Anna Akhmatova created her key work - "A Poem without a Hero" for two decades. A large time period allowed the poetess to put into the poem all her thoughts, experiences, thoughts, summing up all her thoughts. creative way. The main themes of the poem were time and memory - concepts on which Akhmatova strung poetic lines, creating a monumental, epic canvas in which motifs of the past and present, elements of domestic life close to the poetess, phantasmagoric images, legends and reality are intertwined in a bizarre composition.
Akhmatova, who began her poetic path in the era of the “Silver Age” of Russian culture, refers to the times of her youth, to that period in the history of Russia, the charm of which we have lost forever.
The first part of the poem, entitled "The Nine Hundred and Thirteenth Year," tells us the tragic story of a dragoon cornet who commits suicide because of unhappy love.
Our experts can check your essay according to the USE criteria
Site experts Kritika24.ru
Teachers of leading schools and current experts of the Ministry of Education of the Russian Federation.
The basis of the plot was real case, which took place almost in front of Akhmatova, but in fact, the real background becomes only a convenient excuse to pull a whole carnival of scary and cute ghosts out of the oblivion of past years. The story of the poor dragoon has become a magnificent illustration for the whole era. In this case, the author saw all the nuances of that distant past, which, like a searchlight beam, was highlighted by the dragoon's suicide. Tragic, farce, comedy, mysticism - such an elusive veil soared in the atmosphere of the past. The author leads to the idea that it was the frivolity of the era that became the fatal cause of its fall.
The poetess, who lives in the "forties, fatal", refers to her memories, in which the past lost era comes to life. In the present, she has many tragic events behind her, the arrest of her husband and son, the impossibility of publishing, besieged Leningrad. In her introduction, Akhmatova emphasizes her position in relation to the memory of past years:
From the fortieth year
As from a tower, I look at everything.
Like saying goodbye again
With what I said goodbye a long time ago
Like being baptized
And I go under the dark vaults.
Akhmatova with the help of magic poetic words returns to 1913 and invites readers to follow her in these years, which she calls the last peaceful year. The poetess makes an attempt to recreate the past, to which she was a witness and became a judge:
I forgot your lessons
Rednecks and false prophets!
The tragedy of the narrative is enhanced by the composition of the poem, when the author's gaze turns to bygone times many years later. It is difficult for the author to come to terms with the fact that the heroes of her youth have become shadows of the past, she asks in despair:
How could this happen
Am I the only one alive?
There is a clear manifestation of the pathos of an imminent catastrophe in the poem. The death of a young poet, who could not survive the betrayal of his beloved, is only the first act of the drama that was played out in the 20th century. in the realms of history. The fourteenth, and then the forty-first year showed its other scales. But it is no coincidence that the memory of the author of "A Poem Without a Hero" in besieged Leningrad returns to that "which has long been said goodbye." The tragic intonation of the theme is set off by a whole gallery of masquerade images that came from the space of world classical literature, which are shown as casts from the face of an era. In the center of the lyrical plot is a young dragoon unhappy in love and an actress, whose story helps to raise the level of the necessary poetic intensity to a broad epic canvas covering a quite clearly defined period of history. The reliability and plausibility of the picture are emphasized by the presence of key historical images: Block appearance:
This is him in a crowded room
I sent that black rose in a glass ...
Like an echo of mountain thunder
Our glory and triumph! ..
In addition, a significant historical parallel can also be traced in the poem - the image of St. Petersburg. It is no coincidence that the first part of the poem has the subtitle "Petersburg Tale". The image of the great city, which permeates parts of the poem, plays the role of a connecting element between the past and the present. In the poem, Petersburg is shown in line with the classical plots of Russian literature with Gogol's grotesqueness, the pangs of Dostoevsky's conscience. Petersburg becomes a mute witness to human dramas and the custodian of something elusive, but very significant, which has not disappeared during the hard times. Petersburg has become a symbol of memory of a lost era, which carries through itself the echoes of the past, leading to the present.
The motive of historical memory has always been an important element in the work of Akhmatova, in "A Poem without a Hero" he reached his highest penetration:
As the future ripens in the past,
So in the future the past smolders -
Am I others to blame?
This brings into the poem a bright and sad motive of conscience, which also carries the awareness of the guilt of each person for the tragedies that have occurred. Memory, time and conscience merge into a single whole, forming the central images of the work. The key images are the Author, a generalized image of a person who is responsible for the fate of not only the people, but of all mankind, and the City, acting as an inspired image of the many-sided world, a symbol of its inviolability, the keeper of time and memory of past eras. With the help of these two images, the complex structure of a multifaceted and multifaceted poem acquires a solid foundation.
The course of the river of time takes the reader to 1941. Despite the fact that all the main life losses have gone into the distant past, the world of youth and passion, love and passion has dissolved, but in the "Epilogue" the author again feels sadness, saying goodbye to the great City. The poetess leaves St. Petersburg when the city is shrouded in a terrible besieged plague, she mourns, because with him she says goodbye to a whole era of her life, which forever left a memory on its streets.
Starting the analysis of Akhmatova's work "A Poem without a Hero", one cannot ignore the interpretation given by the author himself. A triptych is a work of three parts. Three dedications, and at the same time, at the very beginning, Akhmatova gives a personal “justification for this thing”: the memory of those who died in the besieged Leningrad. And then he explains that the poem should be taken as it is, without trying to find a secret meaning.
But after such a long preface, the text just gives the impression of a riddle and a rebus. The introduction, even before the first part, is written in different years: the pre-war and besieged northern capital, Tashkent during the war years, the first spring after the Victory ... The scattered fragments are connected by the fact that they are all memories, the author's view through the years.
The poetic meter of the poem is closer to the anapaest, although the changing size of the lines, the omission of stressed positions in some places make it more like an accent verse. The same applies to the method of rhyming: two consecutive lines with the same ending are underlined by the third, which is repeated in the sixth line. This creates the impression of haste, quick conversation, "hurrying after a fleeing thought." And the fact that sometimes the number of lines with the same rhyme increases to four enhances the effect.
The main theme of the first part is phantasmagoria, the heroes are a swarm of images, otherworldly creatures, fictional characters. The action takes place in 1913, and echoing the "devil's dozen" dates, the presence of evil spirits shines through all the lines. “Without a face and a name”, “possessed city”, “ghost”, “demon”, “goat-legged” - this whole part of the poem is sprinkled with similar names, therefore, after reading it leaves a feeling of confusion, delirium of an inflamed consciousness.
The second part surprises with the words “disgruntled editor” quoted. He voices exactly those thoughts about the poem that come to the mind of the reader. And this normality, "sober thinking" seems alien in the text. But the lyrical heroine begins her explanations and again plunges into the carousel of semi-real images. The actors are the era of both romanticism and the twentieth century; the ghosts of the great ones are called to life: Shelley, Shakespeare, Sophocles, Cagliostro, El Greco. This abundance of names makes us look at the second part of the poem as an attempt by the author to comprehend the past - not his own, but a whole layer of history - through the work of people.
An unexpected remark - “The howl in the chimney subsides, the distant sounds of Requiem are heard, some kind of deaf groans. These are millions of sleeping women raving in their sleep” – makes you literally stumble, break out of the enveloping haze of words. And the word "rave" again reinforces the feeling that the poem is an incoherent, fragmentary confession of a lyrical heroine, without composition and meaning.
The beginning of the third part (epilogue) is sobering: the action takes place in besieged Leningrad. "The city is in ruins... fires are burning out... heavy guns are groaning." Reality breaks into the narrative from all over, and although it remains hasty and expressive, it no longer tells about ghosts. Camp dust, interrogation, denunciation, revolver. Siberia, the Urals, the exile and punishment of the children of a great country. The final lines of the poem: “Having lowered her dry eyes, and wringing her hands, Russia went east before me” amaze with their strength and a sense of the ubiquitous tragedy. After these words, the irony of the name begins to emerge: in “A Poem without a Hero” the heroine is the Motherland, history, era. And she - the one that was familiar to the lyrical heroine, whom she recalls in the first parts - is no longer there.
The huge gaping hole where the broken old had been was not filled with the new. Akhmatova did not see the prospect (and who saw it in those turbulent years?), although the poem was completed in 1962.
Twenty-two years (according to other sources - twenty-five years) this work was created, and Anna Andreevna herself became the hero, then Petersburg, to which a separate dedication was written, then the nineteenth century. But in the end, all these "heroes" are fused into a single character - a great country, of which only memories remain.
"A poem without a hero" by Anna Akhmatova, on which she worked for a quarter of a century, is one of the most mysterious works of Russian literature.
Anna Akhmatova really experienced everything with the country - the collapse of the empire, and the red terror, and the war. With calm dignity, as befits the "Anna of All Russia", she endured both brief periods of glory and long decades of oblivion. A hundred years have passed since the release of her first collection "Evening", but Akhmatova's poetry has not turned into a monument of the Silver Age, has not lost its original freshness. The language in which women's love is expressed in her poems is still understandable to everyone.
In A Poem Without a Hero, she showed herself exactly what happened to her life when the “hellish harlequinade” of 1313 swept through. And what can the “Real Twentieth Century” do to a person.
Introduction
In the course of working with materials devoted to the “Poem without a Hero”, one of the most mysterious in Akhmatova’s work, many comments were found regarding some particulars, which are explained in great detail. But none of the works contains the concept of the poem. Akhmatova herself responded to numerous requests to explain the meaning of the poem with Pilate's phrase: "Eh pisah - pisah." The purpose of this work is not to give regular comments on the various episodes of the poem, but to summarize what is already known and to recreate the artistic concept of the poem as adequately as possible, which is a new aspect for the study of this work.
It is very difficult for a reader who is unfamiliar with the era in which the poem was created to understand it, and even the author himself, or the lyrical heroine, does not hide the fact that he “used sympathetic ink” that needs to be “manifested”. After all, the imagery of the “Poem without a Hero” is saturated with literary and historical-cultural reminiscences and allusions, personal, cultural and historical associations.
The work also examines the symbolism of the poem: the motif of mirrors, the New Year's "harlequinade", biblical motifs, the subtext of epigraphs and remarks. These are all organic components of Akhmatov's “cryptogram”, which, as the study proves, work for the concept of the poem.
Despite the fact that the chapters and parts of the poem, as well as the introduction and dedications, were created at different times, the poem is a holistic work with a well-thought-out structure, which is presented using a diagram.
Three dedications have been written to “A Poem Without a Hero”: to Olga Glebova-Sudeikina, Vsevolod Knyazev and Isaiah Berlin. The three dedications correspond to the three parts of the poem.
First part. A crime
In the First Part (Petersburg Tale), instead of the expected guests in new year's eve to the lyrical heroine "... shadows from the thirteenth come under the guise of mummers." These masks: Faust, Don Juan, Dapertutto, Iokanaan, symbolize the youth of the lyrical heroine - sinful and carefree. Akhmatova, putting on a par with demonic heroes: Faust, Dapertutto - and saints: Jokanaan (John the Baptist), wants to show the main sin of the generation - a mixture of good and evil. The sins of the generation are reflected in the initiation itself. For Akhmatova, the story of the unrequited love of the young poet, twenty-year-old dragoon Vsevolod Knyazev, for the famous actress-beauty Olga Glebova-Sudeikina, which was sensational in those years, was of great importance. Seeing one night that Glebova-Sudeikina did not return home alone, the young poet put a bullet in his forehead in front of the very door of his beloved. The story of Vsevolod Knyazev's unrequited love for Olga Glebova-Sudeikina is a kind of illustration of the spiritual life led by the people who surrounded Akhmatova (the lyrical heroine) and in which, of course, she herself took part. The motif of duality runs throughout the poem. The first double of the lyrical heroine in the poem is the nameless heroine, the prototype of which is Glebova-Sudeikina:
Petersburg doll, actor,
You are one of my twins.
The second part. Punishment
Akhmatova writes the dedication to Vsevolod Knyazev on December 27, 1940, even before the war, and the second dedication, to Olga Glebova-Sudeikina, was written after the Great Patriotic War: May 25, 1945. Thus, in the Second Initiation and in the Second Part (“Tails”), Akhmatova speaks of PUNISHMENT, considering all the cataclysms of the 20th century: the Russian-Japanese war, the First World War, two revolutions, repressions, the Great Patriotic War as retribution for all the sins of a generation and for their own sins. But sins committed in youth are difficult to atone for. It is possible to mitigate the punishment by repentance and atonement. And until the lyrical heroine does this, at the mere thought that she can appear before the Last Judgment, she is terrified. The poem contains the theme of moral condemnation and the inevitability of punishment.
Akhmatova showed a picture of an inflamed, sinful, rejoicing Petersburg. The coming upheavals had already appeared through the usual St. Petersburg fog, but no one wanted to notice them. Akhmatova understood that the “prodigal” life of the St. Petersburg bohemia would not remain without retribution. And so it happened. In the second part, the heroine sees retribution (hence the strange name - "Tails" - the reverse side of the medal, "Eagle", causing association with the word "lattice", which symbolizes the era of repression), atonement for the sins of youth through suffering and persecution: meeting the new year 1941, the heroine is all alone, in her house "the carnival midnight of the Roman and does not smell." “The chant of the Cherubim trembles near the closed churches,” and this is the fifth of January, according to the old style, on the eve of Christmas Eve, - evidence of the persecution of Orthodox Church. And, finally, the heroine cannot create, since her mouth is “smeared with paint” and “filled with earth”. War, like repression, is the atonement by the people of past sins, according to Akhmatova. The sins of youth, which seemed innocent, harming no one, turned into unbearable suffering for the heroine - pangs of conscience and the realization that she could never justify herself. However, the repentant sinner is always given the opportunity to atone for his sins through suffering or good deeds. But more on that in the third part.
The third part. Redemption
The third and last dedication is addressed to Isaiah Berlin, who visited Akhmatova in 1946 on the eve of his Catholic baptism. That evening, Akhmatova read "A Poem Without a Hero" to her guest, and later sent a finished copy. The next day, a listening device was installed in Akhmatova's apartment. After a meeting with Isaiah Berlin, an employee of the American embassy, a "spy", according to Stalin, followed by a "civil execution", the peak of persecution, persecution. It was a time when Akhmatova could not publish her poems, and she was ordered to enter all literary societies.
The third part of the “Poem without a Hero” (epilogue) is dedicated to the Atonement of the sins of youth through suffering
Besieged Leningrad also atones for the guilt of its inhabitants. During the blockade, in 1942, the heroine is forced to leave for Tashkent and, leaving, she feels guilty about the city she is leaving. But she insists on the "sham" of their separation, because this separation seems unbearable. The heroine understands that, leaving St. Petersburg, she becomes something like the emigrants, who were so hotly denounced by her. (“I am not with those who left the earth…”). Having left the country at the most difficult time, emigrants move away from their homeland, leaving it to suffer and not wanting to share this suffering. Leaving besieged Leningrad, the heroine feels that she is doing the same thing. And here the double of the lyrical heroine reappears. But this is already a double-redeemer, a camp prisoner going for interrogation. The same double says, coming from the interrogation, in the voice of the heroine herself:
I paid for myself Neither left nor right
Chistogan, I didn’t look,
Exactly ten years went And behind me bad fame
Under the revolver, Shelestela.
The epilogue speaks about Russia as a whole, about the atonement for her sins during the period of repression, and then in the tragedy of the war. The other, “young” Russia, renewed, cleansed by suffering, is moving “to meet itself,” that is, to regain its lost values.
Thus ends the poem.
http://revolution.allbest.ru/literature/00003682_0.html
At the turn of the century, on the eve of the revolution of 1917, during the First and Second World Wars, the work of A.A. Akhmatova, one of the most significant in world literature. As A. Kollontai believed: "Akhmatova wrote a whole book of the female soul." Anna Andreevna became an innovator in the field of poetry.
In almost all of Akhmatova's works, Love for the Motherland can be traced. Anna Akhmatova lived a long life, in which there was both happiness and sorrow. Her husband was shot, her son was repressed. The poetess in her life experienced many hardships and grief, but she never parted with her Motherland.
“For me, poetry is a connection with time, with new life my people ... I am happy that I lived in these years and saw these events ... ”- this is how Anna Andreevna wrote about her life.
Anna Akhmatova lived in an era of tragic events. The contradictory time left its mark, the poetess became "iron". She did not want to adapt to the circumstances, she was independent in her judgments. And this "ironness" became the drama of life.
In the work of Akhmatova, the main place is occupied by the “Poem without a Hero”. According to many literary critics, this work has become an innovation in the field of literature: a poetic narrative about oneself, about time, the fate of one's generation.
As the poetess herself believed, the poem was "a receptacle of secrets and confessions." In this work, Akhmatova combined poetry, dramaturgy, autobiography and memoirs, literary studies on the work of such people as Pushkin, Lermontov, Dostoevsky.
During the study of materials written about the “Poem without a Hero”, many different interpretations of this work were found. Akhmatova, on the other hand, explained the meaning of the poem with a quote from Pontius Pilate: "Even pisah - pisah."
The purpose of this work is to summarize the well-known works and interpret the text to present your understanding of this poem.
Reading experience
Akhmatova wrote the poem for 25 years - from 1940 to 1965. She did not present the final version of her poem. The work, written on the basis of the author's manuscripts, exists in several editions.
Comparing different editions, one can notice that epigraphs, new versions of episodes, subtitles, remarks appear in later versions. These elements are also of interest to the reader. Every detail of the poem is subject to many interpretations.
Akhmatova herself gives an interpretation of the Poem without Heroes. A triptych is a work that consists of three parts - three dedications to those who died in besieged Leningrad. The structure of the work has not changed. The introduction, chapters, dedications, parts of the poem were created at different time periods, “A Poem without a Hero” is a holistic text with a certain structure, which can be represented as a diagram: the first part is a crime, the second is punishment, the third is redemption.
In the text “Instead of a preface”, the author himself explains that it is not necessary to look for the secret meaning of the work, but to perceive it as it is.
The poem is a reflection of the poetess about her time, about the place of a person in this world, about his destiny and the meaning of life. This is reflected in the epigraphDeusconservatomnia- The Lord preserves everything.
The title, "A Poem Without a Hero", is paradoxical in itself and exclusively. It is difficult for him to give an unambiguous interpretation. After all, there are no poems without a hero.
Akhmatova did not accidentally put the genre of her work in the title. "A poem without a hero" is a kind of lyrical poem in which there is a lyrical "I". By this method, Anna Andreevna showed us that she was an eyewitness to the events described. A.V. Platonova notes that it is impossible to determine the genre of the Poem without a Hero. This is a poem, and a drama, and a story.
The poem can even be classified as a mystery or extravaganza. Akhmatova combined biblical motifs and everyday life scenes in the basis of the plot.
Interestingly, according to Anna Andreevna herself, the poem “with the help of the music hidden in it twice went to the ballet”:
And in the dream everything seemed to be
I'm writing a libretto for someone
And there is no end to the music ... ".
This is a kind of performance in which the characters are represented by certain voices: “words from the darkness”, “a voice that reads”, “the wind, either remembering or prophesying, mumbles”, “silence itself speaks”, “author’s voice”
Thus, different genres, forms and types of art echo in the poem.
The titles in the poem consist of levels: the title of the work itself, the subtitle - "Triptych", the subtitles of the parts. The triptych indicates that the work consists of three parts - "1913", "Tails", "Epilogue".
The first part has the subtitle "Petersburg Tale", which, according to A.V. Platonova, associated with the "Bronze Horseman" A.S. Pushkin. Thus, the researcher draws attention to the synthesis of the genres of literature, poetry and prose.
Who is main character? Such researchers as K. Chukovsky, M. Filkenberg, A. Heit, Z. Esipova and others tried to answer this question. Nobody could give a definite answer.
In the poem itself, the wordhero used twice. In the first part: "Hero to the fore!" and in the second "And who is the author, who is the hero ..." Says nothing more about his presence in the work. There is not a single name in the poem - only masks, some kind of puppets that someone controls. They cannot be heroes.
Interestingly, the poem does not fall apart in the absence of a hero. It traces the time and point of view of the author, the lyrical heroine, who tells about a certain time and evaluates it. Akhmatova talks with the reader through the poem.
"A Poem Without a Hero" is about a time in which there were no heroes. The fate of people was controlled by a time when human life had no value.
Epigraphs in the composition of "Poems Without Heroes" play an important role. These are quotes from poems by various poets or Akhmatova herself. With the help of epigraphs, you can see the intertextuality of the work. They lead us to certain ideas of the poem, understanding the meaning, they become, to some extent, elements of the dialogue. According to T.V. Tsivyan, due to the appeal to world poetic poetry, the line between “us” and “them” is blurred, which introduces the poem into the orbit of world poetry.
“A poem without a hero” is paradoxical in itself due to the fact that there is no connecting hero, they are blurred. Only the image of the author in "A Poem without a Hero" is a link between the world of characters. L.G. Kihney notes that the poem is a monologue of the author.
In general, the first part“Nine hundred and thirteenth year. Petersburg story"is the most eventful.The plot is based on the real dramatic story of the poet V. Knyazev and the actress O. Glebova-Sudeikina. Love story ended sadly - a young man committed suicide because of an unhappy love for a windy and fickle actress.
Phantasmagoria is the main theme of the first part.
A feature of the story was that Akhmatova showed the life of an entire era. People are actors, hiding behind masks, and their life is a masquerade. They only play life, play certain roles:
"Petersburg doll, actor ..."
As L. Losev notes, the characters pretend not to be who they are. Life is like a farce. And the result of this game is death, as a retribution for participation.
Instead of invited guests, shadows come to the lyrical heroine to celebrate the New Year: Don Juan, Faust, Glan, Dorian, Dapertutto, Iokanaan. These characters symbolize the carefree and sinful youth of the author.
The confusion of these images tells us that good and evil are always together, they are inseparable. This is the main sin of the younger generation.
Petersburg in 1913 is also one of the main characters of the work:
“And the carriages fell from the bridges,
And the whole mourning city floated ...
Along the Neva or against the current, -
Just stay away from your graves."
1913 is the time of Rasputin, a series of suicides, a premonition of the end of life.
The Neva River is a symbol of the flow of life, "accelerating flight", moves, carries with it. And for Akhmatova, this transience of time is most noticeable in St. Petersburg:
"I'm inseparable from you,
My shadow is on your walls."
The sad outcome of the first part of the poem is the death of a young man who could not accept the betrayal of his beloved woman, only the beginning of retribution. It is no coincidence that Akhmatova recalls in the besieged Leningrad that "which she said goodbye to for a long time."
In the second part of the poem, the "dissatisfied editor" asks questions about the meaning of the poem, its "incomprehensibility", innuendo, confusion. And the author, in his attempt to explain, plunges us into the era of romanticism. Are the ghosts of Shakespeare, El Greco, Cagliostro, Shelley. With the help of people's creativity, the author tries to comprehend the past of mankind.
Reflections are interrupted by the remark “The howling in the chimney subsides, distant sounds of Requiem are heard, some kind of deaf groans. It is millions of sleeping women raving in their sleep, which brings us back to reality and reinforces the feeling that "A Poem without a Hero" is a confession of a lyrical heroine.
Russo-Japanese War, First World War, the Revolution of 1905-1907 and the Great October Revolution, repressions, the Great Patriotic War - this, according to the author, is retribution for the sins of an entire generation. Kara is inevitable. Atonement and repentance are needed. And the lyrical heroine is afraid to appear before the “Last Judgment” without repentance and atonement.
"1913" in its plot resembles the ball of Satan. The theme of the Apocalypse, a premonition of a catastrophe, was widespread at the beginning of the 20th century:
And for them the walls parted,
Lights flashed, sirens howled
And like a dome the ceiling swelled ...
However
I hope the Lord of Darkness
You didn't dare to enter here?
The name of the second part is "Tails" - and this is the reverse side of the coin. Behind the seeming well-being, the negative is hidden - arrests, repressions. The generation atones for sins through suffering and persecution.
Heroine New Year meets already alone, "the carnival midnight of the Roman and does not smell." “The Cherubic chant trembles near closed churches” - it’s too late to repent, buy up sins, make excuses.
In 1946, after a meeting with I. Berlin, Akhmatova was subjected to harassment: her poems were not published, they were not accepted into literary societies. At this time, she writes the third part - the Epilogue. About the period of atonement for the sins of his youth.
Suffering is the main motive. "The city is in ruins ... fires are burning out ... heavy guns are hooting" - this is how it begins the third part of the poem is an epilogue. There is no place for ghosts here. This is reality.
Leningrad (former St. Petersburg) - atones for the sins of its inhabitants.
The heroine leaves for Tashkent. Separation from the city is unbearable for her, she feels guilty, comparing herself with emigrants. Having left at a difficult time, the heroine feels that she has left her hometown to suffer.
Anna Andreevna left in Leningrad part of her life, part of herself, her inner world:
"My shadow is on your walls,
My reflection in the channels ... "
If in the first part the lyrical heroine has a double - an actor, then in the third part - a double - a redeemer, who comes from interrogation:
“Chistogan, I didn’t look,
Exactly ten years went
And behind me is a bad glory
Under the revolver, Shelestela.
In "Poem Without a Hero" past, present, future echo:
“As the future ripens in the past,
So in the future, the past smolders ... ".
Life is presented as a dream: "I sleep - I dream of our youth ...". And in a dream, the whole life of the author is intertwined: "I dream of what should happen to us ...".
In all this, echoes of the past are heard, without which there can be no present and future. The author casually recalls his life, a whole generation of a past era.
The motif of time can be traced throughout the work. It is fleeting like a dream.Time is history. The history of personality. Generation history. History of the Motherland.
Akhmatova analyzes the experience of the past in order to understand what may happen in the future with her, with individuals, with Russia. All the troubles that occur, she distributes equally, does not consider that someone alone is to blame. Everyone is guilty, everyone is responsible for what is happening: “Am I to blame for others?”
Memory and conscience bind all the heroes of the "Poem Without a Hero" together. All connections are inseparable from each other.
Petersburg in the poem is shown in an animated way, many-sided, changeable, indestructible. Petersburg appears in different guises. That he is common people, square. To is presented as a city of cathedrals, theaters, palaces. It's restless, anxious.
The triplicity of the image of the city shows the disharmony of the events taking place, a certain paradox:
« The wind tore posters from the wall,
Smoke danced squatting on the roof
And the cemetery smelled of lilacs.
And, cursed by Queen Avdotya,
Dostoevsky and the Possessed
The fog was leaving the city.”
In the last part of the poem - the epilogue, it is told in general about Russia, that it atones for its sins with repressions and wars.
"Lowering your dry eyes,
And wringing hands, Russia
before me went to the east ... "
Lines that amaze with their power and significance. After these words, it becomes clear that the Motherland is main character, era, history. And that Motherland, about which the author spoke, no longer exists.
The architectonics of the "Poem Without a Hero" is specific: the fate of an entire era is considered on the example of the fate of a lyrical hero.
The personal theme of the hero develops into a national theme of the history of Russia. The associations and epigraphs of the poem lead us to this.
Anna Akhmatova foresees that the sacrifices and losses are not over. A dramatic mood is present at the end of the poem, when the image of the Motherland appears.
The "Epilogue" was written during the Great Patriotic War, a time of great sorrow and pain for an entire nation.
The text of the work, due to its rhythm and intonation, is musical and plastic. In all three parts, the structure of the stanzas is different. In the first "1913" there is no uniformity, the stanzas resemble unrhymed, torn phrases - like "a whirlwind of Salome's dance ...". In the second part, the rhythm remains the same, but uniform numbered stanzas can be traced. The "Epilogue" structure is a solid, clear rhythm that conveys a certain smoothness, fluidity of the described events. This reveals the originality of the dynamics of the text: from the whirlwind of events of 1913 that quickly passed through to repressions and echelons, and then to Victory.
The main principle of reading Akhmatova's work is contextual reading. Here, a big role is given to details - symbols that help to unravel the meaning of the text: "The box has a triple bottom ...".
For example, the stanzas "Tails":
“Between “remember” and “remember”, others,
Distance as from Luga
To the country of satin bouts.
In the notes of Akhmatova, "bout is a mask with a hood." In the phrase "as from Luga to the country of satin bouts" the meaning is very big, huge. That is, remembering and remembering are different concepts. We must not remember the past, but we must remember. Here is the main meaning of these lines.
It is noteworthy that at the end of the poemRussia is described as young, cleansed by suffering, new. She goes in the hope of finding lost values.
Anna Andreevna Akhmatova, like a prophet, foresaw the long-awaited victory, which became a symbol of the end of terrible losses and troubles.
Conclusion
Anna Akhmatova belongs to a generation of writers whose names are associated with the "Silver Age" of Russian poetry. The poets of this trend tried to show the value of the surrounding world, the value of the word.
Akhmatova began writing "A Poem Without a Hero" at the age of 50, and finished two years later. Then the poem was completed, rewritten for 25 years. During the corrections, the volume of the text has almost doubled.
The poem lived with the author, she "reacted" to the reactions of readers:“I hear their voices and remember them when I read the poem aloud…”. These are the first listeners of the poem who died during the siege of Leningrad.
Remembering the events of 1913, the repressions of the 30s, Akhmatova brings the reader to a turning point for Russia - the Great Patriotic War. The poem begins with the tragedy of a person, a young poet, and ends with the tragedy of an entire people.
There are several subtextual layers in the “Poem without a Hero”, several themes and motifs connected with each other can be traced, which is the main concept of the work.
There is no specific hero, since he exists in an indefinite time. All heroes unite insingle actor- a great country - Russia, the fate of which depends on each of us.
The genre of the work of Anna Andreevna Akhmatova still raises many questions. The poem is considered here not in the narrow sense of the word, but in a broader one. In this work, a synthesis of genres and arts is manifested, which is hallmark poems.
You can think about the “Poem without a Hero” endlessly, search for the meaning, for the details of the work. There are many interpretations of the text of the poem.
In my work, I tried to express my own impression of the text. And the fact that the work arouses the interest of the reader is undeniable. This suggests that the Poem will live forever, like Time itself, which, according to K. Chukovsky, is the only hero of the poem.
