Tsvetaeva clasped her hands under her dark veil. Anna Akhmatova - She clenched her hands under a dark veil: Verse. Characteristics of lyrical heroes

A. Akhmatova is a special lyricist, a poet, endowed with the gift of penetrating into those nooks and crannies of the human soul that are hidden from prying eyes. Moreover, this soul, rich in feelings and experiences, is female. The main feature of her work is considered to be the creation of a fundamentally new love lyrics, which reveals to the reader the original character of a woman.

The poem "She squeezed her hands under a dark veil ..." was written by Akhmatova in 1911, during her early work. It was included in the first poetic collection of the poet "Evening", reflecting the ideological orientation of the book as a whole. At the beginning of her creative career, Anna Andreevna participated in the poetic association "The Workshop of Poets", recited her poems on the "tower" of Vyacheslav Ivanov, and a little later joined the acmeists. Belonging to the acmeist direction is reflected in her lyrics, especially in the collection "Evening", in which the main theme is a love drama, a clash of characters, often turning into a demonic game. Tragic motives, contrasting images, their objectivity - all this is characteristic of both acmeism in general and Akhmatova's work.

“She squeezed her hands under a dark veil ...” - a poem written by Akhmatova a year after their wedding with Nikolai Gumilyov. It does not have a dedication, but it is an ideal example of psychological lyrics, reflecting aspects of complex human relationships and personal experiences.

In 1911 - 1912. Akhmatova travels around Europe. The impressions from her trips influence the poems of her first collection, imprinting on them the imprint of disappointment and rebellion, characteristic of the romantic worldview.

Genre, size, direction

“She squeezed her hands under a dark veil ...” is a work of the lyrical genre, which is characterized by the transfer of subjective impressions and experiences, a reflection of the fullness of feelings, built on emotionality and expression.

The poem is written in an anapaest - a three-syllable poetic meter with an accent on the last syllable. Anapaest creates a special melody of the verse, giving it a rhythmic originality and dynamics. The type of rhyme is cross. Strophic division is carried out according to the traditional pattern, representing a quatrain.

Akhmatova's work falls on the first half of the 20th century, conventionally called the Silver. In the 1910s. developed a fundamentally new aesthetic concept in literature and art, called modernism. Akhmatova belonged to the acmeist movement, which became one of the main in the modernist direction. The poem “She squeezed her hands under a dark veil…” is written in the traditions of acmeism, it reflects the drama of feelings through the specifics of things, creating a subjective image based on dynamic details.

The image of the heroine

The lyrical heroine of the poem is experiencing a love drama, which she herself unwittingly leads to a tragic denouement. It is not known who is to blame for the breakup, but the heroine blames herself for the departure of her lover, noting that she “drank” the heart of her beloved with sadness, causing him pain.

The poem has a plot, because it is filled with movement, both spiritual and physical. Repenting for what happened, the heroine recalls the face and movements of her lover, full of suffering. She seeks to stop him by running down the stairs "without touching the railing". But trying to catch up with the departing love only exacerbates the pain of loss.

Having called out to the hero, she admits with all sincerity: “Everything that was a joke. If you leave, I'll die." In this impulse, she shows the full strength of her feelings, which she refuses to let go. But he dismisses the possibility of a happy ending, throwing her an insignificant phrase in response. The extinction of love relationships is inevitable, because her guilt before the hero is too great. In the final remark of her beloved, the heroine hears, though bitter, but calm indifference. The dialogue of heroes becomes, probably, the last.

The true tragedy of the images and the situation is given by the color scheme and the dynamics of the image. Events follow each other with the accuracy of frames, each of which has a detail that determines the state of the heroes. Thus, the deathly pallor of the heroine comes into contrast with the "black veil" - an ornament that symbolizes grief.

Topics and issues

The theme of the poem is undoubtedly love. Akhmatova is a master of love lyrics containing deep psychologism. Each of her poems is a brilliant composition, in which there is a place not only for personal perception, but also for the storyline.

“She squeezed her hands under a dark veil ...” - the story of the breakup of two loving people. In a small poem, Akhmatova raises a number of issues related to human relationships. The theme of parting leads the reader to the problem of forgiveness and repentance. Loving people tend to hurt each other in a quarrel with hurtful and cruel words. The consequences of such recklessness can be unpredictable, and sometimes sad. One of the reasons for the parting of the heroes is resentment, the desire to hide true feelings under the guise of indifference to the grief of another. Indifference in love is one of the problems of the poem.

Meaning

The poem reflects the impossibility of finding happiness and love harmony where misunderstanding and resentment reign. The insult inflicted by a loved one is experienced the hardest, and mental stress leads to fatigue and indifference. Akhmatova's main idea is to show the fragility of the love world, which can be destroyed with just one wrong or rude word. The inevitability of a tragic denouement leads the reader to the idea that love is always the acceptance of another, and hence forgiveness, the rejection of selfishness and ostentatious indifference.

The poetess, who became one of the symbols of her generation, for the first time showed the universal character of women's feelings, their fullness, strength and such dissimilarity to the motives and problems of male lyrics.

The poem "She squeezed her hands ...", like many other works by Anna Akhmatova, is dedicated to the difficult relationship between a woman and a man. In this essay, a detailed analysis of this penetrating poem will be carried out. It tells about the fact that a woman who offended her lover and decided to part with him suddenly changed her mind (and this is the whole female nature, isn't it ?!). She runs after him and asks him to stay, but he only calmly replies, "Don't stand in the wind." This leads a woman to a state of despair, depression, she feels incredible pain from parting ...

The heroine of the poem is a strong and proud woman, she does not sob and does not show her emotions too violently, her intense feelings can only be understood by her hands clenched "under a dark veil". But when she realizes that she can really lose a loved one, she runs after him, "without touching the railing." It is worth noting that the heroine's lover also has a no less proud and self-sufficient character, he does not respond to her cry that she will die without him, and answers briefly and coldly. The essence of the whole poem is that two people with a difficult character cannot be together, pride, their own principles, etc. interfere with them. They are both close and on opposite sides of the endless abyss... Their confusion is conveyed in the poem not by a long conversation, but by actions and brief remarks. But, despite this, the reader can immediately reproduce in his imagination the complete picture.

The poetess was able to convey all the drama and depth of the characters' experiences in just twelve lines. The poem was created according to all the canons of Russian poetry, it is logically completed, although laconic. The composition of the poem is a dialogue that begins with the question "Why are you pale today?". The last stanza is the climax and at the same time the denouement, the hero's answer is calm and at the same time mortally offended by his everyday life. The poem is filled with expressive epithets ( "bitter sadness"), metaphors ( "I got drunk with sadness"), antitheses ( "dark" - "pale", "shouted out of breath" - "smiled calmly and creepily"). The size of the poem is a three-foot anapaest.

Undoubtedly, after analyzing “She clenched her hands ...”, you will want to study essays based on other poems by Akhmatova:

• "Requiem", analysis of Akhmatova's poem
• "Courage", analysis of Akhmatova's poem
• "The Gray-Eyed King", analysis of Akhmatova's poem
• "Twenty first. Night. Monday", analysis of Akhmatova's poem
• "Garden", analysis of the poem by Anna Akhmatova
• "Song of the last meeting", analysis of Akhmatova's poem

Anna Akhmatova is not only a brilliant poet, but also a researcher of the relationship between men and women. The heroes of her poems have inner strength, like the poetess herself. The poem that will be discussed is studied in grade 11. We suggest that you familiarize yourself with a brief analysis of “Clenched her hands under a dark veil” according to the plan.

Brief analysis

History of creation- was written in 1911 (an early period of creativity), when the poet joined herself in marriage with N. Gumilyov.

Theme of the poem- Breaking the relationship of people in love.

Composition- The work can be conditionally divided into 2 parts: the woman's story about what she felt when she watched the departure of her beloved and a concise reproduction of the last minutes of parting. Formally, the poem consists of three quatrains, which gradually reveal the theme.

Genre- elegy.

Poetic size- three-foot anapaest, cross rhyme ABAB.

Metaphors – “I made him drunk with tart sadness”, “my mouth twisted painfully”,

epithets – "dark veil", "you are pale today."

History of creation

Despite the fact that at the time of the creation of the verse, Anna Akhmatova had been married to Nikolai Gumilyov for a year, researchers believe that the history of its creation was not connected with these relationships. The verse reveals the problem of parting, and the couple lived together for almost ten years. The work was written in 1911, so it belongs to the early period of creativity.

The marriage of Gumilyov and Akhmatova cannot be called happy, but the poetess never cheated on her husband, so it cannot be assumed that any particular man is hiding behind the lines. Most likely, this poem and its hero are a figment of the poet's imagination. It seems that, pouring out her feelings on paper, she was preparing for parting in order to be proud and strong at the same time.

Subject

In the center of the poem is the problem of a break in relations, traditional for love literature. Akhmatova reproduces it from the point of view of an abandoned woman, who is the lyrical heroine. To reveal the theme, the poetess submits only a few scenes from a quarrel between lovers. Her attention is focused on the details: gestures, facial expressions of the characters.

In the first line, the author talks about hands clenched under a dark veil. The gesture, at first glance, is concise, but in fact it says a lot. Only five words suggest that a woman is suffering, feels emotional stress, she is in pain. However, she does not want to give away her feelings, so she hides her hands under the veil. In the second line, an unknown interlocutor appears who is interested in why the heroine turned pale. Paleness, by the way, also indicates that the woman experienced something bad. The next lines are the story of the lyrical heroine about her misfortune. They are written in the first person.

The woman admits that she herself is to blame for what happened: “she made him drunk with tart sadness.” Apparently, a quarrel broke out between the lovers, which hurt the man very much. This is evidenced by his gait and his mouth twisted from torment. The heroine forgot about her pride for a moment and quickly ran to the gate.

The scene at the gate hurt her now. The woman tried to correct her mistake, referred to a joke, but did not convince her beloved. Even the eternal argument: "If you leave, I'll die" did not stop him. The chosen one of the lyrical heroine, apparently, was as strong as she was, as he managed to control himself when a storm raged inside. His response is unusually calm and cold. The only thing that indicates his real feelings is a note of care in the last words.

The analyzed work implements the idea that you need to take care of your feelings, because any careless word or stupid deed can destroy what has been built over the years.

Composition

The work of A. Akhmatova is divided into two parts: a description of the “chase” for a loved one after a quarrel and a reproduction of the last conversation before his departure. The verse begins with a short introduction, which brings the reader to further events. Direct speech is used to convey all the details in the text. The poetess also introduces a secondary image of an invisible interlocutor.

Genre

The genre of the work can be defined as an elegy, as it has a pronounced sad mood. There are also signs of plot lyrics in the verse: it is possible to single out all the elements of the plot in it. Poetic size - iambic trimeter. A. Akhmatova used cross rhyming ABAB, male and female rhymes.

means of expression

The inner state of the lyrical heroine is conveyed through artistic means. They also serve to develop the plot, the original disclosure of the topic and convey the idea to the reader. The text contains several metaphors: “tart sadness made him drunk”, “the mouth twisted painfully”. They give an artistic appearance to an ordinary quarrel. The picture is completed epithets: "dark veil", "smiled calmly and creepily." The poetess does not use comparisons.

The psychological state is also transmitted through intonation. Akhmatova uses interrogative sentences, including rhetorical ones, broken syntactic constructions. Alliteration gives expressiveness to some lines. For example, in the first verse, the author strings words with the consonants "zh", "z", "s", "sh", "h": "How can I forget? He came out staggering, his mouth twisted painfully ... ".

Poem Test

Analysis Rating

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“She squeezed her hands under a dark veil...” (1911)

The collection "Evening" opened with a poem, in the title co-|<>horn was designated its main theme - "Love". Waiting for feelings, moments of meeting, separation, memories - experiences that fulfill the inner world of the lyrical heroine Akhmatova. Each of them is subjective, chamber and at the same time unusually shachim, as it awakens the soul to life:

It will flash in the bright hoarfrost, It will seem like a left-handed man in a slumber ... But faithfully and secretly leads Or joy and peace ...

("Love", 1911)

The poem “She clenched her hands under a dark veil...” is one of the first in the collection of miniatures, in which episodes of the life and love of the heroine are described in detail. Their specifics are reminiscent of diary entries (“Hands turned cold in a fluffy muff ...”, “Forgotten on the table / / Whip and glove ...”, “Three struck in the dining room ...”, “I lost my mind, oh strange boy , / / ​​On Wednesday, at three o'clock! .. ”,“ I made a glove on my right hand / / A glove from my left hand ..."). This poem also begins with such a detail: "She clenched her hands under a dark veil ..."

Key details carry a double meaning: they not only fix the situation, but also convey the psychological mood of the lyrical heroine, the reflection of which is the artistic goal of the poem. So, in this miniature, love appears as a tragic experience, full of insoluble contradictions (“... If you leave, I will die” - “... I got him drunk with tart sadness / / I got him drunk”, “He came out, staggering” - “He smiled calmly .. ."). It fills the inner world of the characters, their features testify to it (“Why are you pale today?”, “The mouth is twisted painfully ...”). But it does not bring happiness, since each of the lovers is not sewn I shout to my beloved (“Suffocating, I shouted:“ A joke / / everything that happened ... ”), to achieve understanding, sympathy. Psychological experience, thanks to the depiction of a dramatic episode, acquires a generalized meaning: the poem reflects not a momentary mood, but the eternal tragedy of the flight separation of people.

Figurative antitheses also find correspondence at the level of phonics, the instrumentation of the poem is based on the alliterative sounds "r" - "l":

How can I forget? He walked out, staggering. His mouth twisted painfully... I ran away without touching the railing, I ran after the first one to the gate.

Two sonorous sounds contrasting in emotional coloring permeate all three stanzas, creating the impression of swaying scales, leaning either to a smooth, melancholic "l" (which is especially noticeable in the rhymes of the first stanza: "veil" - "sadness"), then to a rolling, disturbing " R". Rhymes with “r” (“I will die”, “in the wind”) crown the poem, emphasizing the tragic hopelessness in the mood of the lyrical heroine.

(the first version of "When in anguish of suicide ..."-1917, final text-1921)

The events of 1917 became for Akhmatova a new "bitter" milestone in the history of the country. One of the first she saw the beginning of "terrible circumstances" already in the February revolution ( Briefly about yourself. 1965). Being at that time in Petrograd, she, despite the shooting, walked around the city, watching what was happening and absorbing new impressions. In her posture, modernity appeared as a “Troubled and disturbing hour”, when the country continued to live, “as under Catherine”, “bored on the islands” and in the theater, forgetting how, “their frightened groans, / / ​​The crowd is rushing about in deathly anguish "("In every day there is such a ...", "The river flows slowly through the valley ...", "Now goodbye, the capital ...", "And the whole day, frightened by their groans ..." - all 1917. ).

In September 1917, Akhmatova's third collection, The White Flock, was released. Recalling the time when he appeared, Akhmatova wrote in her autobiography: “Transport froze - the book could not even be sent to Moscow ... Magazines were closed, newspapers too ... Hunger and devastation grew every day” (“Briefly About Myself”) . The poems included in her subsequent books (“Plantain”, 1921; “Anno domini” (“In the summer of the Lord”), 1921-1922) reflected the changes in the author’s worldview caused by “the pain of defeat and insults”, and at the same time confirmed the inner regularity of the poet's path.

In the lyrical heroine of the poem “I had a voice. He called consolingly...” one can see a new incarnation of Pushkin’s “prophet”. Again, as in the early miniature "A dark-skinned youth wandered along the alleys ...", "a century" separates the poets. In 1817, the ode “Liberty” was written, which, as a source of reminiscence, is indicated by the eight-line in the first stanza of Akhmatova’s poem, repeating (inaccurately) Pushkin’s stanza, and the size of both works (iambic four-foot), and similarities in some supporting images. The image of "shame" in Pushkin's ode is repeated twice:

Domineering villain! I hate you, your throne...

You are the horror of the world, the shame of nature...

O shame! oh the horror of our days! The Janissaries invaded like beasts!.. Infamous blows will fall... The crowned villain perished...

In A. Akhmatova, this is one of the important concepts in the characterization of modern Russia:

I will wash the blood from your hands, I will take out the black shame from your heart...

Thanks to Pushkin's reminiscence, it becomes clear what has become the new "horror of our days", the "shame of nature". In the ode "Liberty" for the lyrical hero, both "tyrant" and "murderers", violence "on thrones" and in folk "storms" are equally unacceptable, followed by "Klia's terrible voice" (the muse of history), broadcasting new " slavery". The revolution is included in the chain of the tragic misfortunes of Russia, its "defeats and insults", repeated by living inevitability and causing a desire to "leave" this world, this unfortunate country "forever".

The “voice”, bringing consolation, “called” to leave Russia, turning into a desert, “deaf land”, promising to give a “new name” to the lyrical heroine. She finds herself at a “crossroads”, like the hero of another Pushkin poem, who saw “in the gloomy desert” the appearance of the “six-winged seraphim” and heard the “voice of God”, giving him the “new name” of the prophet:

“Arise, prophet, and see, and listen, Fulfill my will And, bypassing the seas and lands, Burn the hearts of people with the verb.”

("The Prophet", 1826)

The lyrical heroine of A. Akhmatova hears not “God’s voice”, but “an unworthy speech”, the “voice” of a tempter calling to “desecrate” himself with betrayal, to leave Russia in “blood”, in sin, after “defeat” in another historical battle. The "grievances" of the lyrical heroine are inseparable from the troubles of "their region", they will not be quenched by oblivion. These “sad lines”, as in Pushkin’s “Memories” (1828), cannot be “washed away” either with tears or with time, cannot be “covered” with a “new name”, especially since in the context of Akhmatov’s poem this is the name of Judas.

Pushkin's "prophet", thanks to a miraculous transformation, "in the gloomy desert" heard "noise and ringing", learned that only a "wise", fiery word can find an echo in the "hearts of people." The "prophet", not finding understanding among the "neighbors", returned to the "desert", where all the "creature ... earthly", Keeping the "eternal covenant", is "obedient" to him. For the lyrical heroine A. Akhmatova, as well as for the Pushkin hero, the desert is filled with suffering and life, she has a “name”, a history in which contemporaries participate, whose “mournful spirit” is a legacy of the past. Consciousness of one's role as followers of the tradition gives peace of mind in trials, prophetic knowledge of the future.

The reminiscent background, the solemn rhythmic of iambic tetrameter complement the odic intonation of the poem. The chanting of steadfastness, courage, dignity, fidelity is the answer to both the temptation and the historical question about the fate of Russia. The "sorrowful circumstances" are opposed by the Russian national character, the "sorrowful spirit", invincible by the outside world.

“I am not with those who abandoned the earth...” (1922)

In the poems of A. Akhmatova of the post-revolutionary years, the motive of being chosen, the exaltation of those whom: In the bloody circle, day and night, Cruel languor is filled with more and more Estimated ...

("Petrograd, 1919")

Above them is the “Black Death... wing”, around “Everything is plundered, betrayed, sold”: “collapsed dirty houses”, “hungry longing”, but it is they (“us”) who are destined to see the “wonderful”, “unprecedented”, “desired from the ages” light (“Everything is plundered, betrayed, Sold ...”, 1921).

Particularly tragic to the attitude of A. Akhmatova during this period Gives a difficult personal experience - on August 25, 1921, he was shot on charges of counter-revolutionary activities. Despite the fact that their marriage ended in divorce in 1918, the image of a “friend”, “sweetheart” in the lyrics of A. Akhmatova throughout her career was often based on the Personality of her first husband. Conscious of his importance as a poet, all her life she was engaged in biographical and historical-literary studies related to his work.

In the poem “I am not with those who left the earth...”, the image of the motherland is created in “bloody”, “black” tones: “deaf child of fire”, death, “blows”. But "dark" is the road of those "who abandoned the earth." The motive of Their guilt is strengthened: they left her "to be torn to pieces by enemies." But the lyrical heroine does not feel anger towards them, but pity:

Forever I pity the exile, Like a prisoner, like a sick man.

"Wanderers" remain alone in the "foreign" land and fall out of the chain of generations that create Russian history. They are doomed to oblivion "in the assessment of the later", and in the present their life is bitter,

Like "wormwood".

The lyrical heroine "not with those ... who left the earth", she

remains

Here, in the dark haze of the fire

Losing the rest of my youth...

In this choice - following the concept that is expressed in Tyutchev's "Cicero" (1830) - a poem, reminiscences from which were characteristic in the post-revolutionary period for a variety of authors. Few, like A. Akhmatova, saw in the "terrible circumstances" of the revolution "high spectacles", a "feast" of the gods, to which the "all-good" "summoned" the one "who visited this world / / In its fatal moments." The lyrical heroine of Akhmatov's poem, without deviating from herself "a single blow" of fate, becomes a participant in a tragedy full of high passions and self-sacrifice. However, the style of the poem is different than that of Tyutchev: there is no poeticization in figurativeness, there is no odic solemnity in intonation, reduced, everyday, “rough” vocabulary is used (“thrown the ground”, “rude flattery”, “pathetic ...// As a prisoner, like a sick person”, “foreign bread”). In the compositional construction, the author's desire to “remove” the tragic pathos is also manifested. In the first and third stanzas polar positions are characterized, each of which is a reflection of the tragedy of time, and in the second and fourth stanzas the tension is removed. The tragedy has become a daily reality. And her heroes are no longer Tyutchev's "interlocutors" of the gods, "spectators" of their "council", similar to the "celestials", but people whose "remainder of youth" fell on "fatal minutes". The image became more concrete, epic content appeared in it, a reflection of real features and events. At the same time, lyrical "songs" become that divine "chalice" from which they, following Tyutchev's heroes, drink "immortality":

And we know that every hour will be justified in the later evaluation... But there are no people in the world more tearless, haughtier and simpler than us.

In the patriotic lyrics of Akhmatova, the adherence to the two trends that are presented in the poems of the post-revolutionary years continues to be preserved - the understanding of what is happening as a tragedy that requires heroism, courage and high thoughts from contemporaries, and the desire to express love for the motherland in "simple", real images.

"Courage" (1942)

The Great Patriotic War found Akhmatova in Leningrad. After some time, she was evacuated to Moscow, then to Tashkent. In 1944 she returned to the destroyed Leningrad. During the war, Akhmatova recalled: “Like other poets, she often performed in hospitals, recited poems to wounded soldiers.”

The poem "Courage" was included in the cycle "Wind of War" (1941 - 1945). The cycle has a rich emotional palette - from everyday sketches to the folk "oath" and funeral lamentation. In the image of the lyrical heroine, the most important characteristic is her unity with the people, with the history of the country:

We swear to children, we swear to graves, That no one will force us to submit! (" Oath", 1941)

She personifies the soul of the motherland, for her there are “Neither bad, nor good, nor average”, everything is “detonki”, in everyone she sees her child." At the same time, a generalized view of events is combined with a very personal feeling of pain:

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,

And shout all your names to the whole world! (“And you, my friends of the last call ...”, 1942)

The poem "Courage" is a hymn to the fortitude of those who, being captured by the historical wave, have not lost their idea of ​​true, timeless values. For the “great Russian word”, the people are ready to pay the highest price - to be left homeless, “to lie dead under the bullets”, since this concept expresses the essence of the national soul, which contemporaries of great events must pass on to their “grandchildren” as “free and pure” as received from ancestors:

It's not scary to lie down dead under the bullets, It's not bitter to be homeless, And we will keep you, Russian speech, the Great Russian word ... We will carry you free and clean, And we will give you to your grandchildren, and we will save you from captivity ...

The affirmation is sealed with a final chord, reminiscent of the end of a prayer: “Forever!” The struggle of “mortal hearts” appears eternal both in Akhmatova and in the poem, which is a reminiscent background for “Courage”, in “Two Voices” (1850) by Tyutchev. The rhythm already reminds of him - all the odd and tenth lines of Akhmatov's poem are written in four-foot amphibrach, like Tyutchev's.

But the most important thing is the thematic and figurative proximity. In Tyutchev's poem, two "voices" arguing with each other are heard, one of which opposes the earthly view of people's lives ("There is no victory for them, there is an end for them") the romantic exaltation of "inflexible hearts":

Who, fighting, fell, defeated only by Fate, He snatched the victorious crown from their hands.

A. Akhmatova, creating the image of the "hour of courage", was based on Tyutchev's appeal addressed to all "mortals":

Take courage, O friend, fight diligently, Though the fight is unequal...

No matter how hard the fight...

A. Akhmatova's image of courage has a specific characteristic, it is closely connected with the present, it glorifies the selflessness of the defenders of the motherland and the great values ​​of the national spirit. In contrast to the invocative, instructive intonation of Tyutchev's "voice", the lyrical heroine of Akhmatov's poem feels like one of those "performing" a feat, entering into a "battle", creating the fate of her fatherland. This determines the form of the oath in the first person:

We know what is now on the scales And what is happening now. The hour of courage has struck on our watch, And courage will not leave us...

Due to the fact that the heroine does not express a philosophical conclusion, but a personal feeling that makes her related to the whole people, the image acquires a realistic sound, like the heroic pathos of the oath. The promise to “preserve” the Russian word, to “save” the motherland is not a romantic exaggeration, it comes from the depths of the national spirit, its significance is confirmed by thought. The motive of history is embodied in an appeal to the future (“grandchildren, to eternity. The final exclamation (“Forever!”), forming a one-foot line in the free amphibrach of the poem, due to rhythmic expectation, it is repeated in the mind of the reader, strengthening the affirmative intonation, prolonging the sound of the stanza and setting its projection to infinity.

"Seaside Sonnet" (1958)

The 1950s is the time to sum up the results of the long and fruitful life of the poet, so rare in Russian literature. Akhmatova, concluding her autobiography, wrote: “I did not stop writing poetry. For me, they are my connection with time...” This applies primarily to patriotic lyrics, to the awareness of one's place in the development of a national character. But the sense of time in the lyrical heroine A. Akhmatova is special - she lives not only in the present, but also in history, and in eternity. In this regard, summing up, she perceives her earthly existence as a stage in the world

"Primorsky Sonnet" was included in the unpublished collection "Odd" (1936-1946), which later became one of the sections of the "Seventh Book". The poem embodies such a solid form as a French-type sonnet. His lyrical heroine unusually acutely feels the temporality, instantaneity of her life:

Everything here will outlive me

Everything, even dilapidated starlings ...

"Spring air" also evokes thoughts about the near end, about the impossibility of a new "spring", about the irreversibility of time for a person. The heroine hears the "voice of eternity", sounding "with the irresistibility of otherworldly". The focus on the thought of death puts the poem by A. Akhmatova on a par with the thoughts of the lyrical hero in the poems of the late 1820s and 1830s, including the elegy “Do I wander along the noisy streets ...” (also written in iambic tetrameter , 1829). In the sonnet, just as in the elegy, a chain of antitheses is built, expressing the opposite of life and death. The flowering and radiance of life (“blooming cherry”, \ “Shine light moon pours”) Akhmatova is given the central

place, in contrast to the aspirations of the lyrical hero AC. Pushkin in every sign of life "guess" "the coming death anniversary". The phonic originality of Pushkin's elegy is built on the assonant sound "y", which already from the first stanza, when it is unclear

Do I wander along the noisy streets, Do I enter a crowded temple, Do I sit among the insane youths, - I indulge in my dreams ... Such sound symbolism is noticeable in the future: I say: the years will fly by ...

I look at the solitary oak ...

And though it is equal to an insensible body to rot everywhere...

And indifferent nature...

The contrast to such a minor tonic is the confluence of vowels in the last line (in the text of the remaining stanzas they are not underlined by the corresponding vocabulary): “Shine with eternal beauty.”

In Akhmatova, they appear at the very beginning of the sonnet, and in the second stanza, a figurative and phonic reminiscence of the last line of Pushkin's elegy is used:

For Akhmatov's lyrical heroine, death is the road to eternity, and she "seems so easy", "white", "bright". It is one for everyone, and on it you can meet the most dear, cherished, here

Everything looks like an alley near the Tsarskoye Selo pond.

On one of those alleys along which the “dark-skinned youth” “wandered” in a poem written by Akhmatova forty-seven years before. Thus, several time layers intersected in the sonnet: the youth and maturity of the poets, the “hour” that they reflected on in poems, the future that their descendants will see, looking at the mute witnesses of their earthly existence (“... the patriarch of the forests / / will outlive my age oblivious…”; “Everything here will outlive me,//Everything, even old starlings…”). Events in all "ages" develop in parallel, like the plots of different writers who become the same age and contemporaries of the reader. Therefore, for the heroine Akhmatova, life is equally beautiful (“the thicket of emerald”) and the “insurmountability of unearthly” eternity, which seems “even brighter” as it approaches. Following Pushkin, she, freeing herself from the accidental, superficial, strives to be “closer to the sweet limit”, leaving “everything” external in the earthly world, to bring the most expensive to the “Tsarskoye Selo Pond”.

"Native Land" (1961)

The epigraph (the last two lines from the poem "Not with those and who left the earth ...") returns to the events and moods of forty years ago. Remembering again "those who abandoned the land", the lyrical heroine argues with how the emigrants determined the reasons for leaving. Constant for them was the exaltation of their choice as the rejection of their homeland for the sake of freedom.

In the same 1961, a book by one of the "junior" acmeists, "The Contribution of the Russian Emigration to World Culture", was published in Paris. In exile, Adamovich became the head of the "Paris school" of Russian poets, one of the most famous critics. Comparing the literary process in Russia and abroad, he wrote: “Of course, we have no more talents in emigration. But our personal creative responsibility remained inviolable - the life-giving condition of any spiritual creation - we retained the right to choose, doubt and search, and therefore in some areas we were really destined to represent that Russia, whose voice on our native land had been for forty years. has been muffled for over a year."

The lyrical heroine of Akhmatova, on the contrary, understands freedom as a sense of unity with the people and the country. For her, the motherland is “not involved in anything”, is not to blame for the disasters of people, she herself “is absent” along with them. The poet's freedom is inseparable from a sense of duty: he can write poems about her only by seeing what is happening from the inside. To confirm his idea, the author uses a number of reminiscences from classical examples of Russian civic and patriotic lyrics. The compositional construction of the poem is similar to Lermontov's Motherland (1841). A. Akhmatova's first octet, like Lermontov's opening stanza, is dedicated to refuting the usual understanding of patriotism:

We don’t carry it on our chests in treasured amulets, We don’t compose verses sobbingly about her, She doesn’t stir our bitter sleep, It doesn’t seem like a promised paradise ...

Here they live, "ill, in poverty", resting from worries in a "bitter dream", not believing in illusions, "not even remembering" their native land. The lyrical heroine, like the whole people with whom she feels her unity (“we”), is related to her by everyday reality, she herself

Yes, for us it is dirt on galoshes, Yes, for us it is a crunch on the teeth ...

The realistic specificity of the image of Russia evokes associations with lyrics. The impression is strengthened by rhythmic echoes: the use of six-foot lines in the free iambic first octist line by A. Akhmatova brings to mind Nekrasov’s “Motherland” (1846) and “Elegy” (1874), in which, in turn, Pushkin’s reminiscences are visible (primarily from “The Village”, --1819). The analogy with the tragic pathos of the Elegy is important for understanding how Akhmatova embodies the theme of poetry. Similar to her, the poet's life appears as a battle for the "worthy" ideals of people's happiness. The artist is obliged to share the fate of his country, not thinking of making it "in his soul / an object of purchase and sale." Again, his "incorruptible voice" should become "an echo ... of the people":

Love and secret freedom Inspired the heart with a simple hymn, And my incorruptible voice Was the echo of the Russian people.

(. *KN, Ya. Pluskova, 1818)

Akhmatov's "simple hymn", built on "not composed" images (their reality was emphasized by the interjection "yes" in the ninth and tenth lines), ended with a philosophical generalization. The thirteenth line began with the union "but", since the final thought, in its sublime tone, contradicted the deliberate reduction of the preceding details. The lyrical development of the image of the “native land” gave a special poignancy to the assertion of the correctness of those who did not “leave” the country in order to “become” its history:

But we lay down in it and become it,

That is why we call it so freely - ours.

The semantic diversity is emphasized by rhythmic polymetry. The first eight lines, which describe the "strange love" for the motherland (Lermontov, "Motherland"), are written in free iambic. It is replaced by a three-foot anapaest in a quatrain, in which, from the denial of the usual signs of patriotism (“We don’t wear it on our chests,” “we don’t compose,” “we don’t even remember”), the lyrical heroine moves on to characterizing the features of her “native land” that are important for her (“Yes, for us it is..."). The final couplet (four-foot anapaest) is the semantic peak of the poem, which differs sharply in intonation. Such an intonation difference is also distinguished by a number of poems (“Whatever the year, the strength decreases ...”, 1861; “The heart is breaking from flour ...”, 1863), in which the poet, “stunned” by the sounds of “Drums, chains, axes” , only by the power of lyrical "providence" represented the "golden spring" over the "fatherland", wherever

In the space of freedom

Everything merged into the harmony of life ...

(“Heart breaks from flour ...”)

A century later, Akhmatova, rejecting such a departure from reality, found within her grounds for the elevation of man. The era that called the poet's contemporaries "tearless, / / ​​Haughty and showed their fortitude. Not expecting the "promised paradise", rewards, imperishability, realizing that everything will be mixed up in the "ashes" of history, they Ni poetize their fate, do not complain, do not compose "poems" about it, but find the highest manifestation of freedom in selflessness, seeing their property in calling "one's own" "native land".

The poem "I learned to live simply, wisely ..."

Akhmatova’s poetic phenomenon is not limited to her own ironic confession: “I taught women to speak...” In Akhmatova’s lyrics, we understand and understand not only the vivid experiences of the female heart, but also the poet’s deep patriotic feelings, who lived through the tragic events of the twentieth century together with his people. The lyrics “I am Akhmatova are philosophical and genetically connected with Russian

classics, especially with Pushkin. All this allows

speak of her as one of the best poets of the twentieth century.

The poem “I learned to live simply, wisely ...” reminds us of a young poetess who has just published her first collections “Evening” (1912) and “Rosary” (1914), which found approving reviews from experts and the favor of a discerning reader. The unexpected metamorphoses of the lyrical heroine, her variability, the authenticity and drama of her experiences, the poetic skill of the author of these books attract us even now.

The Rosary, devoted mainly to the theme of love, opens with an epigraph from Baratynsky:

Forgive me forever! but know

That two guilty

Not one, there are names

In my poems, in love stories.

Reading the poems of the cycle, you notice that in many of them, in addition to the lyrical heroine, whose appearance changes, there is also a lyrical addressee: the lyrical “I” and the lyrical “you”. The poem "I learned ..." is perceived as a lyrical narration of the heroine, the starting point of which is "I", and the ending point is "you".

The first verse sounds like the statement of the lyrical heroine (“I”), emphasized by the form of the verb and convincing in my aphorism. The lyrical "you" will appear in the last, I it stanza and sound in the context of the assumption:

which will emphasize the psychological depth of the experiences of the Lyrical heroine and give a new shade to her "I".

This sets off the significance and constancy of the actions and states they denote. The 1st stanza of the poem is one complex sentence, the main part of which is very common and built on the principle of syntactic parallelism, enhanced by gradation (simply, wisely) which emphasizes the tone of the statement. However, the stressed “and” in the words “learned”, “live”, “pray”, “wear out” introduces some kind of piercing note, which somewhat contrasts with the very content of the assertion that a cure for love has been found. The word "love" is not uttered, here is a kind of "default figure", the meaning of which is hinted at by a striking metaphor "to tire unnecessary anxiety." The lyrical heroine appears before us strong, proud, but at the same time lonely and suffering. Her spiritual world is rich, she strives for a simple and righteous life (“just live wisely”, “pray to God”) and this is close to the author - Anna Akhmatova.

The 2nd stanza opens up new aspects of the image of the lyrical heroine, strengthening her connection with the author. The motif of an evening walk, continuing to sound, is first filled with mystery, thanks to the sound writing (“rustling ... burdocks”); then the brightness of sound and colors intensifies (a cluster of yellow-red mountain ash), and “unnecessary anxiety” gives rise to a creative impulse: the lyrical heroine turns out to be a poet. She really learned to “live wisely,” for “merry,” that is, life-affirming, verses are composed about “mortal life.” The amazing melodiousness of the verse is achieved by inversion and some special purity of sound:

I compose funny poems

About life perishable, perishable and beautiful.

All imperfective verbs are used in the present tense, and the composition of poetry is perceived not only | as the result of an anxious spiritual languor, a humble acceptance of God's world as corruptible and beautiful, but as a process internally, deeply connected with this world. Suddenly, an implicit lyrical motif of autumn appears. Heavy. the bunch of ripe mountain ash “droops”, and the burdocks “rustle”, perhaps because they have dried up. The epithet “perishable” in combination with an autumn motif evokes associations with Tyutchev (“How sweet withering!..”) and Pushkin (“I love the magnificent withering of nature ...”), inscribing Akhmatov’s poem in the context of Russian philosophical lyrics. The antithesis of "life perishable and beautiful" reinforces this feeling.

The significance of the 2nd stanza, the density of its poetic "substance" is multiplied by an unexpected and vivid rhyme: "burdocks are poems", which has a deep meaning.

Burdocks in a ravine and a brush of mountain ash - reproduced by the author in accordance with the Acmeist requirement of "beautiful clarity" (M. Kuzmin)- details of the rural landscape. Slepnev's impressions, "the meager land of Tver" became the most important motif of the Rosary collection, convincingly developed in later lyrics. On the other hand, the famous "burdocks" are part of that "rubbish" from which, in the words of Akhmatova, "verses grow without shame." Thus, it becomes obvious that the poet's creative creed took shape already in the period of the Rosary.

After the 2nd stanza, an intonation break occurs.
High style (“I compose”, “perishable”, “beautiful”) is replaced by a simple syllable. The return from the world of poetry is as natural as the departure into it. The appearance of a fluffy cat" seems to bring a feeling of home comfort and tranquility, enhanced by alliteration ("the face - the palm - purrs affectionately"), but the isolation of the space by the protective walls of the house does not arise. Bright fire "on the tower of the lake sawmill" like a beacon

For those who have lost their way, and the sharp cry of a stork - a bird symbolizing home, family, creates an alarming background for the expectation of an event. At the sound level, it is expressed by the alternation of the sounds “sh” - “zr” - “pr” - “sh” - “kr” - “sh” - (“Only occasionally does the cry of a stork cut through the silence ...”)

The ending of the poem is unexpected:

And if you knock on my door, it seems to me that I won't even hear, -

And justified at the same time. The psychological subtext of these verses is evident, thanks to the amplification of the expression "it seems to me", an amplifying particle, an assonance ("it seems I even"). The lyrical heroine (of that sudden knock on the door, listening to the silence, peering into the distant light.

The poem "I learned ..." is one of the best in the lyrics of early Akhmatova. It is deep in content and perfect in form. The strength of feeling and the significance of the experiences of the lyrical heroine are depicted by the poetess with the skill of a great artist. The poetic language of the poem is concise, devoid of pretentiousness and complex symbolism. This is the so-called "spoken verse", focused on female colloquial speech. At first glance, this style will imprint the canons of acmeism, the declaration of “joyful admiration of being” (N. Gumilyov). However, acmeism sank into oblivion, and Akhmatova continued to "live wisely" and compose poems about life "perishable and beautiful."

The first noisy success did not portend Akhmatova's cloudless creative path. She had experienced both persecution and oblivion. Real fame came to her after her death. Anna Akhmatova has become a favorite poet of many art lovers both in Russia and abroad.

The poem “She squeezed her hands under a dark veil ...” refers to the early work of A.A. Akhmatova. It was written in 1911 and was included in the collection "Evening". The work belongs to intimate lyrics. Its main theme is love, the feelings experienced by the heroine when parting with a person dear to her.
The poem opens with a characteristic detail, a certain gesture of the lyrical heroine: "She clenched her hands under a dark veil." This image of the "dark veil" sets the tone for the entire poem. Akhmatova's plot is given only in its infancy, it is incomplete, we do not know the history of the relationship between the characters, the reason for their quarrel, parting. The heroine speaks of this in semi-hints, metaphorically. This whole love story is hidden from the reader in the same way as the heroine is hidden under the "dark veil". At the same time, her characteristic gesture (“She squeezed her hands ...”) conveys the depth of her experiences, the sharpness of her feelings. Also here we can note the peculiar psychologism of Akhmatova: her feelings are revealed through gestures, behavior, facial expressions. Dialogue plays a big role in the first stanza. This is a conversation with an invisible interlocutor, as the researchers note, probably with the heroine's own conscience. The answer to the question "Why are you pale today" is a story about the last meeting of the heroine with her loved one. Here he uses a romantic metaphor: "I made him drunk with tart sadness." The dialogue here increases the psychological tension.
In general, the motive of love as a deadly poison is found in many poets. So, in the poem "The Cup" by V. Bryusov we read:

Again the same cup with black moisture
Again, a goblet with fire moisture!
Love, an undefeatable enemy,
I recognize your black cup
And a sword raised above me.
Oh let me fall to the edge with your lips
Glasses of mortal wine!

N. Gumilyov has a poem "Poisoned". However, the motive of poisoning is literally unfolding in the plot: the hero was poisoned by his beloved. The researchers noted the textual overlap between the poems of Gumilyov and Akhmatova. So, in Gumilyov we read:

You are completely, you are completely snowy,
How strangely and terribly pale you are!
Why are you trembling when giving
Shall I have a glass of golden wine?

The situation is described here in a romantic vein: Gumilyov's hero is noble, in the face of death he forgives his beloved, towering over the plot and life itself:

I'll go far, far away
I will not be sad and angry.
Me from paradise, cool paradise
You can see the white reflections of the day ...
And it's sweet for me - don't cry, dear, -
Know that you poisoned me.

Akhmatova's poem also ends with the words of the hero, but the situation here is realistic, the feelings are more tense and dramatic, despite the fact that the poisoning here is a metaphor.
In the second stanza, the feelings of the hero are conveyed. They are also indicated through behavior, movements, facial expressions: "He came out, staggering, His mouth twisted painfully ...". At the same time, feelings in the soul of the heroine acquire a special intensity here:

I ran away without touching the railing
I followed him to the gate.

This repetition of the verb (“ran away”, “ran away”) conveys the sincere and deep suffering of the heroine, her despair. Love is her only meaning of life, but at the same time it is a tragedy full of insoluble contradictions. “Not touching the railing” - this expression emphasizes swiftness, recklessness, impulsiveness, lack of caution. The heroine of Akhmatova does not think about herself at this moment, she is seized with acute pity for the one whom she unwittingly made to suffer.
The third stanza is a kind of culmination. The heroine seems to understand what she can lose. She sincerely believes in what she says. Here again the swiftness of her run, the tension of feelings are emphasized. The theme of love is connected here with the motive of death:

Breathless, I shouted: "Joke
All that has gone before. If you leave, I'll die."

The denouement of the poem is unexpected. The hero no longer believes his beloved, he will not return to her. He tries to maintain outward calm, but at the same time he still loves her, she is still dear to him:

Smiled calmly and creepily
And he said to me: "Don't stand in the wind."

Akhmatova uses an oxymoron here: "He smiled calmly and creepily." Feelings are again conveyed through facial expressions.
The composition is based on the principle of gradual development of the theme, plot, with a culmination and denouement in the third quatrain. At the same time, each stanza is built on a certain antithesis: two loving people cannot find happiness, the desired harmony of relationships. The poem is written in three-foot anapaest, quatrains, rhyming - cross. Akhmatova uses modest means of artistic expression: metaphor and epithet (“I made him drunk with tart sadness”), alliteration (“My mouth twisted painfully ... I ran away from the railing without touching, I ran after him to the gate”), assonance (“Suffocating, I shouted: "Joke All that was. If you leave, I will die").
Thus, the poem reflects the characteristic features of Akhmatova's early work. The main idea of ​​the poem is the tragic, fatal disunity of close people, the impossibility of gaining understanding and sympathy for them.

1. See: Kormilov S.I. "Clenched her hands under a dark veil." - Russian literature of the XIX-XX centuries: In two volumes. T. 1: Russian literature of the 19th century: A textbook for applicants to universities. M., 2001.