Akhmatova without gloss Fokin Pavel Evgenievich

"Poem without a Hero"

"Poem without a Hero"

Anna Andreevna Akhmatova:

It is impossible to determine when it began to sound in me. Either this happened when I stood with my companion on Nevsky (after the dress rehearsal of “Masquerade” on February 25, 1917), and the cavalry rushed along the pavement like lava, or... when I stood without my companion on the Liteiny Bridge, in<то время>when he was suddenly separated in broad daylight (an unprecedented case) to allow destroyers to pass to Smolny to support the Bolsheviks (October 25, 1917). Who knows?!<…>

...I immediately heard and saw it all - what it is like now (except for the war, of course), but it took twenty years for the whole poem to grow from the first draft.

For months, for years, she closed hermetically, I forgot about her, I didn’t love her, I internally struggled with her. Working on it (when she let me get close to her) was like developing a record. Everyone was already there. The Demon was always Blok, Milestone the Poet in general, the Poet with a capital P (something like Mayakovsky), etc. Characters developed, changed, life brought new characters. Someone was leaving. The struggle with the reader continued all the time. Reader help (especially in Tashkent) too. There it seemed to me that we were writing it all together.

Sometimes she rushed into ballet (twice), and then there was nothing to stop her. I thought she would stay there forever. I wrote something like a ballet libretto, but then she came back and everything went on as before. The first sprout (the first push), which I hid from myself for decades, is, of course, Pushkin’s note: “Only the first lover makes an impression on a woman, like the first killed in a war...” Vsevolod (Knyazev. - Comp.) was not the first to be killed and was never my lover, but his suicide was so similar to another catastrophe... that they merged forever for me. The second picture, snatched by the searchlight of memory from the darkness of the past, is Olga and me after Blok’s funeral, looking for Vsevolod’s grave in the Smolensk cemetery (1913). “It’s somewhere near the wall,” Olga said, but they couldn’t find it. For some reason I remember this moment forever.

Anatoly Genrikhovich Naiman:

Akhmatova began writing the Poem at the age of fifty and wrote until the end of her life. In every sense, this thing occupied a central place in her work, fate, and biography. This was her only complete book after the first five, that is, after 1921, and not on a par with them, but them - like everything that Akhmatova wrote, including the Poem itself - which covered, included .

Anna Andreevna Akhmatova:

I started it in Leningrad (in my most fruitful year 1940), continued in “Constantinople for the poor,” which was a magical cradle for it, Tashkent, then in the last year of the war again in the Fountain House, among the ruins of my city, in Moscow and between Komarov pines. Next to her, so motley (despite the absence of colorful epithets) and drowning in music, went the mournful Requiem, the only accompaniment of which can only be Silence and the rare distant sounds of a death knell. In Tashkent, she had another companion - the play "Enuma Elish" - both clownish and prophetic, from which there is no ashes. The lyrics didn't bother her, and she didn't interfere with them.

Galina Longinovna Kozlovskaya:

Breaking the silence, she suddenly said: “Do you want me to read the last poems?” And she read to us the prologue from “Poem without a Hero,” which begins with the words: “From the year 1940, I look at everything as if from a tower.”

The impression from the prologue remains forever.

And from that night one of the most amazing events of our lives began. Fate was pleased to grant us a miracle, making us witnesses of how the poem grew and was created over the course of two years.

Since that New Year's evening, Anna Andreevna began to come to us often. Sometimes this happened every day, sometimes every 2-3 days. And we knew that she was rushing to us to read what was written and receive a heart response from us.

The poem grew and developed like a tree, sprouting new shoots. We saw how the poet breaks one thing, replacing it with another, and the poem, growing, became more and more fantastic, mysterious, invitingly attractive in its enigmatism.

Much about it was unclear. Sometimes simply because many realities were unknown and could not be known to our generation. The other is due to the fact that the author went into such dark dungeons of memory, where only he alone did not go by touch.

We were stunned by the tireless creative tension, the emergence and honing of ever new facets and forms. The epigraphs alone took your breath away and made you dizzy. Starting from the Italian text of Mozart's Don Giovanni - “You will stop laughing before the dawn comes” - and ending with Hemingway - “I am sure that the worst thing will happen to us” - from “A Farewell to Arms”.

Over the years, they became more and more numerous. Hundreds of reflections of someone else's thoughts grew into the poem. And it seems to me that if we were to collect all their multitude, then in their multitude they would grow into a poem on their own.

Eduard Grigorievich Babaev:

I copied Anna Akhmatova’s “Poem without a Hero” into a notebook, which I called “My Anthology.” Even now it seems to me that the “Tashkent version” of the poem is more perfect and “clean” than its later version, with additions and explanations. One day I told Anna Andreevna about this. She nodded and answered, as it seemed to me, with understanding:

All my Tashkent friends think so...

I cannot say that the poem itself was clear to me then. But the wind moving the ivy leaves outside the window seemed to me like the wind of history.

Nina Pushkarskaya, Tashkent poetess, hearing the beginning of the poem:

From the year forty,

As if from a tower, I look at everything, -

It's like an alarm bell!

Anna Andreevna agreed. In some copies of the poem, including in my notebook, the prologue is called “Alarm.” But this name did not stick.

Natalia Aleksandrovna Roskina:

At that time (1945 - Comp.) and, by the way, until the end of her days, all of Akhmatova’s interests, all the lines of her personal poetic life, were focused on the poem. “Tomaszewski told me that he could write a book about my poem.” Tomashevsky - this was a lot, a lot for her, she extremely valued the Pushkinists and considered it an honor for herself to be counted among their clan.

Sergey Vasilievich Shervinsky:

Once during our long acquaintance, Anna Andreevna and I had a disagreement, quite a major one. She read to me, in an early version, her “Poem without a Hero.” I got lost in the unrestrained imagery, unusual for Akhmatova. To Anna Andreevna’s question how I understood the poem, I answered with some vague, head-on construction, which I was ready to abandon right away. The poem “didn’t reach me.” This did not stop Anna Andreevna from reading the poem to me again, with added inserts. Then I expressed a judgment that no longer concerned the poetic device. I told the author, always attentive to my comments, that the poem, which grew out of a tragic episode in his personal life, was written too quickly. Hence the feeling, not yet fully poeticized, still in a state of boiling, is vital, and not poetically translated. Anna Andreevna thought. Then she said, apparently not without bitterness, a few words, from which it was clear that my remark, which concerned the very essence of the work, did not escape her sensitivity and intelligence. Subsequently, we never returned to “Poem Without a Hero,” but more than once, when meeting with me, Anna Andreevna said casually: “You don’t like my poem...” I can’t hide the fact that she called me “the best listener.”

Isaiah Berlin:

Then she read the “Poem without a Hero,” which was not yet completed at that time. There are sound recordings of her reading, and I will not attempt to describe it. Even then I realized that I was listening to a work of genius. I will not claim that then I understood this multifaceted and completely magical poem with its deeply personal allusions to a greater extent than I understand it now. Akhmatova did not hide the fact that the poem was conceived as a kind of final monument to her life as a poet, a monument to the past of her city - St. Petersburg, which became an integral part of her personality, and - under the guise of a Yuletide carnival procession of disguised masked figures - a monument to her friends, their lives and destinies, a monument to her own fate, a kind of artistic “now you let go,” uttered before the inevitable and already close end. The lines about the “Guest from the Future” had not yet been written, as well as the third dedication. It is a mysterious thing, full of hidden meaning. A mound of scientific commentary grows inexorably over the poem. Soon she will probably be completely buried under him.<…>

I asked her if she would ever agree to comment on “Poem Without a Hero.” Its many allusions may remain incomprehensible to those who were not familiar with the life described in the poem. Does she really want all this to remain unknown? She replied that when decrepitude or death overtook those who knew the world about which the poem was written, the poem too would have to die. She will be buried along with the poet and her age. It was not written for eternity and not even for posterity. For a poet, the only thing that matters is the past, and most of all, childhood. All poets strive to reproduce and relive their childhood. The prophetic gift, odes to the future, even Pushkin’s wonderful message to Chaadaev - all this is pure declamation and rhetoric, an attempt to strike a majestic pose, gazing into a faintly discernible future - a pose that she despised.

Vladimir Grigorievich Admoni:

The integrity of Akhmatova’s multi-layered spiritual nature was matched by the integrity in the development of her spiritual world. This development was unusually organic and marked by extreme sustainability. There was nothing frozen about Akhmatova. She was extremely responsive to everything that was happening in the country and the world. Akhmatova’s poetry was open to the entire colossal historical experience of the 20th century. Both in Akhmatova’s life and work, several stages are clearly visible. But it is extremely important that during the transition from one stage to another the previous stage, the past period inner life Akhmatova did not fade away in her, but continued to live. Particularly strong, particularly stable of the periods of Akhmatova’s life were those that turned out to be the most important, decisive in the years of her youth.

This is, first of all, the winter of 1913/1914, the winter that brought Akhmatova fame. Then the end of the 10s and the beginning of the 20s - a period when so many new Akhmatova poems were created, and Akhmatova’s life was marked by serious turning points, when Blok died and Gumilyov was shot. And when Akhmatova’s life became extremely sad, during the years of her marriage to V.K. Shileiko. Akhmatova’s assessments of people and artistic phenomena that developed in those years almost never changed in subsequent decades. She revised these assessments only occasionally and reluctantly. And she persistently preserved the memory of these periods that essentially shaped her. Especially the theme of “the last winter before the war,” the theme of the eve of the First World War, never left Akhmatova. This theme found its most important, most sparkling embodiment in “Poem without a Hero.” It is precisely the greatest organicity of this theme for Akhmatova that makes clear both the ease with which Akhmatova wrote the poem (this ease Akhmatova sometimes called witchcraft), and the feeling that possessed Akhmatova that the poem itself came to her and, as it were, writes itself, and constant returns to the poem , additions and deletions, generally alterations for over twenty years, from 1940 to the early sixties. As Akhmatova said, the poem did not leave her all this time, forcing her to turn to it again and again, although Akhmatova more than once swore and solemnly proclaimed that she would never touch the poem again.

The people of the pre-war era live in the poem, and its atmosphere, in general, everything that Akhmatova so keenly remembered on the eve of the first global catastrophe of the 20th century. And it seems natural that Akhmatova received the decisive impetus for the creation of the poem on the eve of a new epochal and tragic event of the 20th century, the Great Patriotic War, in the days when the Second World War had already begun. It is a difficult and thankless task to find a specific prototype for each character in the poem. Moreover, the signs of many characters change from version to version. And they undoubtedly have a common, typical meaning. But still, I will dare to assert that in some of these characters, and in the most important of them, there are specific and stable features, moreover, those features that Akhmatova perceived back in the days depicted in the poem. Because the characterization of these people in the poem fully corresponds to how Akhmatova outlined them in our conversations in the first years of our acquaintance and how she depicted them in conversations of later years.

Particularly noteworthy is the image of the heroine of the poem - Olga Afanasyevna Glebova-Sudeikina. Heroines, because in “A Poem Without a Hero” there really is no hero, but there is a heroine, or rather, even two heroines. One plot heroine is the actress Glebova-Sudeikina (in the introductory remark to the second chapter it is said directly: “The Heroine’s Bedroom”), the other, truly semantic or, more simply put, generally genuine heroine of the poem is the era depicted in the poem.

Glebova-Sudeikina, Olya, as Akhmatova called her, is shown in the poem, in all its variants, only slightly modified, exactly as she came to life almost during our first pre-war walk. We walked along the Fontanka, and when we reached some house (I don’t remember which one), Akhmatova said: “But Olya and I lived here,” she named the year or years when they lived here (I didn’t remember the date either). And I was amazed that I didn’t understand which Olya we were talking about, and then I was even more surprised to learn that I had never heard of Glebova-Sudeikina. She began to tell me about her, and I was struck by the combination of admiration and deep involvement with some hidden alienation and bitterness, which Akhmatova herself probably did not even notice. In “Poem Without a Hero” such duality in Akhmatova’s attitude towards Glebova-Sudeikina is clearly present. And to some extent, this duality reproduces the duality that colors the assessment of the entire era depicted in the poem. In this sense, both heroines of the poem are presented from the same perspective, although the emphasis when showing each of them is placed differently.

Anna Andreevna Akhmatova:

Another property of it: this magical drink, pouring into a vessel, suddenly thickens and turns into my biography, as if seen by someone in a dream or in a series of mirrors (“And I’m glad or not glad that I’m going with you...”). Sometimes I see it all through, emitting an incomprehensible light (similar to the light of a white night, when everything glows from within), unexpected galleries open up leading to nowhere, the second step sounds, the echo, considering itself the most important, speaks its own, and does not repeat someone else’s, shadows pretend to be those who cast them. Everything doubles and triples right down to the bottom of the box.

And suddenly this Fata Morgana ends. There are just poems on the table, quite elegant, skillful, daring. No mysterious light, no second step, no rebellious echo, no shadows given a separate existence, and then I begin to understand why she leaves some of her readers cold. This happens mainly when I read it to someone to whom it does not reach, and it, like a boomerang (excuse the hackneyed comparison), comes back to me, but in what form (!?) and hurts me most.

Ignatiy Mikhailovich Ivanovsky:

She spoke about her favorite “Poem without a Hero,” thoughtfully, looking through walls and over heads:

And in this word one could hear, as it were, a distant complaint, even an echo of despair. Akhmatova was very persistently haunted by her poem.

Anna Andreevna Akhmatova:

The poem again doubles. The second step sounds all the time. There is something nearby, a different text, and you can’t understand where the voice is, where the echo is and which shadow is different, which is why it is so capacious, not to say bottomless. Never before has a torch thrown into it illuminated its bottom. Like rain, I fly into the narrowest cracks, widen them - this is how new stanzas appear. Behind the words I sometimes imagine the St. Petersburg period of Russian history:

Let this place be empty, -

further Suzdal, Intercession Monastery, Evdokia Fedorovna Lopukhina. Petersburg horrors: the death of Peter, Paul, Pushkin's duel, flood, blockade. All this should sound in music that does not yet exist. It’s December again, again she knocks on my door and swears that this is the last time. Again I see her in an empty mirror.

Lidia Korneevna Chukovskaya:

May 8, 1954.... Hastily, without the usual questions and pauses, she took a copy of the “Poem” (typewritten and bound) from her suitcase and began to read new parts to me. She read only the inserts - lines, stanzas - quickly turning the pages and briefly pointing out where new things were inserted - and I, for fear that I would not understand and remember where, did not hear anything at all and did not remember anything. I checked on the way back, now I check - not a line.

"1913" began to be called " Petersburg story».

How long has she not let you go? - I said.

No, this is different. Now I'm not letting her go. I tried to tell everything that I see behind it. It turns out that only I can see. Well, maybe you are. Now let everyone see... Otherwise Lidin walks around and interprets God knows how. Let them now tell him: “There’s nothing like that there, you need to get treatment...

« Emma Grigorievna Gershtein:

The increased interest in the manuscript of “Poem without a Hero” - precisely in the manuscript - did not leave Akhmatova for many subsequent years. Suffering immensely from the inability to print her beloved creation in full, Anna Andreevna replicated it in many typewritten copies. She invented a special graphic arrangement of individual pieces of text, establishing for a long time a system of various vignettes, epigraphs and handwritten inscriptions. She gave individual copies not only to friends and acquaintances, but also to strangers whose opinion about the “Poem...” she would like to hear. Even the dedicatory inscriptions on these copies were standardized. “Given to such and such (initials) on such and such a day of such and such a month and year, Moscow or Leningrad.”

Vyacheslav Vsevolodovich Ivanov:

At the end of the fifties, when “Poem Without a Hero” was constantly being edited and added to, Akhmatova asked everyone who read it for their opinion. Then she retold and compared some of other people’s critical assessments.

Anna Andreevna Akhmatova:

People just come from the street and complain that they are tormented by the Poem. And it occurs to me that someone really dictated it to me, and saved the best stanzas for the end. I am especially convinced of this by the demonic ease with which I wrote the Poem: the rarest rhymes simply hung on the tip of a pencil, the most complex turns protruded from the paper themselves.

Anatoly Genrikhovich Naiman:

Akhmatova collected opinions about the Poem, wrote about it herself, future destiny She was worried about the poem, she was afraid that the text was too hermetic or seemed so. She said that one fan, who was reciting poetry from the stage, asked her: “They say you wrote a poem without something? I want to read it." With an interval of two years, she gave me two versions of it, both times asking me in detail about my impressions. Looking for a place for new stanzas, writing them in or, conversely, crossing them out, she checked whether her solution was natural, convincing, or unexpected. After one such conversation, she suggested making an article out of everything I said about the Poem. It seemed to me then that the article should be fundamental, and my notes were fragmentary, but still, a year and a half later, I collected everything and wrote something, having lost fresh thoughts and not succeeding in being fundamental. In particular, I then described the stanza of the Poem: “Its first line, for example, attracts attention and interests; the second - completely captivates, the third - scares; the fourth - leaves before the abyss; the fifth bestows bliss, and the sixth, exhausting all remaining possibilities, concludes the stanza. But the next one starts all over again, and this is all the more amazing since Akhmatova is a recognized master of the short poem.” After her death, it turned out that she wrote down this observation of mine on the very day of our conversation, and in these words: “More about the Poem. X-Ygrek said today that the most characteristic of the poem is the following: the first line of the stanza evokes, say, amazement, the second - a desire to argue, the third - lures somewhere, the fourth - scares, the fifth - deeply touches, and the sixth - gives final peace , or sweet satisfaction, the reader least of all expects that in the next stanza what has just been listed will be prepared for him again. I have never heard such a thing about the poem. This opens up some new side of her.”

Lidia Korneevna Chukovskaya:

June 16 I recounted Shervinsky’s opinion about the “Poem”, which, in my opinion, is completely erroneous. This is supposedly not a poem, but a chain of individual lyric poems. Wrong, there are no separate poems here. Second: it’s old-fashioned, from the tenth century. It’s not true, the material here is only from the tenth years, but the “Poem” itself is deafeningly new, so new that it is not known whether it is a poem; and is new not only for the poetry of Anna Akhmatova, but for Russian poetry in general. (Maybe for the world; I can’t judge, I’m too ignorant.) Everything here is for the first time: the composition, which creates some new form, and the stanza, and the very attitude to the word: in an acmeistic - precise, concrete, material word, Akhmatova reproduces the otherworldly , spiritual, abstract, mysterious. Of course, this property has always been inherent in Akhmatova’s poetry, but in “Poem” it acquired a new quality. A keen sense of history, also always inherent in Akhmatova’s poetry, celebrates its triumph here. This is a holiday of memory, a feast of memory. And that the memory of a person of our era is filled with the dead is quite natural: Akhmatova’s generation lived through 1914, 1917, 1937, 1941, etc., etc. The author experienced the story intimately, personally- this is the main strength of the “Poem”. Here are those who died in anticipation of death - the suicide Knyazev, for example (“How many deaths came to the poet, / Stupid boy, he chose this...<…>Not in the damned Masurian swamps, / Not on the blue Carpathian heights..."). In the “Poem” it’s not the dead at all - killed, tortured, shot - but her the dead, those who once made her life alive, the heroes of her lyric poems. But this does not at all turn the “Poem” into a chain of lyric poems, as Shervinsky believes. This only imbues the epic with lyricism, makes the “Poem” lyrical-epic, bottomlessly deep, gripping the soul. “The box has a double bottom” - what kind of bottom does memory have? quadruple? seven? I don’t know, my memory is bottomless, if you look, your head will spin.

Korney Ivanovich Chukovsky:

30 June 1955. Akhmatova came to see me on the very day that Nehru arrived in the USSR. Since the Mozhaisk highway was filled with people who met him, all movement towards Peredelkin was stopped. A wall of policemen stood in front of us, repeating one word: back. Meanwhile, a very tired, exhausted Akhmatova is sitting in the car, whom I so want to take out of the stuffiness into nature...

Akhmatova was, as always, very simple, good-natured and at the same time royal. I soon realized that she had not come for fresh air, but solely because of her poem. Obviously, in her tragic, painful life, the poem is the only light, the only illusion of happiness. She came to talk about the poem, to hear praise for the poem, to temporarily live in her poem. She is disgusted to think that the content of the poem eludes many readers; she stands for the fact that the poem is completely understandable, although for the majority it is gibberish... Akhmatova divides the world into two unequal parts: those who understand the poem and those who do not understand her.

Anatoly Genrikhovich Naiman:

The poem was for Akhmatova, like “Onegin” for Pushkin, a set of all the themes, plots, principles and criteria of her poetry. Using it, like a catalogue, you can search almost for individual poems of hers. Having begun with a review of what was experienced - and therefore written - it immediately took on the function of an accounting and reporting ledger - or the electronic memory of modern computers - where, recoded in a certain way, “Requiem”, “Wind of War”, “Rose Hip Blossoms” were “noted” ", "Midnight Poems", "Prologue", in a word, all the major cycles and some of the things that stand apart, as well as the entire Akhmatova Pushkiniana. Along the way, Akhmatova quite consciously wrote the Poem in the spirit of an impartial chronicle of events, perhaps fulfilling in such a unique way the Pushkin-Karamzin mission of the poet-historiographer.

MEETING. Poem 1. Tsarskoe Selo In the indistinct light of a lantern, Glass and silver air, Snowflakes curl. Very clean. The path has been cleaned. A bench and the pale profile of a schoolboy. Odi profanum... It's me. I don’t remember the first date, But I remember this silence, Oh, the first cold of the universe, Oh, awakening

I. “A poem is being composed within me...” “A poem is being composed within me” To the noisy chorus of forests and waters, And everything that was silently knocking on my chest, I feel it will find a voice. Dreams soar like wings, From mausoleums and tombs, And the whole soul is one effort To fly freely without borders. February 3rd

The poem "Pugachev" Having returned from Turkestan, S. Yesenin continued to work on the poem "Pugachev", which he read in June in the "Pegasus Stable". I had to not only read the text of the poem, but also express my point of view to the directors, artists and public present.

Poem in manuscript N.V. Gogol - S.T. Aksakov Rome, December 28. 1840...I am now preparing the first volume of “Dead Souls” for complete purification. I change, re-clean, completely rework a lot of things and see that their printing cannot do without my presence. Meanwhile further

IV POEM ABOUT PETER Pushkin spent the entire period of the “Gabriiliad” trial in St. Petersburg without a break. The defeat of the advanced nobility and free associations in 1826 completely changed the appearance of the capital. Of the interlocutors of his youth, Pushkin found almost no one here:

1. Poem “Bread” This year has been full of trips, performances, and creative experiences. Alexey Ivanovich was waiting for the approach of his fortieth birthday as if it were something mystical. He told his friends that at the age of forty he would stop composing songs and would only write poems. And this age

Photocycle poem The last poem in Voznesensky’s life was written in January 2010. "Goodbye Teddy Kennedy." Although it is dedicated more to Jacqueline than to Edward Kennedy and his brothers. The poem is photocycle. How many motorcycles flashed through his poems - now

Mayakovsky's biographers describe the new poem of 1920 in different ways. Viktor Shklovsky, for example, paid attention to a rather minor everyday event - shaving, for which Vladimir Vladimirovich took a “vest” razor from his neighbors: “He goes, calls, shaves and returns. But the razors

XV “University Poem” At the end of 1926, Nabokov wrote “University Poem” - 882 verses, 63 stanzas of 14 lines each66. The main subject of study in the poem seems to be loneliness, be it the loneliness of an emigrant, a student or an old maid. Violetta is only twenty-seven years old,

If Lugovskoy and Tvardovsky, comprehending from the heights of the “mid-century” the paths of their homeland and people, each in their own way strived for the possible completeness of the reconstruction of a great historical era, reflected in human soul, then Akhmatova is characterized, first of all, by turning to tragic, key moments where the contradictions of time intersect; for her it is important to comprehend and reveal their deep essence in all its uniqueness. Akhmatova’s “Poem without a Hero” - unique and, along with “Requiem”, perhaps the most significant work of the mid-century - was created about a quarter of a century.

The original edition of “Poem without a Hero” (1940-1942, Leningrad - Tashkent) was published in fragments starting in 1944. The most complete lifetime publication was its first part - “Nine hundred and thirteenth year”, published in the final collection “The Running of Time” (1965 ), although the other two parts of the poem were not included. And despite the fact that in subsequent decades all three of its parts were published in different editions, the final, canonical text still does not exist.

Nevertheless, they are known to have been published in the 3rd volume of the 6-volume Collected Works, 4th edition (1943, 1946, 1956 and 1963), although work on the “Poem...” continued literally until the last days. Fourth edition entitled “Poem without a hero. Triptych. 1940-1965,” according to experts, most fully reflects the will of the author.

In 1959, A. Akhmatova writes: “The poem turned out to be more capacious than I thought... I see it as completely unified and whole.” Nevertheless, two years later a new entry appears: “The poem doubles again. ...it is so capacious, not to say bottomless.”

These statements and the subtitle “Triptych,” indicating a three-part structure and echoing the words of the author: “The box has a triple bottom,” speak of the amazing depth, multi-layered nature of the work, and the peculiarities of its free structure.

The main part of the poem is called “The Year Nine Hundred and Thirteen” and is subtitled “The Petersburg Tale.” That year, the last before the World War, the capital of the Russian Empire lived on the eve of impending disasters and changes. The author turns to this time of his youth from a completely different era, enriched by the experience of historical vision, looking back at the past from a certain peak and at the same time anticipating new trials. This is exactly what the “Introduction” sounds like, dated “August 25, 1941. Besieged Leningrad.”

The first chapter of this part is preceded by two poetic epigraphs that determine the time of action and address the reader to the heights of Russian poetry of the 19th and 20th centuries. Following them comes prose and weighty text - a kind of stage direction. And then in the author’s imagination (or dream) a carnival (harlequinade) begins: a string of figures, masks appears, a series of episodes, scenes, interludes pass through - and all this unfolds precisely within a whimsical and integral lyrical monologue.

K.I. Chukovsky, who called Anna Andreevna Akhmatova “a master of historical painting” and showed her excellent skill, a genuine sense of history with many examples, in particular, noticed that there is a real hero in “A Poem without a Hero”, and this is Time. One can, of course, have different attitudes to this judgment, but, I think, it does not in the least belittle the role and place of the lyrical hero of the poem, and the author, who organizes and determines its genre specificity, making it unified and integral.

It is interesting to compare with the above words of K. Chukovsky the testimony of A. Akhmatova herself from her “Notes” in “Prose about the Poem”: “The heroine of the Poem (Colombina) is not at all a portrait of O.A. Sudeikina. This is rather a portrait of the era - these are the 10th goals, St. Petersburg and artistic...” It is characteristic that here we are talking, firstly, about heroine and, secondly, about an era, like Chukovsky.

By calling the first part of her “Triptych” “The Petersburg Tale,” A. Akhmatova not only indicated the location of the action and the relationship with the classical, Pushkin tradition, but also pointed out the features of its construction. There really are signs of a narrative genre here and, above all, the fact that in the center is a romantic story of love and suicide of a young poet, a “stupid boy”, “Pierrot of Dragoons”, who was carried away and then cheated on by a “St. Petersburg doll, an actor”, “Columbine of the Tenths” years."

This story, given in separate sections, vague and encrypted, unfolds against the backdrop of a masquerade and a “blizzard ball,” a “bottomless,” endlessly lasting New Year’s Eve. The very fates of the characters (and behind them there are real prototypes: actress Olga Glebova-Sudeikina, poet Vsevolod Knyazev) are a mirror of the author’s experiences. And the heroine - “blond miracle”, “dove, sun, sister” - is the double of his soul.

The originality of Akhmatova’s “story” is that its plot and conflict are forms of expression of the author’s experience of the era. It is no coincidence that the four main chapters of this part, in which memories come to the author - “shadows from the thirteenth year”, are surrounded by such a dense lyrical “ring”, framed by Dedications, Introduction, and Afterword. At the same time, the feeling of the era, features and signs of impending events appear in characteristic sketches.

Conventional “characters” (Wind, Silence), of course, are also only doubles of the author’s lyrical “I”. But their appearance is symptomatic. They arise when you need to give the most full description complex and contradictory times, and testify to how insightful and in-depth the poet’s sense of the era and history has become.

And so - from the fantastic “New Year's blizzard ball”, “hellish harlequinade”, “midnight Hoffmanniana” and “Petersburg devilry” with its first victims - to the ominous events, “torture and executions” of the late 30s and the nationwide tragedy of the war years.

From the feeling of doom of a generation to the feeling of instability and destruction of time itself - such is the movement of thought and experience. In the course of working on the work, its themes and scale expanded, there was a deepening into the essence of historical events, comprehension of the connection of times (“As in the past the future ripens, / so in the future the past smolders ...”), understanding the essence of the era, the entire 20th century.

In the 2nd part of the poem - “Tails” - the idea of ​​the era is further expanded and at the same time concretized, showing how the “Real Twentieth Century” turned out in the fate of the poet himself and many people.

There are no longer any narrative elements here - everything is subordinated to the lyrical voice of the author, which sounds with utmost frankness, especially in stanzas that were previously omitted and replaced with periods for censorship reasons. And the finale of “Tails” is especially impressive - a direct echo of “Requiem” in the last two stanzas, preceded by the author’s remark: “(The howling in the chimney subsides...).”

This part of the poem (“Tails”) largely represents a conversation with various interlocutors: with a dull editor, with a reader-friend, and finally, with such a conventional character as the “hundred-year-old enchantress” - a romantic poem of the 19th century. It is to the latter that the tragic final stanzas are addressed, with particular force revealing and emphasizing the originality of Akhmatova’s lyric-epic in line with and against the background of domestic and world tradition (“Mad Hecuba / and Cassandra from Chukhloma”),

The third part of the poem is “Epilogue,” addressed to hometown. The introductory remark depicts besieged Leningrad in ruins and fires under the roar of guns in June 1942. The author, located 7 thousand kilometers away, in Tashkent, covers the entire country with his mind's eye and sees it entirely - from the front lines to the remote Gulag places of detention.

The final, last stanzas of the “Epilogue” depict parting with the City, the path to evacuation, the “Poem...” ends on a mournful and tragic note, which also emphasizes its close connection with the “Requiem”, making the reader feel them as two parts of a single whole - portrait and monument of a tragic era.

In “A Poem without a Hero,” especially in its first part, there is a conventional plot, sketches of everyday life, specially designated “lyrical digressions” and direct author’s monologues and addresses. The musical principle was clearly expressed in it. A. Akhmatova was sympathetic to Mikhail Zenkevich’s opinion that this is “a Tragic Symphony - it does not need music, because it is contained in itself.” At the same time, its construction resembles a dramatic work (there is even an “Interlude” - “Across the Playground”). There is no doubt that she was influenced by the dramaturgy of Alexander Blok, his lyrical dramas: “The Showcase”, “The Stranger”, and the dramatic poem “Song of Fate”.

And although the lyrical principle in A. Akhmatova’s poem undoubtedly plays the leading role, it would be wrong not to notice its complex unity and tendency to synthesize generic principles and, more broadly, various arts. The poem revealed a general tendency towards artistic synthesis, towards an in-depth understanding of man, time, and the world in their interrelation. It should be especially emphasized the exceptional breadth of experience and traditions of domestic and world literature and art creatively mastered in “Requiem” and “Poem without a Hero” - reliance on folklore, ancient mythology, the Bible, and the rich heritage of related arts: theater, painting, music, opera, ballet. ..

Within the framework of a particularly dense poetic fabric that has absorbed and concentrated space and time, human tragedies and the course of history of the lyrical poem-cycle about the cruel trials of the late 30s - “Requiem”, in the “Triptych” about the events of the 10s and 30s -40s - “Poem without a Hero”, not limited to the close interaction of lyrics and epic, but also including a dramatic, tragic beginning, based on a deeply personal adaptation to the era, as well as a truly epic worldview, A. Akhmatova created unique works with the features of a great artistic synthesis.

4. ABOUT “POEM WITHOUT A HERO”

THIS SECTION WAS COMPLETED BY ME PERSONALLY BASED ON AN ANALYSIS OF VARIOUS LITERARY SOURCES

4.1 FROM NAIMAN A.G.

Akhmatova began writing the Poem at the age of fifty and wrote until the end of her life. In every sense, this thing occupied a central place in her work, fate, and biography.

This was her only complete book after the first five, that is, after 1921, and not on a par with them, but them - like everything that Akhmatova wrote, including the Poem itself - which covered and included them. She skillfully and thoroughly compiled sections of collections that were being prepared for publication and those that were published or fell under the knife, and she was a master of combining poems into cycles.
The poem was for Akhmatova, like “Onegin” for Pushkin, a set of all the themes, plots, principles and criteria of her poetry. Using it, like a catalogue, you can search almost for individual poems of hers. Having begun with a review of what was experienced - and therefore written - it immediately took on the function of an accounting and reporting ledger - or the electronic memory of modern computers - where, recoded in a certain way, "Requiem", "Wind of War", "Rose Hip Blossoms" were "noted" ", "Midnight Poems", "Prologue" - in a word, all the major cycles and some of the things that stand apart, as well as the entire Akhmatova Pushkiniana. Along the way, Akhmatova quite consciously wrote the Poem in the spirit of an impartial chronicle of events, perhaps fulfilling in such a unique way the Pushkin-Karamzin mission of the poet-historiographer.
The poem opens with three dedications, behind which stand three figures that are as concrete as they are generalized and symbolic: a poet of the beginning of the century who died on its threshold (Vsevolod Knyazev); beauty of the beginning of the century, friend of poets, and, implausible, real, disappearing - like hers, and all kinds of beauty (Olga Glebova-Sudeikina); and a guest from the future (Isaiah Berlin), the one for whom the author and her friends raised their glasses at the beginning of the century: “We must drink to someone who is not yet with us.”

For the first time, Akhmatova’s “alien voices” merge into the choir - or, to put the same thing in another way: for the first time Akhmatova’s voice sings in the choir - in “Requiem”. The difference between the tragedy of "A Poem without a Hero" and the tragedy of "Requiem" is the same as between a murder on stage and a murder in the auditorium. Strictly speaking, "Requiem" is Soviet poetry realized in the ideal form that all its demagogic declarations describe. The hero of this poetry is the people: every single one of them participates on one side or the other in what is happening. This poetry speaks on behalf of the people, the poet speaks with them, is part of them. Her language is almost newspaper-like, simple, understandable to the people, her methods are straightforward: “for them I wove a wide cover from the poor words they overheard.” And this poetry is full of love for the people.

What distinguishes it and thereby contrasts it even with ideal Soviet poetry is that it is personal, just as deeply personal as “Clenched hands under a dark veil.” It is, of course, distinguished from real Soviet poetry by many other things; firstly, the initial Christian religiosity that balances the tragedy, then anti-heroism, then sincerity that sets no restrictions on itself, calling forbidden things by their names.

And a personal attitude is not something that does not exist, but something that exists and testifies to itself with every word in the poetry of the Requiem. This is what makes "Requiem" poetry - not Soviet, just poetry, because Soviet poetry on this topic should have been state poetry; it could be personal if it concerned individuals, their love, their moods, their, according to the officially approved formula, “joys and sorrows.”
When “Requiem” surfaced in the early 60s after lying at the bottom for a quarter of a century, the impression it gave the public who read it was not at all similar to the usual reader’s impression of Akhmatova’s poems. People - after documentary revelations - needed literature of revelations, and from this angle they perceived Requiem. Akhmatova felt this, considered it natural, but did not separate these poems of hers, their artistic techniques and principles, from the rest.

Then, in the 60s, “Requiem” was included in the same list as samizdat camp literature, and not with the partially permitted anti-Stalinist literature. Akhmatova's hatred of Stalin was mixed with contempt.

4.2. COMMENTARY ON “POEM WITHOUT A HERO”

Anna Akhmatova’s “Poem Without a Hero,” on which she worked for a quarter of a century, is one of the most mysterious works of Russian literature.

Anna Akhmatova really went through everything with her country - the collapse of the empire, the Red Terror, and the war. With calm dignity, as befits the “Anna of All Rus',” she endured and short periods glory, and long decades of oblivion. A hundred years have passed since the publication of her first collection, “Evening,” but Akhmatova’s poetry has not turned into a monument to the Silver Age and has not lost its pristine freshness. The language in which her poems express herself woman's love, is still clear to everyone.

In “Poem without a Hero,” she showed herself exactly what happened to her life when the “hellish harlequinade” of the 13th year swept through. And what can the “Real Twentieth Century” do to a person?

Introduction

While working with materials dedicated to “Poem without a Hero,” one of the most mysterious in Akhmatova’s work, many comments were discovered 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: “Hedgehog pisah - pisah.” The purpose of this work is not to give further comments on various episodes of the poem, but to, by summarizing what is already known, 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 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 needed “manifestation.” After all, the imagery of “Poem without a Hero” is full of literary and historical and 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 Akhmatova’s “cryptogram”, which, as proven in the course of the study, 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 in different time, the poem is a holistic work with a thoughtful structure, which is presented using a diagram.

Three dedications were written for “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. Crime

In the First Part (Petersburg Tale), instead of the expected guests on New Year’s Eve, “shadows from the thirteenth under the guise of mummers come to the lyrical heroine.” These masks: Faust, Don Juan, Dapertutto, Iokanaan, symbolize the youth of the lyrical heroine - sinful and carefree. Akhmatova, putting in one row the demonic heroes: Faust, Dapertutto - and the saints: Iokanaan (John the Baptist), wants to show the main sin of the generation - the confusion of good and evil. The sins of a generation are reflected in the dedication itself.

For Akhmatova very great importance had a sensational story in those years of the unrequited love of a young poet, twenty-year-old dragoon Vsevolod Knyazev for the famous beautiful actress Olga Glebova-Sudeikina. Seeing one night that Glebova-Sudeikina was not returning home alone, the young poet shot himself in the forehead right in front of his beloved’s door. The story of Vsevolod Knyazev’s unrequited love for Olga Glebova-Sudeikina is a unique illustration of the spiritual life that was led by the people surrounding Akhmatova (the lyrical heroine) and in which, of course, she herself took part.

The motif of duality runs through the entire poem. The first double of the lyrical heroine in the poem is the nameless heroine, whose prototype is Glebova-Sudeikina:
St. Petersburg doll, actress,
You are one of my doubles.

Second part. Punishment

Akhmatova wrote a 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 Dedication and in the Second Part (“Tails”), Akhmatova talks about PUNISHMENT, counting all the cataclysms of the twentieth century: Russian-Japanese war, First world war, two revolutions, repressions, the Great Patriotic War - retribution for all the sins of the generation and for one’s own sins. But sins committed in youth are difficult to atone for. You can mitigate the punishment through repentance and atonement. And until the lyrical heroine does this, at the mere thought that she may appear before the Last Judgment, she is seized with horror. The poem contains the theme of moral condemnation and the inevitability of punishment.

Akhmatova showed a picture of an inflamed, sinful, merry 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” - back side medals, “Eagle”, which evokes an association with the word “lattice”, which symbolizes the era of repression), atonement for the sins of youth through suffering and persecution: celebrating the New Year of 1941, the heroine is completely alone, in her house “there is no smell of the carnival midnight of Rome.” “The chant of the Cherubim trembles near closed churches,” and this is on 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, just like repression, is the people’s atonement for past sins, according to Akhmatova. The sins of youth, which seemed innocent, weaknesses that did not harm anyone, turned into unbearable suffering for the heroine - pangs of conscience and the consciousness that she would never be able to justify herself. However, a repentant sinner is always given the opportunity to atone for his sins through suffering or good deeds. But more on that in Part Three.

The third part. Redemption

The third and final 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 the finished copy. The next day, a listening device was installed in Akhmatova’s apartment. After the meeting with Isaiah Berlin, an employee of the American embassy, ​​a “spy,” according to Stalin, a “civil execution” followed, the peak of persecution and persecution. This was a time when Akhmatova could not publish her poems, and she was banned from entering all literary societies.

The third part of “Poem without a Hero” (epilogue) is dedicated to the ATONEMENT for 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 behind. But she insists on the “imaginary” nature of their separation, since this separation seems unbearable. The heroine understands that, leaving St. Petersburg, she becomes somewhat similar to the emigrants who so hotly denounced her. (“I am not with those who abandoned the earth...”). Having left the country at the most difficult time, emigrants distance themselves 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 appears again. But this is already a double-redeemer, a camp prisoner going for interrogation. The same double says, coming from interrogation, in the voice of the heroine herself:

I paid for myself, neither left nor right
Chistoganom, I didn’t look,
Exactly ten years I walked and I got a bad reputation
Under the revolver, Shelestel.

The epilogue speaks about Russia as a whole, about its atonement for sins during the period of repression, and then in the tragedy of the war. Another, “young” Russia is moving, renewed, cleansed by suffering, “toward itself,” that is, to regain its lost values.

This is how the poem ends.

But instead of who she was waiting for, on New Year’s Eve, shadows from the year 13 come to the author in the Fountain House under the guise of mummers. One is dressed up as Faust, the other as Don Juan. Dapertutto, Iokanaan, northern Glan, the murderer Dorian come. The author is not afraid of his unexpected guests, but he is confused, not understanding: how could it happen that only she, the only one of all, survived? It suddenly seems to her that she herself - the person she was in 1913 and the person she would not want to meet before the Last Judgment - will now enter the White Hall. She forgot the lessons of the talkers and false prophets, but they did not forget her: just as the future matures in the past, so the past smolders in the future.

The only one who did not appear at this terrible festival of dead leaves was the Guest from the Future. But the Poet comes, dressed in a striped verst - the same age as the Mamre oak, the age-old interlocutor of the moon. He does not expect magnificent jubilee chairs for himself, sins do not stick to him. But his poems told about this best. Among the guests is the same demon who sent a black rose in a glass in a crowded hall and who met with the Commander.

In the carefree, spicy, shameless masquerade chatter, the author hears familiar voices. They talk about Kazakov, about the Stray Dog cafe. Someone is dragging a goat-legged creature into the White Hall. She is full of accursed dance and ceremoniously naked. After shouting: “Hero to the forefront!” - the ghosts run away. Left alone, the author sees his looking-glass guest with a pale forehead and with open eyes- and understands that gravestones are fragile and granite is softer than wax. The guest whispers that he will leave her alive, but she will forever be his widow. Then his clear voice is heard in the distance: “I’m ready to die.”

The wind, either remembering or prophesying, mutters about St. Petersburg 1913. That year, the silver month cooled brightly over the silver age. The city was disappearing into fog, and in the pre-war frosty stuffiness there lived some kind of future rumble. But then he hardly bothered the soul and drowned in the Neva snowdrifts. And along the legendary embankment, it was not the calendar century that was approaching - the real Twentieth Century.

That year, an unforgettable and tender friend stood over the author’s rebellious youth - a dream he only had once. His grave is forever forgotten, as if he never lived at all. But she believes that he will come to tell her again the word that conquered death and the answer to her life.

The hellish harlequinade of the thirteenth year rushes past. The author remains in the Fountain House on January 5, 1941. The ghost of a snow-covered maple tree is visible in the window. In the howling of the wind one can hear very deeply and very skillfully hidden fragments of the Requiem. The editor of the poem is dissatisfied with the author. He says that it is impossible to understand who is in love with whom, who met, when and why, who died and who remained alive, and who is the author, and who is the hero.

The editor is sure that today there is no need to talk about the poet and a swarm of ghosts. The author objects: she herself would be glad not to see the hellish harlequinade and not to sing amid the horror of torture, exile and execution. Together with her contemporaries - convicts, "stopyatnitsa", captives - she is ready to tell how they lived in fear on the other side of hell, raised children for the chopping block, dungeon and prison. But she cannot leave the path that she miraculously came upon and not finish her poem.

On the White Night of June 24, 1942, fires burned out in the ruins of Leningrad. Linden trees are blooming in the Sheremetevsky Garden and the nightingale is singing. A crippled maple grows under the window of the Fountain House. The author, who is seven thousand kilometers away, knows that the maple foresaw separation at the beginning of the war. She sees her double going for interrogation behind barbed wire, in the very heart of the dense taiga, and hears her voice from the lips of her double: I paid for you with pure cash, I walked under a revolver for exactly ten years...

The author understands that it is impossible to separate her from the seditious, disgraced, sweet city, on the walls of which is her shadow. She remembers the day when she left her city at the beginning of the war, escaping an evil pursuer in the belly of a flying fish. Below she saw the road along which her son and many other people were taken away. And, knowing the time of vengeance, overwhelmed by mortal fear, with dry eyes downcast and wringing her hands, Russia walked ahead of her to the east.

PHOTO FROM THE INTERNET

"Poem without a Hero" by Anna Akhmatova

T.V. Tsivyan

(some results of the study in connection with the “text-reader” problem)

So, it is not poetry that is motionless, but the reader does not keep up with the poet,” Akhmatova wrote in the article “Pushkin’s “The Stone Guest”,” and, as always, here one should see an indication of her own relationship with the reader. The very construction of this aphoristic passage contains those , at first glance, almost imperceptible Akhmatova "shifts" - in meaning, logic, grammar - which turn out to be almost an imperative to a fundamentally new vision of the object. But this is revealed only with careful reading and interpretation. The opposition in the form in which it is presented by Akhmatova , sounds almost oxymoronic: Not X is motionless, but Y cannot catch up with him, or not X is motionless, but Y is not moving fast enough. The simplest way to bring this construction to the level of generally accepted logic is to remove two negatives in poetry (“poetry is not motionless”) : poetry is mobile, and it is precisely thanks to this property that the difference in speed arises at which the reader ends up behind.

But this would be too easy a solution, since it removes the opposition between poetry / the poet and the reader on the basis of a movement that is ambivalent in relation to poetry. In essence, the mobility / immobility of poetry cannot be defined unambiguously: it is like a point on the horizon, towards which the reader rushes to achieve and which, as he approaches it, moves away, remaining ultimately unattainable. Another metaphor for this illusory “mutual rapprochement” or movement can be given: the situation of the bridge (cf. the importance of this symbol for Akhmatova, especially in connection with the “Poem without a Hero”): if you stand on the bridge “against the flow” and watch how it moves river, then very soon there is a feeling that the river is motionless, and the bridge is moving (or the whole city is floating along the Neva, or against the current). So in this thought of Akhmatova, both the complexity of the concept of movement in connection with its fundamental relativity, and the projection of this concept onto the space of a poetic text, in which its author and its addressee coexist in mutual movement, can be encrypted.

The task of the “Akhmatovian reader” is, if not to keep up with the poet, then at least to follow his footsteps, the waymarks he leaves. It is appropriate now to sum up this movement. It should be emphasized that in this case we are not talking about the results in in the narrow sense words, that is, about what was realized and what was published in numerous (at the end of 1989, the “Akhmatov” year and countless) monographs, articles, publications, comments, memoirs, etc. Strange as it may seem, but here the “results” dispense not only with a bibliography, but also without the names of those who contributed to Akhmatoviana - and this anonymity is quite conscious. It is not explained by a reluctance to establish a hierarchy and thereby, voluntarily or involuntarily, give assessments (or rather, not only this). For us, it was more important to show that the formation of the “Akhmatova reader-researcher” took place according to the “methodology” specified by Akhmatova’s text, that the path was laid out according to its instructions, mostly hidden, in the form of hints, and even confusing.

Our own Poem studies date back to the early 1960s; the number of like-minded people with whom approaches to what is now called “decipherment” were discussed was then small. But earlier, and at the same time, and later, others also turned to the “Poem”: it, like into a funnel, drew into its study, interpretation, participation an ever larger circle of “adepts” who were united by one thing: consciously or instinctively, but they they followed the path outlined by Akhmatova specifically for the “Poem”, that is, they carried out the “tasks” set by her (the Author/Heroine, the “Poem” itself). Despite all the deviations, this path turned out to be the same in the end. Therefore, what we now know about the “Poem” (or what it taught us), what we continue to learn, what we still learn in the process of endless pursuit of the “Poem” - all this is, as it were, the result of the joint creativity of its "students". Of course, among them there were and are “the first disciples.”

It seemed to us more important to try to penetrate the self-sufficient mechanism of the “Poem”, which activates the possibilities of its researcher. We are trying to reconstruct, in the most general terms, the history of how the Poem chose its reader and educated him, while pursuing its own goals. These goals have now emerged from the results; the results, in turn, call for further study of the “Poem”, and the whole process turns out to be perpetuum mobile.

The approach to the “Poem” began with the fact that, with many questions, bewilderments and uncertainties, it became immediately clear: “A Poem without a Hero” is a radical experiment in transforming the genre of the poem, with which it is perhaps difficult to compare anything in Russian poetry over the last century. It was obvious that for such a fundamentally new text it was necessary to develop a special method of analysis, the key to which, as it turned out, was contained (in the literal sense, that is, expressed verbally, formulated) in the “Poem” itself.

Probably the most difficult thing, especially for “experienced” researchers, is to restore the beginnings - when they had at their disposal only scattered publications of individual fragments of the “Poem” and a few lists. Gradually, over the decades, more and more lists, stanzas and lines (and not only “uncensored”), notes from listeners and readers, and, finally, almost the most important - “Prose about the Poem”, containing its (and the Author’s) auto-meta-description. As a matter of fact, it was this prose - “Letters”, “Instead of a Preface”, reader reviews recorded by Akhmatova, the history and chronology of the “Poem”, and finally, its full prose form (ballet libretto) - that played the role of an arbiter, verifying much of what was "obtained" earlier, and thereby having tested the chosen path.

In other words, what was implicitly contained in the “Poem” (mainly in its poetic part) was explicitly confirmed, which meant that the attentive reader correctly grasped the milestones.

The most general and very first approach to the “Poem” was to consider it as a text of a special kind, fundamentally open, simultaneously having a beginning and an end and not having them (on the one hand, Akhmatova precisely indicates the day when the “Poem” came to her “, on the other hand, it is difficult to determine the time when it began to sound in her; several times she declared the “Poem” completed, each time returning to it again), since this text was in the process of continuous creation. Here it is difficult to say whether the text is internalized into life, or whether life is internalized into the text, and attempts to establish this definitely do not make sense. Naturally, these features characterize the “Poem” as a text with a particularly complex structure, comparable, in particular, with the structure of archetypal thinking (bricolage, in Lévi-Strauss’s terminology, that is, an indirect path, disguise), with musical structures, etc. In this sense, the passage of the “Poem” into the ballet libretto is an illustration of the inherent possibility of recoding, a phenomenon in various incarnations (performances).

One of the features of a structure of this kind is the focus on the text, that is, the focus of the Author on the text and the text on the text, which is manifested in at least two aspects: intertextuality and the already mentioned bricolage. Intertextuality was striking even if there were no special instructions from Akhmatova for quoting (primarily autoquotations). In "Letter to N.N." Akhmatova pointed to the poem "Contemporary" as a harbinger sent by "Poem". There was no poem with that title, but from the lines “Always the most elegant of all, the most pink and taller of all,” reflected in the “Poem” (“The most elegant of all and the tallest of all”), the poem “Shadow” was easily recognized, Epigraph from the poem Vs. Knyazev’s “love has passed…” prompted him to turn to a collection of his poems, where a “fawn curl” was found. Blok’s textbook “signs” (“that black rose in a glass”) definitely forced one to turn to the quotation layer of the “Poem,” which grew like an avalanche. This task was formulated by Akhmatova at the very beginning, in the “First Initiation”; the search for someone else's word turned out to be chronologically the first in the analysis of the "Poem" and, like it itself, has no end. The concept of a “conciliar” or “flowing” quotation was introduced, going back not to one, but simultaneously to several sources or pointing to a certain quotation archetype. This instability, multi-layered citation averts the reproaches (both to the Author and especially to researchers) that they want to turn the “Poem” into a canonical centon, that Akhmatova wrote “covered with books” (although her appeal to primary sources was subsequently confirmed by memoirs ). The meaning of the centon was to draw the reader’s attention to a certain background, a constantly audible second step.

The saturation of the "Poem" with someone else's word, it would seem, serves as an indication for the search for prototype heroes, especially since Akhmatova persistently repeats that the plot is based on a real event, well known to contemporaries. However, closer attention reveals that someone else’s word leads not so much to prototypes, but to the metapoetic layer of the “Poem,” which almost prevails over the plot. In a certain sense, the basis of the “Poem” is the meonal way of writing, once formulated by Mandelstam: “It’s scary to think that our life is a story without a plot and a hero, made of emptiness and glass, from the hot babble of some digressions, from St. Petersburg influenza delirium "1. In the article “Attack,” Mandelstam talks about the role of the reader (a reader who understands this role and takes on it consciously) in mastering this kind of text: “...poetic writing to a large extent represents a large gap, a gaping absence of many signs, icons, indicators, implied, which alone make the text understandable and logical; all these symbols are placed by the poetically literate reader on his own, as if extracting them from the text itself" (my italics - T. Ts.)2.

In Akhmatova’s poetics, these deviations, growths, punctures and absenteeism become the most important constructive techniques. Isn't the "Poem" itself a complete digression? It is quite difficult to isolate the plot itself (the love triangle), and it turns out that very little text space is allocated to it. In general, in the “Poem” everything seems to be “around the bush”: Instead of a preface. Three dedications, Introduction, Interlude, Afterword, Intermezzo, Epilogue, Notes, numerous (and varying) epigraphs, missing stanzas (wandering around), dates, footnotes, prose remarks, Prose about the Poem fill its space, dissolving in itself what is in other traditions is not only the basis, but also a necessary condition for this genre (and Akhmatova’s innovation is manifested primarily in this; or rather, this technique is the beginning on which much more is wound, taking the “Poem” out of the framework of the genre).

Approaches and retreats, in particular, digressions, turn out to be the meonal frame on which, as if on air, rests what is determined not essentially, not “materially,” but only by changing configurations in the auxiliary parts of the “Poem.” Direct description is replaced by zero, apophatic, shadow, overturned (mirror), etc. This is best (as always) formulated by Akhmatova herself (about her portrait by Modigliani): “... told me something about this portrait that I cannot “neither remember nor forget,” as one famous poet said about something completely different.” Or (in “Prose about the Poem”): “...the one who is mentioned in its title and whom the Stalinist secret police were so greedily looking for is really not in the “Poem”, but much is based on his absence.”

One of the results of this kind of meonal description is the creation of semantic uncertainty, ambivalence: elements of a poetic text float in semantic space as if suspended, not being attached to one point, that is, not having an unambiguous semantic characteristic. Between the elements of the text there appears a sparse semantic space, in which habitual, automatic semantic connections weaken. The author builds the semantic space of the text with the highest degree of freedom. This is where the concept of doubles arises - not a double, but doubles, multiplying endless reflections - but whose? or what? The starting point is the Author as the creator of the text, as a demiurge in the mythological sense of the word, but not as a model to which others are oriented (or “resembled”). In this sense, the question of the “similarity” of doubles is removed, and the goal is seen in something else: in the transcendental unification of the entire diversity of the world. The Author’s double turns out to be not only the Heroine (“You are one of my doubles”), but also the City (“Our separation is imaginary, / I am inseparable from you”); “Where am I and where is only the shadow” - this, among other things, is “My shadow on your walls...”

The atmosphere of uncertainty in the “Poem” is so enveloping that the question cannot help but arise: is it necessary to look for prototypes in this case? As if everything said above indicates that this is completely unnecessary, that, on the contrary, it would be a violation of the technique. Moreover, the search for prototypes or realities in literature, especially in a poetic work, is usually taken beyond the direct analysis of the text into a literary-historical (biographical) commentary; thereby emphasizing ["optionality. Indeed, the power work of art and the guarantee of its long life in time and space is that it remains significant, equal to itself, even when its realities turn out to be forgotten and unrecoverable. Actually, Akhmatova also speaks about this, refusing to explain the “Poem” and being guided by the high example: “He’s pissing, pissing.”

However, in the complex, “reversing” semantics of the “Poem”, this statement is refuted by the Author himself - and in such a way that one can see in it an incentive, an indication, and not a prohibition to look for hidden meanings. Doubting the reader’s insight or realizing that for this “Poem” the reader needs to be taught and “created” (is this where the emphasis on the reader’s constant struggle-help, that is, his cooperation with the Author comes from?), Akhmatova introduces a special part of the “Poem” - “Tails” "which is a kind of guide," teaching aid" for the reader: it contains both instructions on how to overcome misunderstandings and persistent encouragements to search. And here again it must be said that the waymarks were correctly identified - and not only in the main, but also in the details. It has already been said that when the search began, it began, for various reasons, practically from scratch.But when fragments of the “Prose about the Poem” became known (available), and above all the ballet libretto, it turned out that the collaboration between the Author and the reader-researcher was fruitful.

However, this was only the first layer of the "Poem". After its real underlying basis was restored (and established), it turned out that “in fact” everything was not the same or not so, or, in any case, not quite the same and not quite so. The "prohibitions" that we have just defined as hidden instructions acquired their direct meaning by warning against literalism. A certain role in the overly literal perception of the “Poem” was played by its magic, drawing the reader into its whirlpool. If you think about it, was it possible to demand from the most complex poetic work that it at the same time be an accurate chronicle? How could the illusion arise that the realities entered the “Poem” not transformed by the will of the Author?

So, did the search for the cipher (at the direction of Akhmatova) lead to decryption, in particular to the unambiguous establishment of prototypes? In this understanding, there is no decryption. Moreover, it turned out that the researchers were unable to go beyond the limits set by Akhmatova: those figures that she considered it possible to name were confirmed; others remained unrecognized - conjectural or "conciliar". The persistence of magic numbers - the second step, the double or triple bottom of the box, the third, seventh and twenty-ninth meanings, etc. lead to the understanding that a very complex game is being played with the reader-student, reader-researcher. In particular, refutations - there is no need to look for such and such - are essentially the introduction of new names, expanding the boundaries of the text. This is not just a "Poem without a hero", it is a Poem without heroes, and at the same time there are too many such non-heroes! (the technique is far from trivial). Thus, the intentionality of the "Poem" is absolute, all the details are worked out, all of them are aimed at the reader. This, naturally, does not in any way refute the spontaneity of the “Poem”, which guided the Author and saved him, that is, performed the same demiurgic role in relation to the Author.

Here one cannot help but think about the goals that Akhmatova set, formulating them quite clearly in the same “Poem”. These are, first of all, “literary” goals, which have already been mentioned: to break into the stagnant genre of the Russian poem, to create something fundamentally new, to emphasize the dissimilarity to the previous one and the dissimilarity to oneself, but at the same time, “self-continuity,” that is, identity with oneself. In this sense, “I am the quietest, I am simple” is an outright joke.

With Akhmatova you have to be constantly on your guard. And the reviews of readers that she cites, and irritation at their lack of understanding (cf. “The Second Letter”, where the reader is reproached for being too gullible, for allowing himself to be led astray by false instructions) - everything leads to the same thing: the search for a plot , it is more reliable to trace prototypes by means of the text itself (within the framework of intertextuality) than on the basis of memoirs - and not only because in relation to memoirs the criterion of reliability/unreliability is always relevant. Akhmatova’s goal was not to describe a certain event that happened to her circle, but to recreate the literary and artistic side of a certain historical period with its purely significant, symbolic realities.

Akhmatova “forced” to conduct historical, cultural, literary, theater, musicological and other research in order to restore the St. Petersburg Hoffmannian style and its role in the context of the tragic period of Russian history. The details scattered in the “Poem” turned out to be the threads that pulled out entire layers. Who knows, that part of the St. Petersburg Hoffmaniana that was associated with “Stray Dog” would have been revealed if Akhmatova had not reminded about it (“We are in “The Dog””), taking care to give an explanatory comment to this mention, since she soberly imagined that the new generations of readers need such commentary. Thus, we can define two tasks of the “Poem”, which are more than significant: 1) to reform the genre of the poem; 2) restore “Petersburg of the 10s”.

However, despite the importance of these tasks, Akhmatova could not limit herself to them. Leaving aside the genre experiment, one could say that beyond its boundaries there remained a sentimental or romantic journey, designed in passeistic tones. We must not forget about the time when this was written, about the biographical circumstances of Akhmatova herself, about life in which the main categories of existence were memory and conscience, the only thing that could resist chaos and the kingdom of Ham. Akhmatova has direct poetic statements about that time, and above all “Requiem”. “Poem” is a connecting link, a guarantee of preserving Man equal to himself and a ban on oblivion. “It is I, your old conscience, / who has found the burned story” - the lines represent, as it were, a motto of the “Poem”. Therefore, her moralism and, in particular, polemics with the one who, by indirect and quotation marks, is identified as Kuzmin (but is not unambiguously identified with him), does not belong to the genre of literary polemics. The character who has become the personification of “memory,” the one for whom “nothing was sacred,” brings destruction within himself. The task of the “Poem,” and at the same time the most important one, is not only to resist this destruction, but to become a mediastinum, a connecting link, and hope for restoration.

And along with these lofty goals, Akhmatova (or the Poem) created its reader-researcher, proving to be an exemplary guide to text structure (or an exemplary field for the development and application of the concept of intertextuality). What was the method of teaching, the didactic level of the “Poem”?

It seems that the key must be sought in the combination of the two poles of the “Poem” - spontaneity (“Poem” written under dictation, the Author is an apparatus that captures something) and intentionality. In this last case, we again return to bricolage, that is, the indirect path. Just as in the archetypal model of the world, bricolage is the main and most in an effective way teaching orientation in the world, human mastery of space and human mastery of space, and in the “Poem” bricolage turns out to be not only the main constructive technique (and, naturally, an artistic means), but also the most effective way of teaching.

“A Poem Without a Hero” by Anna Akhmatova is an example of how a text educates the reader, assumes a researcher in the reader, forces him to work and at the same time sets limits for him, but in such a way that he strives to go beyond them. Turning to the “Poem” again and again, we simultaneously remain in the same place and follow a path that has no end, trying to “keep up with the author.”

Bibliography

1. Mandelstam O. Egyptian stamp // Mandelstam O. Collection. cit.: In 4 vols. M., 1991. T. 2: Prose. P. 40.

2. Ibid. pp. 230-231.

To prepare this work, materials were used from the website http://www.akhmatova.org/

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Ministry of Education and Science of Ukraine

Vinnytsia State Pedagogical University named after Mykhailo Kotsyubinsky

Department of Foreign Literature

Coursework on foreign literature

ARTISTIC ORIGINALITY OF “POEM WITHOUT A HERO”

ANNA AKHMATOVA

V year students

Institute of Correspondence Studies

specialty "Russian language"

and literature and social pedagogy"

Pecheritsy Zoya Vladimirovna

Scientific director

prof., doctor of philology Sciences Rybintsev I.V.

Posted

INTRODUCTION

1.2 Composition of the poem

SECTION II FEATURES OF ANNA AKHMATOVA'S ARTISTIC SKILL IN “POEM WITHOUT A HERO”

2.2.1 The role of the twentieth century poet in the poem

2.4 Features of the language of Akhmatova’s poem

INTRODUCTION

For today's school, for teenagers in high school, already familiar with great poetic names, from Pushkin to Blok and Mayakovsky, the poetry of Anna Akhmatova is of particular importance. Her very personality, partly even now semi-legendary and semi-mysterious, her poems, unlike any others, filled with love, passion and torment, honed to diamond hardness, but without losing tenderness - they are attractive, and in her youth they are able to stop and enchant everyone, and not only those who generally love poetry, but also completely rational and pragmatic “computer” young men who give preference to completely different disciplines and interests.

But in world literature Anna Akhmatova is known not only as the author of poems about happy love. Often, very often, Akhmatova’s love is suffering, a kind of love and torture, a painful fracture of the soul, painful, “decadent.” The image of such “sick” love in early Akhmatova was both the image of the sick pre-revolutionary time of the 10s and the image of the sick old world. It is not for nothing that the late Akhmatova, especially in her “Poem without a Hero,” will administer harsh judgment and lynching, moral and historical, to him.

In light of the fact that in our literary studies certain topics have not yet been covered or even truly studied, the question of the artistic originality of works is of interest to researchers. Therefore, the topic of our course work “The artistic originality of Anna Akhmatova’s “Poem without a Hero”” seems relevant.

Research into Anna Akhmatova’s work has been going on for quite some time. However, the poetess’s lyrics have not yet been studied in terms of the artistic originality of her “Poem without a Hero.” Therefore, the observations that will be carried out in the work are characterized by a certain novelty.

In this regard, in this course work we will turn to the question of the artistic originality of “Poem without a Hero.”

The purpose of the course work is to study and describe the artistic originality of “Poem without a Hero” by Anna Akhmatova.

To achieve the goal, it is necessary to solve the following problems:

study the text of “Poem without a Hero” and theoretically - critical material;

study scientific literature on this topic;

collect the necessary material;

make observations and develop methods for classifying the extracted material;

conduct textual and literary analysis of the work;

describe observations and draw the necessary conclusions.

These tasks that we set to study the artistic originality of Anna Akhmatova’s “Poem without a Hero” have their own practical significance. The material of this course work can be used in lessons of Russian and foreign literature when studying the works of Anna Akhmatova, and can also be used as entertaining material in elective classes, in individual work with students, in practical classes at universities.

1.1 History of creation and meaning of “Poem without a Hero”

Akhmatova’s most voluminous work, the beautiful, but at the same time extremely difficult to understand and complex “Poem without a Hero,” took more than twenty years to create. Akhmatova began writing it in Leningrad before the war, then during the war she continued to work on it in Tashkent, and then finished it in Moscow and Leningrad, but even before 1962 she did not dare to consider it completed. “The first time she came to me at the Fountain House,” she writes about Akhmatova’s poem, “on the night of December 27, 1940, sending one small excerpt as a messenger in the fall.

I didn't call her. I didn’t even expect her on that cold and dark day of my last Leningrad winter.

Its appearance was preceded by several small and insignificant facts, which I hesitate to call events.

That night I wrote two parts of the first part (“1913”) and “Dedication.” At the beginning of January, almost unexpectedly for myself, I wrote “Tails,” and in Tashkent (in two steps) I wrote “Epilogue,” which became the third part of the poem, and made several significant insertions into both first parts.

I dedicate this poem to the memory of its first listeners - my friends and fellow citizens who died in Leningrad during the siege.

She attached fundamental importance to this Poem (Akhmatova always wrote this word in relation to this work only with a capital letter) [9, 17]. According to her plan (and this is what happened), the Poem was supposed to become a synthesis of the most important themes, images, motifs and melodies for her work, that is, a kind of Summary of Life and Creativity. Some new artistic principles, developed by the poetess mainly during the Great Patriotic War, found expression in it, and among them the most important is the principle of strict historicism. After all, the Poem is highly indebted to the suffering and courage that Akhmatova found in the 30s, becoming a witness and participant in the people's tragedy. The silent cry of the people in the prison lines never ceased to resound in her soul and in her words. “A Poem Without a Hero” took in and, as if in a powerful crucible, melted all this incredible and seemingly overwhelming experience for a poet” [ 9, 17 ].

There are so many levels in this work, and it is so replete with direct and hidden quotations and echoes of the life of the author himself and with all European literature, that it is not easy to understand it, especially since it was published in scattered passages and many of its readings were based on incorrect or incomplete text . Akhmatova herself categorically refused to explain the Poem, but, on the contrary, asked other people’s opinions about it, carefully collected and even read them out loud, without ever showing her own attitude towards them. In 1944, she stated that “the poem does not contain any third, seventh, twenty-ninth meanings” [1, 320]. But already in the very text of the Poem she admits that she “used sympathetic ink”, that “the box has... a triple bottom”, that she writes in “mirror writing”. “And there is no other road for me,” she wrote, “by a miracle I came across this one / And I’m in no hurry to part with it” [1, 242].

Of course, it is most natural to think that Akhmatova was forced to use “sympathetic ink” for censorship reasons, but it would be more accurate to assume that there was another reason behind this: Akhmatova addressed not only the living, but also the unborn, as well as the inner “I” of the reader, who for the time being kept in his memory what he heard, in order to later extract from it what he had once remained deaf to. And here it is no longer state censorship that operates, but that internal censor that resides in the reader’s mind. We are not always ready or able to perceive the voice of extreme rightness, found “on the other side of hell.”

Akhmatova, closely connected with earthly life, at the beginning of her Path rebelled against symbolism, which, in her opinion, used a secret language. But her inability to write poetry about anything other than her own experiences, coupled with her desire to understand the tragic circumstances of her own life so as to be able to bear the burden of them, led her to believe that her life itself was deeply symbolic. To find the “answer” to her own life, she introduces a whole series of people into “Poem without a Hero” - her friends and contemporaries, most of whom have already died - and in this broad context she brings symbols closer to reality; its symbols are living people with their own historical destinies.

1.2 Composition of the poem

Summarizing her life and the life of her generation, Akhmatova goes back far: the time of action of one of the parts of the work is 1913. From Akhmatova’s early lyrics we remember that an underground rumble, incomprehensible to her, disturbed her poetic consciousness and introduced into her poems the motives of an approaching catastrophe. But the difference in the instrumentation of the era itself is enormous. In “Evening”, “Rosary”, “White Flock” she looked at what was happening from the inside. Now she looks at the past from the enormous heights of life and historical-philosophical knowledge.

The poem consists of three parts and has three dedications. The first of them apparently refers to Vsevolod Knyazev, although the date of Mandelstam’s death has been set. The second is to Akhmatova’s friend, actress and dancer Olga Glebova-Sudeikina. The third has no name, but is labeled “Le jour des rois, 1956” and addressed to Isaiah Berlin [4, 40]. This is followed by the six-line "Introduction":

From the year forty,

I look at everything as if from a tower.

It's like I'm saying goodbye again

With what I said goodbye to long ago,

As if she crossed herself

And I go under the dark arches.

“Nine hundred and thirteenth year” (“Petersburg Tale”), the most significant part of the poem in terms of volume, is divided into four chapters. It begins with the fact that on the eve of 1941 the author is expecting a mysterious “guest from the future” in the Fountain House. But instead, under the guise of mummers, the shadows of the past come to the poet. During the masquerade, the drama of the suicide of the poet Knyazev, who committed suicide in 1913 out of unrequited love for Olga Sudeikina, is played out. He is “Pierrot” and “Ivanushka of the ancient fairy tale”, she is “Columbine of the tenths”, “goat-legged”, “Confusion-Psyche”, “Donna Anna”. Knyazev’s rival, also a poet, whose fame he cannot argue with, is Alexander Blok, who appears here in the demonic mask of Don Juan. But the most important thing is that Sudeikina, this beautiful and frivolous St. Petersburg “doll” who received guests while lying in bed, in a room in which birds flew freely, is Akhmatova’s “double”. While this personal tragedy is unfolding, the “non-calendar Twentieth Century” is already approaching along the “legendary embankment” of the Neva.

The second part of the poem - "Tails" - is a kind of poetic apology for Akhmatova. It begins with an ironic description of the editor's reaction to the submitted poem:

My editor wasn't happy

He swore to me that he was busy and sick,

Secreted my phone

And he grumbled: “There are three topics at once!

Having finished reading the last sentence,

You won't understand who is in love with whom,

Who met, when and why?

Who died and who remained alive,

And why do we need these today?

Reasoning about the poet

And some kind of ghosts swarm?"

[ 1, 335 - 336 ]

Akhmatova begins to explain how she wrote the poem, and traces her path “on the other side of hell” through shameful silence until the moment when she finds the only saving way out of this horror - the very “sympathetic ink”, “mirror writing” about which already mentioned. This is associated with the awakening of the Poem, which is both its Poem and the romantic poem of European literature, existing independently of the poet. Just as it is visited by the Muse, Dante’s interlocutor, so the Poem could already have been known to Byron (George) and Shelley. This frivolous lady, dropping her lace handkerchief, “squints languidly over the lines” and obeys no one, least of all the poet. When she is banished to the attic or threatened with the Star Chamber, she replies:

"I'm not that English lady

And not Clara Gazul at all,

I have no pedigree at all,

In addition to sunny and fabulous,

And July himself brought me.

And your ambiguous glory,

Lying in a ditch for twenty years,

I won't serve like that yet.

You and I will still feast,

And I with my royal kiss

I will reward you at evil midnight."

The last part of the poem "Epilogue" is dedicated to besieged Leningrad. It was here that Akhmatova expressed the conviction that came to her during the evacuation that she was indissoluble with her city. And here she realizes that her homelessness makes her similar to all exiles.

SECTION II. FEATURES OF ANNA AKHMATOVA'S ARTISTIC SKILL IN “POEM WITHOUT A HERO”

2.1 Theme of Akhmatova’s “Poem without a Hero”

Korney Chukovsky, who published the article “Reading Akhmatova” in 1964, which could serve as a preface to the “Poem,” believed that the hero of Akhmatova’s heroless poem is none other than Time itself [12, 239]. But if Akhmatova recreates the past, calling friends of her youth from the graves, it is only to find the answer to her life. “Tails” is preceded by the quote “In my beginning is my end,” and in the first part of the “Poem”, when the harlequinade rushes by, she says:

How the future matures in the past,

So in the future the past smolders -

A terrible festival of dead leaves.

If we take the “Poem” literally, then its theme could be defined as follows: how time or history treated a certain circle of people, mainly poets, friends of her “hot youth”, among whom she herself was the same as she was in 1913 , and whom she calls her “doubles”. But even for such an understanding it is necessary, together with the author, to actively participate in the reconstruction of past times. She describes how in the winter of 1913 the month was cooling “brightly over the Silver Age”:

Christmastide was warmed by fires,

And the carriages fell off the bridges,

And the whole mourning city floated

For an unknown purpose,

Along the Neva or against the current, -

Just away from your graves.

Akhmatova remembers Pavlova (“our incomprehensible swan”), Meyerhold, Chaliapin. But most importantly, it resurrects the spirit of the era that ended so suddenly and completely with the outbreak of the World War:

The ending is ridiculously close:

From behind the screens, Petrushkin's mask

The coachman dances around the fires,

There is a black and yellow banner above the palace...

Everyone is already in place, who is needed,

The fifth act from the Summer Garden

It blows... The ghost of Tsushima hell

Right here. - A drunken sailor sings.

The stage is equally suitable for staging the personal drama of the suicide of a young man in love, and for demonstrating the cataclysms of the “Real Twentieth Century”.

Akhmatova does not offer us material that is easy to digest. The charm of the words and the supernatural power of the rhythm force us to look for the “key” to the poem: to find out who the people to whom the poem is dedicated really were, to reflect on the meaning of numerous epigraphs, to unravel its vague hints. And we discover that the events described in the first part of "1913" are contrasted with everything that happened later. Because the year was 1913 last year, when the actions of an individual as such still had some meaning, and already starting from 1914, the “Real Twentieth Century” more and more invaded everyone’s life.

The siege of Leningrad was, apparently, the culmination of this century's invasion of human destinies. And if in the “Epilogue” Akhmatova can speak on behalf of all of Leningrad, it is because the suffering of that circle of people close to her during the war completely merged with the suffering of all the inhabitants of the besieged city.

2.2 Faces and characters in “Poem without a Hero” by Anna Akhmatova

2.2.1 The role of the twentieth century poet in “Poem without a Hero”

To find the answer to her existence, Akhmatova, as usual, uses the raw materials of her own life: friends and places familiar to her, historical events that she witnessed, but now she puts all this into a broader perspective. Taking the suicide of a young poet as the plot for a New Year's performance and connecting his image with the image of another poet, her close friend Mandelstam, who happened to become the poet of the “Real Twentieth Century” and tragically die in one of the camps invented by this century, Akhmatova explores the role of the poet in general and their role in particular. In 1913, Knyazev could still control his fate at will - he chose to die, and this was his personal matter. The poets of the "Real Twentieth Century", slaves of the madness and torment of their country, were not given a choice - even voluntary death now takes on a different, not narrowly personal meaning. Without meaning to, they personified either the “voice” or the “muteness” of their country. And yet, despite all the suffering, they would not exchange their cruel and bitter lot for another, “ordinary” life.

When Akhmatova says that she feels sorry for Knyazev, her feelings are caused not only by the very fact of the young man’s suicide, but also by the fact that, having disposed of his life in this way, he deprived himself of the opportunity to play that unusual role that lay ahead of those who remained to live:

How many deaths came to the poet,

Stupid boy, he chose this one. -

He did not tolerate the first insults,

He didn't know what threshold

Is it worth it and how expensive is it?

He will have a view...

[ 1, 334 - 335 ]

This expanded understanding of the role of the poet in the post-1914 era is emphasized in the dedication to Isaiah Berlin, and, apparently, it is precisely this that awaits Akhmatova on the eve of 1941, when she is visited by the shadows of the past.

In the second and third parts of the "Poem" Akhmatova describes the price at which life is given. In “Tails” she talks about that shameful silence that could not yet be broken, because this is exactly what the “enemy” was waiting for:

You ask my contemporaries:

Convicts, "stopyatnits", captives,

And we will tell you,

How we lived in memoryless fear,

How children were raised for the chopping block,

For the dungeon and for the prison.

Blue lips clenched,

Maddened Hecubas

And Kassandra from Chukhloma,

We will thunder in a silent chorus

(We, crowned with shame):

"On the other side of hell we"...

In the “Epilogue,” the hero of the poem becomes Petersburg-Leningrad, a city once cursed by “Queen Avdotya,” the wife of Peter the Great, the city of Dostoevsky. Crucified during the siege, Akhmatova saw him as a symbol of what she meant by the concept of the “Real Twentieth Century.” Just as the role of the poet acquired universal significance, so personal suffering merged with the suffering of the entire city, which reached its limit when its inhabitants slowly died from hunger and cold under fire. But the horrors of war were faced by everyone together, together, and not alone, as during the repressions. Only when the terrible drama began to border on madness, and Akhmatova herself found herself cut off from her city, was she able, having tied all the threads, to break the shameful silence and become the voice of the era, the voice of the city, the voice of those who remained in it, and those who scattered in exile in New York, Tashkent, Siberia. She felt part of her city:

Our separation is imaginary:

I'm inseparable from you

My shadow is on your walls,

My reflection in the canals,

The sound of footsteps in the Hermitage halls,

Where my friend wandered with me.

And on the old Volkovo Field,

Where can I cry in freedom?

Above the silence of mass graves.

The poet discovered that she had little in common with the ghosts of 1913 or with the Akhmatova she was at that time. But she shared with them the suffering that awaited them all ahead, the fear that enveloped them and which it was better not to remember, arrests, interrogations and death in Siberian camps, the “bitter air of exile” and the “silence of mass graves” of Leningrad. Comparing the era of the early 10s with the “Real Twentieth Century” that replaced it, she is convinced that life was not lived in vain, because, despite everything, the world lost in 1914 was much poorer than what she found, and as a poet and she became a much larger personality than she was then.

For emigrants who were close to the situation of 1913, it was difficult to assess the significance of the second and third parts of the poem and unconditionally accept the author’s renunciation of the Akhmatova as they knew her many years ago, from Akhmatova - the author of “The Rosary”:

With the one I once was,

In a necklace of black agates,

To the Valley of Jehoshaphat

I don't want to meet again...

2.2.2 Characters of “Poem without a Hero”

Contemporaries, fascinated by Akhmatova’s ability to recreate the atmosphere of their youth, were embarrassed and even upset by the way she “used” her friends [5, 117]. It was difficult for them to see in Olga Sudeikina or, say, Blok symbolic images of that era and at the same time people they knew, not to mention understanding such a complementary pair of images as Knyazev - Mandelstam, or in the strange role of a “guest from future" and the idea that Akhmatova and Isaiah Berlin "confused the Twentieth Century."

It would be very interesting to hear Sudeikina’s own opinion about her role in “A Poem without a Hero,” since most of it was written during her lifetime, although Akhmatova speaks of her as long dead. It is curious that Sudeikina also appears in poems from the cycle “Trout Breaks the Ice” by Mikhail Kuzmin, which Akhmatova certainly knew, since she asked Chukovskaya to bring her this book shortly before she herself read to her on the eve of the war in the Fountain House the first lines of what would later became "A Poem without a Hero." The special rhythm of the poem is close to the rhythm of the “Second Impact” of the Kuzmin cycle, where not only do we meet both Knyazev and Sudeikina, but the former also comes to tea with the author along with others who have long since died (including “Mr. Dorian”), - a scene that echoes the appearance of mummers from 1913 in Akhmatova’s house on New Year’s Eve 1941 [11, 98]. And perhaps it was Kuzmin’s description of Olga Sudeikina in the theater box that helped Akhmatova realize the connection between art and life, which she had previously only vaguely felt:

Beauty, like Bryullov's canvas.

Such women live in novels,

They also appear on screen...

They commit thefts, crimes,

Their carriages are lying in wait

And they get poisoned in the attics.

("Trout Breaks the Ice")

In “Tails” [1, 335] Akhmatova expresses fear that she may be accused of plagiarism, because the “Poem” is full of quotes and allusions to the works of other poets, some of them, like Blok and Mandelstam, were also its characters [13, 239]. In her first dedication to Knyazev and Mandelstam, Akhmatova wrote: “...and since I didn’t have enough paper, / I’m writing on your draft. / And now someone else’s word appears...” [ 1, 320 ].

In “Poem Without a Hero,” Akhmatova seemed to have gained power over the world of symbols and allegories common to all poets, in which they themselves play their symbolic role. Thus, she gains the right to borrow their words and use them in her own way: sometimes the poem is perceived as a response to all those literary judgments that have been made about the author, sometimes, as she herself claims, other people's voices merge with her voice, and her poems sound like an echo someone else's poems. But the most important thing is that, seeing in the friends of his youth not just “natural symbols”, as Dante’s contemporaries appear in his “Divine Comedy,” but also characters in an allegorical masquerade, in which characters from literature, mythology, history and fairy tales, she ultimately creates a series of psychological portraits that connect literature, allegories and symbols to life. Among the hawk moths are Sancho Panza with Don Quixote, Faust, Don Juan, Lieutenant Glahn, and Dorian Gray. And as soon as the connection was established between her contemporaries and the heroes of literature, antiquity, folk tale- the sharp boundaries between literature and life blurred. People became symbols, and symbols became people. Their interchangeability is explained not by the existence of some imaginary connection, but by Akhmatova’s insight that Mandelstam and Knyazev are in some sense the same type, sharply opposed to Blok; that she herself and Sudeikina are doubles. We enter the world of dreams:

And in the dream everything seemed to be

I'm writing a libretto for someone,

And there is no end to music.

And a dream is also a little thing,

Soft embalmer. Blue bird,

Elsinore terraces parapet.

Realizing at some level that she and her contemporaries were playing their roles on a stage that was intended for the coming drama of the destruction of their world in 1914, Akhmatova, trying to penetrate deeper into the meaning of what was happening, approaches questions of fate, guilt and comprehension of what lies outside our usual way of life. The interweaving of times, the mixing of dreams and reality, while confusing at first, soon turns out to be a key technique that allows one to free oneself from the shackles of the usual perception of time and space. From besieged Leningrad we look back to 1913 and look to 1946 and 1957 - 10 years after the meeting that "disturbed the Twentieth Century", but for which the poet paid with his suffering - a visit that was like myrrh offered to the queen on the eve of Epiphany:

I paid for you

Chistoganom,

I went for exactly ten years

Under the revolver,

Neither left nor right

I didn't look

And I have a bad reputation

She rustled.

[ 1, 342 - 343 ]

The consciousness of guilt depends on the point of view. On the one hand, Sudeikina is guilty of neglecting the suffering of the young cornet; on the other hand, for who she is, similar relationships are natural, and it is absurd to expect anything else from her. And yet you have to pay for everything, and there is no escape from it. The poet says to his friend:

Don't be angry with me, Dove,

What will I touch this cup:

I will not punish you, but myself.

Reckoning is still coming -

Don't be afraid - I don't sword at home,

Come out to meet me boldly -

Your horoscope has long been ready...

Knyazev’s words in the poem “I’m ready for death” [1, 326] - the same words that Akhmatova heard from Mandelstam in Moscow in 1934 - sound like the ultimate predetermination of fate. And in response to the poet, the words come from the darkness:

There is no death - everyone knows that

Repeating this has become boring,

Let them tell me what they have.

The three heroes about whom she explains to the editor - the poet dressed up as a mile, the sinister Don Juan, the image associated with Blok, and the poet who lived only twenty years - are both guilty and innocent. “Poets generally do not have sins” [1, 328], writes Akhmatova. The question of how it happened that she was the only one left alive entails the following question: why did this happen? Freedom from sin, which the poet-legislators of 1913 were endowed with, does not bring relief from the pangs of conscience. The poet and author are alien to those “who do not cry with me over the dead, / Who do not know what conscience means / And why it exists” [1, 329].

We constantly return to the starting point: the role of the poet in the “Real Twentieth Century” in general and Akhmatova in particular is to defend his rightness. The poet-legislator, sinless on one level, bearing the burden of other people's sins on another, is the creator or exponent of what can overcome death - the Word. This is what makes the poet’s silence something shameful; this is what earned her, the “flying shadow,” an armful of lilacs from a stranger from the future. It is as a poet that she conquers space and time, knows how to understand her contemporaries, and comprehends the world of Dante, Byron, Pushkin, Cervantes, Oscar Wilde. Naming is the bridge that is thrown across space and time and opens the way to another world, where we usually find ourselves unnoticed and where we are all living symbols that “affirm reality.”

If we can talk about the poet’s philosophy, then this poem is Akhmatova’s philosophical credo, it is the prism through which she sees the past and the future. And it is not so important whether we believe, like Akhmatova herself, that her meeting with Isaiah Berlin had consequences on a global scale or not; Do we agree with the role she assigned to Sudeikina, Knyazev and Blok? The creation of a work capacious enough to absorb all her experience and knowledge allowed her to again feel at one with those of her contemporaries from whom she had been separated, connected her with other poets through the inclusion of other people's lines in her text, and freed her from the need to continue searching for an explanation for the mystery of your life. In “Poem without a Hero,” Akhmatova found the answer, recognizing that everything in the world must inevitably be as it is, and at the same time cannot help but change. In its mirror, "The Real Twentieth Century" is not just meaningless suffering, but a strange and magnificent and at the same time cruel and terrible drama, the inability to participate in which is perceived as a tragedy.

2.3 Literary traditions in “A Poem without a Hero” by Anna Akhmatova

Two names appear immediately as soon as we get acquainted with “Poem without a Hero” - the names of Dostoevsky and Blok. Moreover, what is important here is not only direct historical and literary continuity, but also that new idea of ​​the human personality, which began to take shape in the era of Dostoevsky, but was finally formed only in the era of Blok and was picked up and widely used by Akhmatova.

Anna Akhmatova develops her line of attitude towards Dostoevsky and perception of him especially clearly in “A Poem without a Hero.” It is important that Akhmatova’s line of perception of Dostoevsky is clearly intertwined with the line of her perception of Blok. Dostoevsky and Blok are the two poles of this poem, if you look at it not from the perspective of plot and compositional structure, but from the perspective of the philosophy of history that forms the basis of its real content. Moreover, the most important difference is immediately revealed: Dostoevsky “comes” into the poem from the past, he is a prophet, he predicted what is happening now, before our eyes, at the beginning of the century. Blok, on the contrary, is the hero of the day, the hero of this particular era; he is the most characteristic expression in Akhmatova’s eyes of her essence, her temporary atmosphere, her fatal predetermination. This is an important distinction to keep in mind. But it does not prevent Dostoevsky and Blok from appearing in Akhmatova’s poem, mutually complementing, prolonging each other in time and thereby giving Akhmatova the opportunity to reveal the philosophical and historical essence of her work, central to her work.

Dostoevsky is the second Russian writer after Pushkin, who occupied an equally large place in the spiritual world of the late Akhmatova. Blok is her contemporary, he holds an equally significant place, but this is her sore spot, because Blok’s era for Akhmatova did not end with his death, and it is no coincidence that Akhmatova remembers Blok in her Poem. Coming to Akhmatova’s Poem from the past, from the pre-revolutionary era, Blok helps her to better understand a completely different time, to see both connections and differences here.

In addition, the poet is, in Akhmatova’s understanding, an exceptional phenomenon. This is the highest manifestation of human essence, not subject to anything in the world, but in its “willfulness” it reveals those high spiritual values ​​by which humanity lives. In the first part of the poem, a character appears among the mummers who is “dressed up in stripes,” “painted motley and roughly.” [4, 39] What is said about this character further allows us to say that it is in him that the general idea of ​​the poet as a supreme being is captured and revealed - “a being of a strange disposition,” an extraordinary legislator (“Hamurabi, Lycurgus, Solons I can learn from you must"), as a phenomenon of the eternal and irresistible (he is “the same age as the Mamre oak” and “the age-old interlocutor of the moon”). He is a romantic from the beginning, a romantic by nature, by vocation, by the inevitability of his worldview. He “carries his triumph” throughout the world, no matter what, for “Poets are not accustomed to sins at all.” [ 4, 39 ] Next, the Ark of the Covenant is mentioned, which introduces into the characterization of the “poet” the theme of Moses and his tablets - those great covenants that she left ancient history to subsequent generations. Thus, in Akhmatova’s interpretation, the poet becomes not just a being of a higher order, but a mysterious emanation of the spiritual essence and experience of humanity. Hence the strange outfit of the mummer: a striped verst. This is both a purely Russian road sign and a symbolic milestone marking the movement of history; the poet is a milestone on the path of history; he designates with his name and his destiny the era in which he lives.

Under such illumination, Blok appears in the poem, but as a particular implementation of the poet’s general ideas, as an equally lofty phenomenon, but in this case historically conditioned.

And here’s what else is important: in “A Poem without a Hero,” two planes in the perception of both Dostoevsky and Blok intersect, interacting and complementing each other. The first plan is historical (or rather, historical-literary), which makes it possible for Akhmatova to declare herself as the successor of their work, their main theme. The second plane is deeply personal, subjectively human, which allows Akhmatova to see in her predecessors images of living people, with their own passions and oddities of fate.

2.4 Features of the language of Akhmatova’s “Poem without a Hero”

“Akhmatova’s entire narrative in “Poem Without a Hero” from the first line to the last is imbued with an apocalyptic “sense of the end”...

…This pathos of premonition of imminent death is conveyed in the poem by the powerful means of lyricism…” wrote K. Chukovsky [13, 242].

He was right when he spoke about the powerful means of lyricism with which the poem was created. Despite the fact that it is based on the strictly followed principle of historicism, that its true, although not named, hero is the Epoch and, therefore, the poem can be classified as a work of epic appearance, yet Akhmatova remains primarily, and often exclusively, lyricist.

Some of the most characteristic features of her lyrical style are fully preserved in the poem. As in her love lyrics, she widely uses, for example, her favorite techniques of reticence, vagueness and a seemingly unsteady dotted line of the entire narrative, every now and then plunging into a semi-mysterious, permeated with personal associations and nervously pulsating subtext, designed for the reader’s emotional responsiveness and guesswork. In “Tails,” devoted mainly to the author’s reflections on the poem itself, its meaning and significance, she writes:

Akhmatova's poem composition

But I confess that I used it

cute ink,

I write in a mirror letter,

And there is no other road for me, -

Miraculously I came across this

And I’m in no hurry to part with her.

At first impression, the poem seems strange - a whimsical play of the imagination, material reality is fancifully mixed with grotesque, semi-delusional visions, snatches of dreams, leaps of memories, displacements of times and eras, where much is ghostly and unexpectedly ominous.

In the very first dedication to “A Poem without a Hero,” Chopin’s funeral march sounds, it sets the tone for all further development of the plot. Blok’s theme of Fate, which runs through all three parts with a heavy commander’s step, is instrumented by Akhmatova in sharply intermittent and dissonant tones: a pure and high tragic note is now and then interrupted by the noise and din of the “devilish harlequinade”, the stomping and thunder of a strange, as if driven by the music of Stravinsky’s New Year’s carnival ghosts emerging from the long-vanished and forgotten year of 1913. Confusion-Psyche comes out of the portrait frame and mixes with the guests. The “dragoon Pierrot” runs up the flat steps of the stairs - the twenty-year-old who is destined to shoot himself. Immediately the image of Blok appears, his mysterious face -

Flesh that has almost become spirit

And an antique curl above the ear -

Everything is mysterious about the alien.

That's him in a crowded room

Sent that black rose in a glass...

Suddenly and loudly, across the Russian off-road, under the black January sky, Chaliapin’s voice sounds -

Like the echo of mountain thunder, -

Our glory and triumph!

It fills hearts with trembling

And rushes off-road

Over the country that nurtured him...

Thus, with individual, accurately and sparingly recreated details, Akhmatova depicts the distant year 1913, familiar to the reader from her early books. It is not without reason that researchers and critics even talked about historical painting in this work, given by the unique means of twentieth-century art, including modernist art. Here we must not forget that the entire Poem is, in fact, a Poem of Memory, and Memory is very accurate, material and concrete, but at the same time subjectively poetic, where reality coexists with illusoryness, fiction and even phantasmagoria. The poem is, of course, difficult for an inexperienced reader; it requires a certain reading culture, not to mention the ability to get into the mood as much as possible. psychological world poet. The Poem of Memory is, no less important, also the Poem of Conscience.

In “A Poem Without a Hero,” an “indomitable conscience,” forcing one to remember F. Dostoevsky, who was close to Akhmatova in spirit, organized all the action, all the meaning and all the internal turns of the work. Akhmatova, who mentioned F. Dostoevsky in conversations about her Poem, did not forget to name Gogol (she always put him in second place after Pushkin and only then Dostoevsky). Phantasmagoria, grotesque, broken real proportions - all this is characteristic of the Poem and, indeed, makes one remember Gogol. But in the poem - not only 1913, it also depicts modernity, and modernity was at the time of writing the Great Patriotic War, as well as repressions, arrests, the Gulag, the fate of his son, who was in prison.

The darkness of the “Epilogue” is, however, cut through by the sunlight of Victory. The image of a warring and victorious Russia is the crown of the entire Poem, worthily crowning one of the most monumental, complex and innovative works of poetry of the twentieth century.

We reviewed material about the artistic originality of “Poem without a Hero” by Anna Akhmatova. As noted, it is a unique work in many respects. This is the most significant work of the late Akhmatova, that new Akhmatova, whose work spanned the 1940s - 1960s. Written in the manner of conditional generalization, with hints and understatements, with a clear desire for broad semantic categories, with symbolic allegories, it gravitates towards works that are usually called programmatic. “A Poem without a Hero” no longer contains a personal-lyrical concept, as it was before, but a historical concept, which is revealed on the material of a love “adventure” that grows into an event of epochal significance, tragically high. The poem displays real people and true events are described, but no names are named, the incidents are not interpreted, but are presented in the context of a single historical drama of the era. “In Akhmatova’s later poems,” notes L.Ya. Ginzburg, “they are dominated by figurative meanings, the word in them becomes emphatically symbolic.” [2, 216] This was the fate of other participants in the Acmeistic movement, in whose work the word is no longer based on its direct meaning, but on that hidden meaning that manifests itself against the background of the context of an entire era. “The symbolic word of Akhmatova’s later poems,” continues L.Ya. Ginzburg, “corresponds to new feature culture. Through historical or literary associations, culture now openly enters into the text. Especially in “Poem without a Hero,” with its masks, reminiscences, branching epigraphs” [2, 217]

In conclusion, I would like to note that Anna Akhmatova not only created “A Poem without a Hero,” not only put everything she put into it - the destinies of the people of her generation, the fate of the people, the history of time and her biography - not only spoke about the ink with which “ The poem has been written,” she addressed her, she prayed to her:

And the night goes on, and there is little strength left.

Save me like I saved you,

And don’t let me into the bubbling darkness.

LIST OF REFERENCES USED

Anna Akhmatova Collected works in 2 volumes. - T 1. - M.: "Pravda". - 1990. - 447 p.

Ginzburg L.Ya. Akhmatova. (Several pages of memories). - Poetry Day. 1977, M., 1977,

Goncharova N. “I am writing a libretto for Arthur...” (A. Akhmatova. Ballet librettos and “Poem without a hero”) // Questions of literature. - 1999. - No. 5. - P.330 - 393

Dolgopolov L.K. According to the laws of attraction: On literary traditions in “A Poem without a Hero” by A. Akhmatova. // Russian literature. - 1979. - No. 4. - P.38 - 57

Eikhenbaum B. A. Akhmatova. Analysis experience. - In the book: On poetry. - L., 1969. - P. 75 - 147

Kling O.A. The originality of the epic in the lyrics of A. Akhmatova // Philological Sciences. - 1989. - No. 6. - P. 3 - 7

Kruzhkov G. “You are many years late...”: Who is the hero of “Poem without a Hero”?: [About Akhmatova’s poem] // New World. - 1993. - No. 3. - P.216 - 226

Pavlovsky A.I. Anna Akhmatova: Life and creativity: A book for teachers. - M.: Education, 1991. - 195 p.

Pavlovsky A.I. Anna Akhmatova // Literature at school. - 2005. - No. 1. - P.12 - 18

Stroganov M.V. “A Poem without a Hero” and its commentators: [About A. Akhmatova’s poem] // Russian literature. - 1980. - No. 4. - P. 177 - 178

Timenchik R. On the analysis of “Poem without a Hero” by Anna Akhmatova // TSU. XII scientific conference of students. Tartu. 1967

Finkelberg M. About the hero of “Poem without a Hero”: [About Akhmatova’s poem] // Russian literature. - 1992. - No. 3. - P.207 - 224

Chukovsky K. Reading to Akhmatova (On the margins of her “Poem without a Hero”) - In the book: Literature and modernity. Sat. 6. Articles about literature. 1964 - 1965. M., 1965., pp. 236 - 244

1. Posted on www.allbest.ru

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