unthinkable.

Slide 14

In 1949, one after another, N.N. Punin was arrested first on August 26, and then her son again on November 6 and the latter was sentenced to 10 years in forced labor camps. Throughout 1850, she tried to rescue her only son from the hands of Stalin’s executioners, but to no avail. Photo by L.N. Gumilyov from the investigative case (1949)

Slide 15

On January 19, 1951, at the suggestion of Al. Fadeeva Akhmatova was reinstated in the Writers' Union when Akhmatova wrote poems for Stalin's anniversary. In May of the same year she had her first myocardial infarction. While waiting for the ambulance, I smoked my last cigarette. She smoked for 30 years - since 1921. On June 27, she was already discharged from the hospital, after which Akhmatova lived with the Ardovs. In March 1952, together with Punin’s family, she was evicted from the Fountain House on the street. Red Cavalry. August 21. In 1953, Nikolai Nikolaevich Punin died in the Vorkuta camp in the village of Abez. In May 1955, the Leningrad branch of the Literary Fund allocated Anna Andreevna a country house in the writer's village of Komarovo; She called this home her “booth.” Anna Akhmatova and Viktor Ardov. Late 50s. Anna Akhmatova in her office. Late 50s.

Slide 16

In 1956, March 4, on the eve of the fateful anniversary - the death of Stalin - in the presence of L.K. Chukovskaya, Akhmatova uttered a historical phrase: A.A. Akhmatova and L.N. Gumilyov. 1960 Akhmatova’s “third glory” came after Stalin’s death and lasted about 10 years (Anna Andreevna still managed to see the beginning of a new suspicion towards her, which lasted two decades, almost to our time). On April 15, 1956, Lev Nikolaevich Gumilev returned from the camp. Now the prisoners will return, and the two Russias will look into each other’s eyes: the one that imprisoned, and the one that was imprisoned. A new era has begun. " "

Slide 17

Upon arrival in Moscow on October 28, 1958, Akhmatova learned about the troubles that had befallen B. Pasternak in connection with the nomination for the Nobel Prize of the novel “Doctor Zhivago,” published in Italy and banned in the USSR. And on October 31, Boris Pasternak was expelled from the Writers' Union by a general meeting of the writing community. At that difficult time for him, Anna Andreevna dedicated the poem “And again autumn brings down Tamerlane” to him. On May 7, 1960, having learned about Pasternak’s fatal illness, she went to Peredelkino, but the poet was in serious condition and no one was allowed to see him. On the evening of May 30, he died. The poems “The unique voice fell silent yesterday...” and “Like the daughter of blind Oedipus...” were dedicated to his memory. Boris Pasternak.

Slide 18

In the same year, on May 21, Anna Andreevna began to experience intercostal neuralgia, which was mistaken by the ambulance doctor for a myocardial infarction. With this diagnosis, she was hospitalized at the Botkin Hospital. In October 1961, Akhmatova was hospitalized in the surgical department of the First Leningrad Hospital due to an exacerbation of chronic appendicitis. And after the operation - the third myocardial infarction. I celebrated New Year 1962 in the hospital. In her autobiography, Anna Andreevna wrote: This poem can rightfully be considered one of the heights of Russian poetry. In Moscow, at the V.V. Mayakovsky Museum, on May 30, 1964, a gala evening was held dedicated to the 75th anniversary of Anna Andreevna Akhmatova. The majesty, early noted in her by everyone who met her, was reinforced in those years by her advanced age. But this was not the complete impression, partly prepared by her poems and stories about her. In communication, Anna Andreevna was unusually natural and simple. I listened willingly to poetry. I read them with pleasure. She knew how to speak frankly and sincerely. And she especially amazed me with her incomparable wit. This was not mere playfulness or a desire to amuse. This was the true acuity of the mind, deep, ironic, merciless and often sad. In 1962, I finished “Poem without a Hero,” which I wrote for twenty-two years. " "

Slide 19

On December 1, 1964, Akhmatova went to Italy to celebrate the award of the Etna-Taormina Prize, where she was given a ceremonial reception. On December 12, at the Ursino Castle, she was awarded the Etna-Taormina literary prize - for the 50th anniversary of her poetic activity and in connection with the publication in Italy of a collection of her selected works. And on December 15, Oxford University (England) decided to award Anna Andreevna Akhmatova an honorary doctorate of literature; On June 5, 1965, a solemn ceremony of vesting her in the robe of Doctor of Literature took place in London.

Slide 20

At the beginning of October 1965, Anna Andreevna’s last lifetime collection of poems and poems was published - the famous “Running of Time”. On October 19, her last public performance took place at a gala evening at the Bolshoi Theater dedicated to the 700th anniversary of Dante's birth. Severe heart disease had been sapping her strength for a long time. With strength of will, firmness, and self-control, she conquered her illness, never succumbing to it. But death was approaching her bedside, and she felt it. And I am already standing on the approaches to something, Which everyone gets, but at different prices... On this ship there is a cabin for me And the wind in the sails - and the terrible moment of Farewell to my native country. And the adjacent lines: I was on the edge of something, For which there is no true name... Inviting drowsiness, Escaping from myself... "Death" " "

Slide 21

Akhmatova’s feelings were not covered with the ashes of the past years, they did not become decrepit. And although her physical strength weakened, Anna Andreevna was full of creative ideas. First of all, she intended to complete many years of work on Pushkin’s last years. But these plans were not destined to come true. In Moscow, shortly after speaking at an evening in memory of Dante, she fell ill. This was the fourth heart attack. As always, Anna Andreevna bore her illness with full presence of mind, calmly and stoically. Friends watched the progress of the disease with excitement and anxiety. Recovery was going well. After leaving the hospital, Akhmatova spent some time in Moscow. She was transported to Domodedovo, to a convalescent sanatorium near Moscow. Anna Andreevna felt good and cheerful, and reassured her loved ones. The fatal moment came completely unexpectedly. The next morning after arriving at the sanatorium, March 5, 1966, in the presence of doctors and nurses who came to the ward to examine her and take a cardiogram, she became ill. All means available to medicine were put to use. But the efforts were in vain. Anna Akhmatova. 60s

Slide 22

The civil funeral service for her took place in the cramped premises of the Sklifosovsky Institute morgue without any prior notification. No one from the then leadership of the Writers' Union showed up. The ceremony was opened by Arseny Tarkovsky, holding back tears; Lev Ozerov spoke well. Then friends and students took Akhmatova’s ashes to Leningrad, where she was buried in the Church of St. Nicholas the Sea and buried in the cemetery in Komarov, where she spent the summer and autumn months of the last years of her life. “The people’s path will not be overgrown to her grave.” People come from St. Petersburg and Moscow and other cities to venerate the ashes of the poet, who was recognized as a classic of Russian poetry long before his death.

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