Analysis of Akhmatova's requiem. Complex analysis of Akhmatova's poem "Requiem"

The Russian poetess Anna Akhmatova faced difficult trials. Her poem "Requiem" is dedicated to the difficult years of the Stalinist repressions for the country, when many people were innocently arrested and convicted. These events also affected Akhmatova.

She spent a lot of time in prison lines. Her son was arrested. However, the poem is dedicated not only to the personal experiences of the poetess, but also to all the mothers who suffered this grief. Sounds in "Requiem" and echoes of the suffering of the entire Russian people and the native country as a whole.

The poem was created over several years. Each part is dated. The epigraph to the work was written somewhat later than himself. In it, Akhmatova, as if returning to those events and reliving them anew, emphasizes her connection with her homeland, which was not left to her in those difficult years. After the epigraph comes "Dedication" and "Introduction". The poem itself consists of ten parts, the last of which is called "The Crucifixion" and an epilogue in two parts.

“Instead of a preface,” the poem describes the situation prevailing in the prison lines, the numbness in which the people who were there were. They all expected decisions about the fate of loved ones. In this crowd, one woman, recognizing Akhmatova, asked her if she could describe this too. When a positive response was heard, a semblance of a smile flickered across the woman's haggard face. This image, captured by the poetess, well conveys and emphasizes the state of unhappy wives and mothers, expresses their grief.

The first few parts of the poem describe a situation that many have experienced. Although the poetess writes these lines in the first person, they apply to everyone who is affected. And further, throughout the entire work, personal experiences are inextricably and closely intertwined with the general fate of the Russian people. Akhmatova emphasizes this by saying that it is not her, but someone who is suffering.

Confusion bordering on insanity, agonizing anticipation of what will happen next, immeasurable grief - all this sounds from the very introduction and continues throughout the entire poem. The work can be divided into two semantic parts - waiting for the verdict and its passing, what happened after.

The verdict characterizes the poetess as a stone word that fell on her chest, which was still alive, alive with hope. And after this blow - the loss of the meaning of life.

After that, the call for death sounds. And, as Akhmatova writes, she doesn't care what she will be, as long as she comes faster. Such a fate was then typical of many mothers, whose children suffered from repression. Akhmatova personally dedicates the lines of the epilogue to all of them.

The whole work is saturated with suffering. And the image of a mother killed by this suffering is key in the poem.

Option 2

Anna Akhmatova worked on Requiem for eight years. And what is most offensive, the poem could not be published during Stalin's time. Because of this, Akhmatova's relatives and friends learned the poem by heart, and the manuscripts were burned personally by Akhmatova, because even keeping them was dangerous. For the first time "Requiem" was published in Munich in 1963, and only fourteen years later it was published in Russia.

The poem is written in separate poems, which differ in their subject matter, structure of writing and sound. Its structure allows you to feel the effect of emotion, tension in emotional terms, which can be traced in the main heroine of the poem, because she experiences not only drama in her life, but also drama in public life.

Akhmatova is very worried about the future of her homeland, she is going through the events of that era as her personal tragedy, tormented by contradictions. However, she did not change her position, being devoted with all her heart to her native country. Akhmatova lived life with the people, sharing all the sorrows and worries.

The basis of the work is the personal tragedy of Anna Akhmatova. Her son and husband were sentenced to prison for participating in an anti-Soviet terrorist group. It was an absurd accusation, but it was this event that prompted the poetess to write a poem. Throughout the entire work, one can feel the tremendous mental pain of all mothers, wives and brides who experienced these torments not only during the "Yezhovschina", but also in all the difficult times for Russia. Anna Akhmatova writes about the tragic events of the thirties, about the massacres of the Decembrists, about the streltsy executions, and the suffering and grief of Russian women are an integral part of these events.

In the Epilogue, Akhmatov's work raises the problem of human memory, only by remembering these terrible events, it is possible to avoid a repetition of this in the future. And she also turns to God, asking for all those who were with her at the red wall while she awaited the verdict for her son. It was there that the most terrible days of her life, like thousands of people of that generation, passed.

In the second part of the Epilogue, Akhmatova tries to define her place on earth and summarize her creative activities. This part echoes Pushkin's "Monument", only Akhmatova wants a monument to her not in Tsarskoe Selo, where she spent her childhood, but at the walls of Kresty, where she experienced terrible mental anguish with other women.

Requiem is fourteen prayers, as Akhmatova herself said. And not only for his own son, but also for many people who were destroyed without fault, and not only physically, but also spiritually. This is a poem - a challenge, an accusation against those who created a totalitarian regime.

Composition based on the poem Akhmatova's Requiem analysis

Strange fact, but people are the main source of each other's suffering. Probably, it is something that has been instituted by some to oppress others. Therefore, there are prisons and, most importantly, innocent convicts, there is injustice.

Anna Akhmatova experienced the severity of power her poem Requiem is largely based on the poet's own sufferings, which she experienced because of her son Lev Gumilyov, who spent about ten years in prison. Perhaps he was inconvenient for the authorities, but an orientalist, translator and philosopher was hardly harmful to society and such an element that deserved this conclusion. Nevertheless, he had the destiny to live in the USSR during the period, including 1937 and subsequent years, when many were imprisoned and sometimes indiscriminately.

Akhmatova, through her own suffering, became a part of the entire suffering people:

“And if they hold my tortured mouth,
With which a hundred million people are shouting. "

The preface just tells how the creation of the Requiem was preceded by communication with other close prisoners, the same inconsolable and intimidated. It was for them that the poetess "... weaved a wide veil of the poor, they have overheard words."

The remarkable thing about this work lies in the gradual writing. It is collected from excerpts from different years, each - captured the current state of affairs, Akhmatova's feelings about her son. Through the author's personal tragedy, we see the tragedy of an entire country: "I was then with my people, Where my people, unfortunately, was."

With amazing accuracy Akhmatova at the very beginning of the poem calls the city a "pendant" of her prisons. The following describes a picture of arrest and loneliness: "Husband in the grave, son in prison, Pray for me."
The image of the state colossus grinding everyone is presented as a "huge star", which probably looked from the Kresty prison at Akhmatova and all the others who stood there for long queues.
The poetess calls her own suffering a stranger, because she could not bear it, writes about her own madness and short prison meetings, about the sentence for which she was “ready”. And further: "We must kill the memory to the end."

Nevertheless, in conclusion, Akhmatova asks if a monument should be erected to her, then only at the Kresty, oddly enough, in order to preserve the memory of this time. So that from the bronze eyelids snow would flow like tears. Perhaps these "tears" of the monument will help to atone for the suffering of the remaining people and save the people from these mistakes again.

Option 4

The poem "Requiem" by Anna Akhmatova was written in very difficult years, during the years of repression. Although the poem was written between 1935 and 1940, Akhmatova was in no hurry to write it down. She kept it in her memory for many years, because she did not want to fall under the yoke of repression. When Stalin died, Anna Akhmatova nevertheless decided to write it down, although it was very risky. The information that was in this poem is very dangerous for the poetess. It tells the whole truth about those difficult times.

The poem by Anna Akhmatova contains the pain of many thousands of women; this poem is true from beginning to end. Twenty-two years have passed since the death of Anna Akhmatova, when the poem "Requiem" was published in 1988.

The tragic fate of Anna Akhmatova prompted her to write this poem. During the repression, her husband Nikolai Gumilyov, who was a very talented Russian poet, was arrested and shot in 1921. They said that Nikolai Gumilev was in conspiracy against the new government of the Bolsheviks. Stalin's executioners, as a rule, persecuted the whole family and, as a result, the son of Gumilyov and Akhmatova was also arrested in the thirties. Any person could be arrested, everyone was afraid of being arrested and shot.

In Requiem, Akhmatova describes that then she had to spend seventeen long months in line in front of the prison. Ene's son Lev was sentenced to death, but then he was replaced by a stay in the camps. Akhmatova was so depressed that she spent so many months with other people who did not understand why their relatives were accused. People tried to get at least some information about their relatives from the authorities, but they remained unheard.

In her poem "Requiem" Anna Akhmatova wanted to convey all the pain and disappointment experienced by many thousands of people. The people were scared and could not do anything against the authorities, people were powerless in this.

Akhmatova knew how to put so much meaning in a small number of lines and describe the human soul. Anna Akhmatova in the poem tries to look at herself from the outside, because her mental pain is so great that the poetess is afraid of losing her mind.

The poetess did not even have to exaggerate, the problem was so great and brought the people only trouble. All the horror that millions of citizens had to endure has left a huge imprint on the lives of people. The poem ends with a joyful poem that finally everything is over and you can breathe freely. Anna Akhmatova accomplished a great feat by creating the poem "Requiem".

Analysis of the poem Requiem according to plan

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In previous years, the idea of the narrowness, intimacy of Akhmatova's poetry was quite widespread, and it seemed that nothing foreshadowed her evolution in a different direction. Compare, for example, B. Zaitsev's opinion about Akhmatova after he read the poem Requiem in 1963 abroad: Stray Dog that this fragile and thin woman would utter such a scream - female, motherly, a scream not only about herself, but about all the suffering - wives, mothers, brides ... Where did the masculine power of the verse come from, its simplicity, the thunder ordinary, but buzzing with a funeral bell ringing, breaking the human heart and arousing artistic admiration? "

The basis of the poem was the personal tragedy of A. Akhmatova: her son Lev Gumilyov was arrested three times during the Stalin years. The first time he, a student of the Faculty of History of Leningrad State University, was arrested in 1935, and then he was soon rescued. Akhmatova then wrote a letter to I.V. Stalin. The second time Akhmatova's son was arrested in 1938 and sentenced to 10 years in the camps, later the term was reduced to 5 years. For the third time, Lev was arrested in 1949, sentenced to death, which was then replaced by exile. His guilt was not proven, and he was subsequently rehabilitated. Akhmatova herself considered the arrests of 1935 and 1938 as revenge of the authorities for the fact that Lev was the son of N. Gumilyov. The arrest of 1949, according to Akhmatova, was a consequence of the well-known decree of the Central Committee of the CPSU (b), and now the son was already in prison because of her.

But "Requiem" is not only a personal tragedy, but a national tragedy.

The composition of the poem has a complex structure: it includes an Epigraph, Instead of a preface, a Dedication, an Introduction, 10 chapters (three of which have a title: VII - Sentence, VIII - To death, X - Crucifixion) and an Epilogue (consisting of three parts).

Almost the entire Requiem was written in 1935-1940, the section Instead of the Preface and the Epigraph are marked in 1957 and 1961. For a long time, the work existed only in the memory of Akhmatova and her friends, only in the 1950s did she decide to record it, and the first publication took place in 1988, 22 years after the poet's death.

At first "Requiem" was conceived as a lyric cycle and only later was renamed into a poem. Epigraph and Instead of Preface - semantic and musical keys of the work. The epigraph (an autocitation from Akhmatova's 1961 poem "It was not for nothing that we were in misfortune together ...") introduces a lyrical theme into the epic narration of a folk tragedy:

I was then with my people,

Where my people have, unfortunately, been.

Instead of the Preface (1957) - the part continuing the theme of "my people" takes us to "then" - the prison line of Leningrad in the 1930s. Akhmatov's Requiem, like Mozart's, was written "to order," but the "customer" in the poem is played by the "people of one hundred million." The lyrical and the epic are fused together in the poem: talking about her grief (the arrest of her son - L. Gumilyov and her husband - N. Punin), Akhmatova speaks on behalf of millions of "nameless" "we": "In the terrible years of Yezhovism, I spent seventeen months in prison queues in Leningrad. Once someone "identified" me. Then a woman standing behind me with blue lips, who, of course, had never heard my name in her life, woke up from the numbness that we all had in common and asked me in my ear (there everyone spoke in a whisper): "Can you describe this? And I said:" I can. Then something like a smile slipped over what had once been her face. "

The Dedication continues the theme of the prosaic Preface. But the scale of the events described is changing, reaching a grandiose scale:

Mountains bend before this grief,

The great river does not flow

But the prison locks are strong,

And behind them are convict holes ...

Here, the time and space in which the heroine and her casual friends in prison queues are located are characterized. There is no more time, it has stopped, it has become numb, it has become silent ("the great river does not flow"). The harsh-sounding rhymes "mountains" and "holes" reinforce the impression of the severity and tragedy of what is happening. The landscape echoes Dante's paintings "Hell", with its circles, ledges, evil stone crevices ... And prison Leningrad is perceived as one of the circles of Dante's famous "Hell". Further, in the Introduction, we find an image of great poetic power and precision:

And dangled as an unnecessary appendage

Near their prisons Leningrad.

Forex without investing money

The numerous variations of similar motifs in the poem are reminiscent of musical leitmotifs. The Dedication and the Introduction indicate the main motives and images that will develop further in the work.

The poem is characterized by a special sound world. Akhmatova's notebooks contain words that characterize the special music of her work: "... a mourning requiem, the only accompaniment of which can only be Silence and sharp distant tones of the funeral bell." But the silence of the poem is filled with disturbing, disharmonious sounds: the hateful rattle of keys, the song of separation of the locomotive whistles, the crying of children, a woman's howl, the rumble of black marus, the slapping of doors and the howl of an old woman. Such an abundance of sounds only enhances the tragic silence, which explodes only once - in the chapter The Crucifixion:

The choir of angels glorified the great hour,

And the heavens melted in fire ...

The crucifixion is the semantic and emotional center of the work; for Mother Jesus, with whom the lyrical heroine Akhmatova identifies herself, as well as for her son, the "great hour" has come:

Magdalene fought and sobbed,

The beloved disciple turned to stone,

And to where Mother stood silently,

So no one dared to look.

Magdalene and her beloved disciple, as it were, embody those stages of the way of the cross that Mother has already traveled: Magdalene is rebellious suffering, when the lyric heroine "howled under the Kremlin towers" and "threw herself at the executioner's feet", John - the quiet numbness of a man trying to "kill memory "distraught with grief and calling for death. The Mother's silence, which "no one dared to look at," is resolved by a crying requiem. Not only for his son, but for all those who were lost.

The Epilogue that closes the poem "switches the time" to the present, returning us to the melody and the general meaning of the Preface and the Dedication: the image of the prison queue "under the blinded red wall" reappears. The voice of the lyric heroine grows stronger, the second part of the Epilogue sounds like a solemn chant, accompanied by the blows of the funeral bell:

Again the funeral hour approached.

I see, I hear, I feel you.

"Requiem" became a memorial in word to Akhmatova's contemporaries: both dead and alive. She mourned all of them, completed the personal, lyrical theme of the poem epic. She gives her consent to the celebration of erecting a monument to herself in this country only on one condition: that it will be a Monument to the Poet at the Prison Wall. This is a monument not so much to the poet as to the people's grief:

Then, as in blissful death I am afraid

Forget the rumble of black marus.

Forget how the hateful squelched the door

And the old woman howled like a wounded animal.

Analysis of Tsvetaeva's poem "Rails"

In a certain lining of musical notes

Lying like a sheet -

Railway tracks,

Rail cutting blue!

Pushkinskoe: how many there are, where are they

Drives! (passed - do not sing!)

They are leaving - they are leaving,

It cool down - lag behind.

They remain. Pain like a note

Towering ... on top of love

Tall ... the wife of Lot

The frozen pillars in bulk ...

The hour when despair, like a matchmaker,

The sheets are spread out. - Yours! -

Cries like the last seamstress.

Cry of resignation! Marsh cry

Herons ... Seaweed - crying! Deep

Railway tracks

Cutting horn with scissors.

Spread in vain dawn,

A red, vain stain!

Young women at times

They are flattered on such a canvas.

Tsvetaeva asserted: "... reading is participation in creativity." In the case of Tsvetaeva, this is especially important to bear in mind, since she is characterized by the previously unprecedented structural and semantic (semantic) compaction of poetic writing, omission of the self-evident, unpredictability, originality of metaphors, reference to the world and domestic poetic classics. Ideally, Tsvetaeva requires a reader who is equal in erudition and poetic imagination1.

Fully aware that “any attempt at an analytical approach to a synthetic phenomenon is certainly doomed” (I. Brodsky), that is, it is impossible to believe harmony with algebra, let us try, as far as possible, to expand and decipher the figurative structure of M. Tsvetaeva's poem.

The poem "Rails" was written on July 10, 1923. In May 1922, M. Tsvetaeva, together with her daughter Ariadna, was forced to leave Russia. The years in a foreign land were difficult: Berlin, Prague, Paris ... Relations with the Russian emigration were very difficult, the attitude of criticism was rather hostile: the fate of outstanding poets is the same everywhere ...

The poem "Rails" reflected the longing for the homeland, and the bitter sense of hopelessness, and the sense of common fate with those who were forced to leave their home ...

"Bed sheet", "canvas", "seamstress", "scissors" ("cutting whistle with scissors"), "matchmaker" - this everyday vocabulary (traditional female objects) in Tsvetaeva's poem takes on a metaphorical meaning, is filled with tragic content. Despair, the matchmaker is perceived here as identical with fate ("The sheets are spread out. - Yours!"), As spreading the canvas of fate in front of unfortunate women. Feminine tenderness and drama of the circumstances proposed by fate - the first stanza is built on this collision. "Rail cutting blue!" - and coldly gleaming steel rails cutting through space, and cutting blue (cuts eyes from tears, from the pain of parting) of the native Russian sky.

And then the poetic thought in the poem develops not linearly (not analytically), but crystal-like (synthetically), that is, a number of associations appear - metaphorical images that develop the theme of female separation from the homeland. Moreover, the maximum increase in meaning occurs due to the poet's appeal to a wide literary context. Including to Pushkin: "Pushkin: how many of them, where are they // Driving! (Passed - they do not sing!)" - a reminiscence from the poem by A.S. Pushkin's "Demons". Tsvetaeva is concerned with the motive of exile, obedience to fate, an unknown force, obedience, silent from powerlessness to change anything ("passed - they do not sing"), from powerlessness in front of a historical blizzard. See Pushkin in "Demons":

Endless, ugly

In a muddy month game

The demons are different,

Like leaves in November ...

How many there are! where are they being driven?

Why are they singing so plaintively?

Do they bury the brownie.

Is a witch given out in marriage?

Biblical subjects are also involved in the metaphorical context of the poem: "By the wife of Lot // frozen pillars in bulk ..." ... How could it not be for women of Russia leaving their homeland not to look back into the dear past? "The frozen pillars in bulk" are, apparently, railway signs of kilometers, but these are also innumerable women-exiles from Russia, petrified with grief and despair. In a similar vein, sympathizing with Lot's wife, he develops the biblical motive of A. Akhmatov in the 1924 poem "Lot's wife". Akhmatova also sympathizes with Lot's wife, who, unlike her husband, could not help but look back, she gave birth to her husband's children ... "That's why Tsvetaeva's" leave - leave, .. cool down - lag behind // ... remain "2.

The image of the ancient Greek poetess from the island of Lesbos Sappho (Sappho) gives the tragedy of Russian women a universal human content: "Sappho, who was deprived of her voice, cries like the last seamstress ..." - Sappho was also forced to leave her hometown. Sappho was unusually famous, her images were minted on coins, her enchanting voice was compared to the singing of a nightingale. It is impossible to imagine Sappho who has lost her poetic voice, deprived her voice: the poetic word is the way of her existence. But if this happened, then her despair and grief were boundless. All are equal before fate, the power of fate, because exile, the loss of the homeland are difficult both for the genius poetess and for the "last seamstress". The despair of exile, repeating itself for centuries, unites all women.

"Rails" by M. Tsvetaeva recalls A. Blok's poem "On the Railroad", first of all, its opening and closing lines:

Under the embankment, in the unmown ditch,

Lies and looks like she's alive

In a colored scarf, thrown on braids,

Beautiful and young ...

Do not approach her with questions,

You don't care, but she's enough:

Love, mud, or wheels

She's crushed - everything hurts.

Tsvetaeva concludes her poem with a metaphor engaged in, but interrupted at the very beginning, extinguished before the dawn-life:

Spread in vain dawn,

A red, vain stain!

Young women at times

They are flattered on such a canvas.

And again Tsvetaeva's metaphor is original, unpredictable3: women usually flatter themselves on the canvas-cloth, but not on the canvas of death - suicide.

The fifth stanza encourages us to evaluate the validity of the remarks of the poet I. Brodsky about the peculiarities of M. Tsvetaeva's style: for the poet, "phonetics and semantics, with few exceptions, are identical." They are identical because the very sound of the word becomes meaningful. The lines "Cry of resignation! Cry of the marsh // Herons ... Algae - cry!" - vary (crystallinely increase) the theme of suffering, uncomplaining despair. Genuine grief is silent (there is no strength to scream and wring his hands), algae (a figurative parallel of silent women suffering), as it were, drowned in water - in a sea of tears. Here the phraseological unit "drown in tears" returns to its literal meaning, the exposure of the internal form of the phraseological unit renews and enriches its content. There is no more silent, meek and bitter crying! Alliteration to sonorants, primarily to "l" (which is typical of Tsvetaeva in general) brings the poem closer to folklore genres - ancient lamentations, crying, giving primacy, "authenticity", universality (archetypal) to the experiences of women leaving their homeland.

what is the theme of Akhmatova's poem requiem and got the best answer

Answer from NB. [Guru]
The "Requiem" dedicated to the most "damned dates" of mass murders, when the whole country turned into a single prison line, when every personal tragedy merged with the national, became a monument to the terrible era.
The death stars were above us
And innocent Russia writhed
Under bloody boots
And under the tires of black "Marus".
The lyrical heroine is a generalized image of a Russian woman. The mother takes pity on her son, who took upon himself the sins of people, but she is also proud of him. This poem is the last hope for justice:
They took you away at dawn
I followed you, as if on a carry-out.
Children were crying in the dark room
At the goddess, the candle swam.
I don’t understand what happened.
How to you, son, to jail
White nights looked ...
Akhmatova created a great monument to the people's grief, to all those who were tortured and destitute, those who stood in line with her:
For them I have woven a wide veil
Of the poor, they have overheard words ...
Most of the attention in "Requiem" is paid to the personal tragedy, that is, to how the lyrical heroine endures torment. The loss of loved ones has an extremely strong effect on a person, his soul. Akhmatova was awaiting the verdict for her son, Lev Gumilyov. She went through everything herself and wrote what she felt. Undoubtedly, other mothers, whose sons were in "convict holes" felt the same. If they felt anything at all. Indeed, in the introduction to the poem, Akhmatova writes: "... woke up from the torpor that we all have."
Sentence. And immediately tears will pour
From everyone is already separated,
As if life was taken out of the heart with pain,
As if rudely overturned on your back,
But she walks ... staggers ... alone ...
It seems to be alive, since "it is walking ... staggering", but "life from the heart" was taken out. And what lives in the heart? Isn't it a human soul? So what happens? The soul perishes, but the body does not. So Akhmatova writes in the chapter "The Verdict":
And the stone word fell
On my still living chest.
And after that there are very, I would even say, too calm lines: I have a lot to do today:
It is necessary to kill the memory to the end,
It is necessary for the soul to turn to stone
We must learn to live again.
As if a lyrical heroine is making a to-do list for the near future, as a housewife is making a shopping list. No emotion, "because" she was "ready." Only, in my opinion, one cannot prepare for this. It’s just impossible. To what extent should the soul “petrify”, become covered with an impenetrable crust of indifference and hatred? The Gospel story, on which A. considered herself entitled to rely, expands the scope of the Requiem to a universal scale. From this point of view, the poem "The Crucifixion" can be considered the poetical and philosophical center of the entire work, although it is placed directly before the "Epilogue". The lyrical heroine turns to death, asks her to come. The woman “doesn't care now”. I am sure that every mother at the walls of the Crosses has more than once seriously thought about death, which can relieve torment and give peace.
No, it’s not me, it’s someone else who is suffering.
I couldn't do that, but what happened
Let the black cloth cover
And let the lanterns be carried away.
Night.
The concluding part of Requiem develops the theme of the Monument, which is well known in Russian literature, acquiring, under Akhmatova's pen, a completely unusual - deeply tragic - appearance and meaning. We can say that never - neither in Russian nor in world literature - has such an unusual image appeared - a monument to the Poet, standing, at his own request, at the prison wall. This is truly a monument to all victims of repression.
“Mothers! Mothers! Why have you submitted to the wild human memory, reconciled to violence and death? After all, most of all, the most courageous of all, you suffer about your primitive loneliness in your sacred and bestial yearning for children. "/ In Astafiev /

Answer from Ella Kuznetsova[guru]
And best of all, read the Requiem itself - this is the pinnacle of Russian poetry of the 20th century. And just a few pages.
link
And everything is clear.

Answer from Lera[guru]

Answer from Anastasia Osetrova[expert]
- If you report to the school, start from here "... The main idea of the poem" Requiem "is an expression of the people's grief."
If not enough, then ...

A comprehensive study of the poem "Requiem" by Akhmatova, analysis of the composition, artistic means, interpretation of the name, help to feel the deep ideas of the poetic work.

Despite the small volume, each line is significant in content and strength of feelings. The reader is unable to indifferently perceive the events reflected in the poem.

The history of the creation of "Requiem" by A. Akhmatova

The plot is based on the personal drama of Anna Akhmatova. Her son was subjected to brutal arrest procedures three times. In 1949 he was sentenced to death. Subsequently, the death penalty was replaced by exile.

Anna Andreevna Akhmatova (1889 - 1966)

For the first time, Lev Gumilyov was taken into custody in 1935. The most significant parts of the Requiem date from this year. For five years, the poetess worked on a cycle of poems about Russian women who are going through a difficult time, suffering for their men imprisoned.

In the early 60s, Anna Akhmatova unites disparate works into a single whole, giving the poem the name "Requiem".

Why is the poem called "Requiem"

In Catholicism, a requiem is a religious ceremony performed for the dead, and its mourning musical accompaniment. In manuscripts, the title of the poem is written in Latin letters, which may indicate a connection with musical works.

So "Requiem" by Wolfgang Mozart, whose work Akhmatova was interested in in the 30s and 40s, consists of 12 parts. In Anna Andreevna's poem there are 10 chapters, Dedication and Epilogue.

Genre, direction and size

"Requiem" can be attributed to a new trend in literature, acmeism, which opposes symbolism and proclaims the clarity and accuracy of the word, the straightforwardness of style and the clarity of images.

The goal of literary innovators was to ennoble man with the help of art. Akhmatova, like all acmeists, strove for poetic changes in the ordinary and sometimes unattractive phenomena of life.

The work "Requiem" fully corresponds to the innovative trend of Acmeism with its classical strictness of style and the desire to convey atrocities and outrages in poetic language.

The genre "Requiem" is a poem. But many literary critics cannot unequivocally determine the genre of the work due to the similarity with the poetic cycle. The unity of the idea, the lyrical basis, connecting separate fragments helps to attribute "Requiem" to the poem.

A logical and consistently built plot unfolds before the reader, describing an entire epoch in abbreviated form. The narration is conducted in the first person, acting at the same time as a poet and a lyric hero.

The poetic dimension of the work is not devoid of a kind of dynamics, characterized by the play of rhythms and the varying number of feet in the lines.

Composition of the work

The composition "Requiem" is distinguished by a ring structure, consisting of a prologue formed by the first two chapters, an epilogue from the last two chapters and the main part.

Each part has a special emotional meaning and carries its own sensory load. The poem is replete with lyrical experiences, and in the prologue and epilogue there is a tendency towards generalizations, the epic.

The foreword consists of a prose text that resembles a newspaper clipping. This technique helps the reader to plunge into the atmosphere of the era described.

In the Dedication following the Preface, the theme of the prosaic introduction is continued, with an increase in the scale of the events described:

The biographical theme of the poem - the imprisonment of the son and the moral torment of the suffering mother - sounds in the first chapters of the work. The prologue is followed by four chapters that convey the grieving voices of mothers.

In the first poem, written in the form of a monologue, a woman from the people grieves about her son, led to execution. This eternal heroine of Russian history in poetic lamentation conveys the full depth of grief tearing the soul:

The plot center of the poem is the fifth and sixth excerpts, dedicated to the son languishing in prison. Each poem is a compositionally complete, integral piece of art, united by common sorrowful motives, the feeling of death and the pain of loss.

In the epilogue, thoughts emerge about death, the end of life, the result of which should be a monument to people's suffering.

Characteristics of the main characters

The main lyric heroine of the poem is the author of Requiem, a mother worried about the fate of her son, and an ordinary woman from the people. Each of these images is unique and, smoothly flowing, unites into one face, the prototype of which is Anna Akhmatova herself.

The lyrical heroine is a woman with powerful, inexhaustible inner energy, who, in an attempt to save her only child, "threw herself at the executioner's feet."

The heroine's personal experiences are replaced by detachment in the assessments of behavior, plunged into despair by the mother: "This woman is sick, this woman is alone."

The author looks at everything that happens around him from the outside. It is difficult to imagine how, being in the past "the ridiculous and favorite of all friends", the heroine turned into a shadow calling for death. A date with her son causes a storm of emotions in the mother's soul, but despair is replaced by hope, a desire to fight to the end.

The image of the son is revealed in the work not so completely and multifaceted, but his comparison with Christ emphasizes the innocence and holiness of the hero. He appears as a humble martyr, trying to comfort and support his mother.

Other main characters of the poem are collective female characters worried about the fate of close men. They languish in the unknown, endure the fierce cold and scorching heat in anticipation of short dates. The author personifies them with the Mother of God, meekly enduring adversity.

Themes of the poem "Requiem"

The central theme of the work is the theme of memory, a return to the memories of the past, the preservation of what has been experienced, felt and seen. And this is not only the memory of one person, but also the national memory of people united by a common grief:

The lament of mothers for their sons, in continuation of the theme of memory, sounds in verses, beginning with the Introduction. Then the motive of death arises, generated by the expectation of execution, the inevitability of an inevitable end. The reader is presented with the image of the mother, who is personified by the Mother of God, who survived the terrible death of her son.

The theme of the suffering Motherland, inherently connected with the destinies of her people, is revealed by Akhmatova in Requiem:

After all, the Motherland is the same mother, worried about her sons, unjustly accused and victims of cruel repression.

And through all the sorrows, the theme of love shines, conquering evil and life's adversities. Women's selfless love is able to overcome any obstacles in the fight against the system.

Themes revealed in the poem "Requiem":

memory;
mothers;
Homeland;
the suffering of the people;
time;
love.

Analysis of each chapter of "Requiem" by A. Akhmatova

The poems that make up the work "Requiem" were written in the period from 1935 to 1940. The poem was printed in Russia two decades after the death of Anna Andreevna, in 1988.

The narration opens with prosaic lines "Instead of a preface" explaining the whole idea.

The reader finds himself in the Leningrad prison line of the 1930s, where everyone is in a daze and speaks "in a whisper."

And to the question of the woman with "blue lips":

- Can you describe this?

The poet says:

The lines of the poetic epigraph written in the preface explain the meaning of the Requiem, written in the folk language and addressed to the people. The poet speaks of his involvement in the country's disasters:

The theme of the Preface continues in the poetic Dedication. The scale of what is happening is increasing, nature and the surrounding historical reality emphasize the desperate state of people and isolation from a serene life:

It is agonizing to wait for a court decision, on which the future fate of a loved one will depend.

But sorrowful feelings are experienced not only by people, but also by the homeland, Russia, responding to suffering:

The biblical image, the messenger of the Apocalypse, also appears here:

In the introductory part of the Requiem, the most important motives and main images are outlined, which are developed in the subsequent chapters of the poem. A lyrical heroine appears, watching her son being taken away "at dawn." Loneliness comes instantly:

The biographical details of Akhmatova's life, the time frame, boundless tenderness and love for her son are described:

In the seventh chapter "The Sentence" in simple words describes inhuman experiences, attempts to realize and come to terms with the terrible reality.

But it is impossible to accept and endure what happened, therefore the eighth chapter is called "To death". The saddened heroine sees no other way out but death. She strives for oblivion and calls for death:

The ninth chapter tells about the last meeting in prison and the approaching madness:

The next part, The Crucifixion, serves as the semantic and emotional center of the poem. A parallel is drawn here with the suffering of the Mother of God who lost her son Jesus. With Maria, Akhmatova identifies herself and all unfortunate mothers:

In the epilogue, which consists of two parts and carries a strong semantic load, the author addresses people. In the first shorter verse fragment, Anna Andreevna directs her words to everyone who has experienced similar feelings. She prays for everyone who stood with her in prison lines:

The second part deals with poetry, the role of poets and their purpose. The poetess speaks of herself as the spokesman for the voices of a hundred million people:

And she sees a monument to herself at the prison walls, where so much has been experienced, felt and mourned:

Conclusion

Requiem is a special poetic work by Anna Akhmatova that goes beyond the context of everyday perception of life and history. The hero of the poem is the people, and the author is only a part of this mass of people. The poet wrote the lines of poetry in a simple, understandable language. They are imbued with love for the homeland and its inhabitants.

Anna Andreevna has long been dead, and her work is still relevant and interesting to the reader. Her poems need to be felt, they have a powerful effect on people, forcing them to empathize with the heroes.

PLAN - DESIGN

literature lesson in grade 11

using presentation equipment

and interactive whiteboard

TOPIC:

“I was then with my people,

Analysis of the poem by A. Akhmatova "Requiem".

Prepared and conducted

teacher of Russian language and literature

Kortunova Lilia Nikolaevna

year 2012

Lesson plan:

Introduction. A word about Akhmatova.
The history of the creation of "REQUIEMA".
Historical background (the fate of L. Gumilyov).
Historical and literary parallels.
Rationale for the choice of the name.
Reading and analyzing the poem. (theme, idea, images, artistic means).
The message of the student "The chapter" Crucifixion "in" Requiem "is a universal sentence to an inhuman system that dooms the mother to immeasurable and disappointing suffering."
Conversation "Memory is the most important category of the human mind ... or the soul?" Reading essays - reasoning like part C of the exam. (Checking Creative House. Assignments)
Analysis of the "Epilogue" Continuation of the theme of the purpose of poetry and the monument in the poem.
Results, conclusions.
Homework is creative work.

Goals:

Through the analysis of the lyric-epic text, bring students to an understanding of the individuality of the poetess in revealing the theme of the work.
To develop in students the skills of comprehending and perceiving Akhmatova's poem, correlating them with their internal ideas.
Using the poem by A. Akhmatova as an example, educate love for the Motherland, emotional and intellectual responsiveness.

Equipment:

Mozart's Requiem (audio recording)
Reproductions of Vasnetsov's painting "The Shroud", painting by Rembrandt "Descent from the Cross", painting by V. Surikov "Morning of the Streltsy Execution".
Presentation “I was then with my people,

Where my people were, unfortunately they were ... "

Epigraphs for the lesson:

Anna Akhmatova is a whole era in the poetry of our country.
She generously endowed her contemporaries with human dignity,
his free and winged poetry - from the first books about love
to the stunning in its depth "Requiem".

K. Paustovsky.

I was then with my people,

Where my people were, unfortunately they were ...

A.Akhmatova.

1. Introductory speech of the teacher

Anna Akhmatova ... What a proud, majestic name! They tried to delete this name from the tablets of Russian literature, to erase from the memory of the people, but it has always remained the standard of decency and nobility, a beacon for the weakened and lost faith.

We have already studied the work of this poetess when we talked about the "Silver Age" of Russian poetry. You will remember her lyrical, somewhat extravagant, shrouded in a mysterious love haze.

Today we will talk about another Akhmatova, the one who took the liberty of becoming the voice of the "hundred million people", the one whose maternal grief, cast in laconic lines, shakes the strength of her suffering even today.

Before listening to the poem, let's think about the title, because the semantic load of the title is very great.

What is a Requiem?(In the Catholic Church, the funeral mass. The name is given from the first word of the Latin chant: "Grant them eternal rest, Lord"; a mourning polyphonic work.)

2. The history of the creation of "REQUIEM".

(Student message)

"Requiem" is translated as a funeral mass, a Catholic service for the deceased, in a literal translation - a request for peace. At the same time, it is the designation of a funeral piece of music. The mental pain born of the unfairness of fate to her son, mortal fear for him, squeezing the bleeding mother's heart - all this was splashed out in verse. "REQUIEM" was born in mental anguish.

A. Akhmatova worked on the lyric cycle "Requiem" in 1934-1940 and in the early 60s. For more than 20 years the poem was known by heart, kept in memory by people whom Akhmatova trusted, and there were no more than a dozen of them. One of Akhmatova's admirers recalls that to his question: "How did you manage to keep the record of these poems through all the difficult years?", She replied: "I did not write them down. I carried them through two heart attacks in my memory."

So a requiem is a funeral mass. Calling her poem this way, Akhmatova openly declares that her poem is a funeral oration dedicated to all those who died in the terrible times of Stalinist repressions, as well as to those who suffered, worrying about their repressed relatives and friends, in whom the soul was dying from suffering.

For five years, with long breaks, Akhmatova wrote this, perhaps the most important, poem. A poet with a predominantly female theme - love, jealousy, separation, Akhmatova became a poet of sorrow in Requiem.

Lydia Chukovskaya said that Akhmatova in the fortieth year, in an atmosphere of special solemnity, gave her the "Requiem" written on the sheet to read, and then destroyed the record. The entire text was kept only in the memory of loved ones, devoted people, and in 1962, when all the poems were completely composed and written down on paper, Akhmatova proudly announced: "11 people knew the Requiem by heart, and no one betrayed me." In 1963, the poem was published abroad and only in 1987 became known to a wide reader in Russia.

"Requiem" stunned even the Russian emigration. Here is the testimony of Boris Zaitsev: "Could it have been assumed then that this fragile and thin woman would utter such a cry - female, maternal, a cry not only about herself, but about all the suffering - wives, mothers, brides, in general about all those crucified?"

3. Historical information about the fate of L. Gumilyov

Teacher's word:

Such a work could only be born in the soul of a woman who experienced excruciating pain for the fate of her son.

Akhmatova possessed a perspicacity characteristic only of great poets. She foresaw the tragic fate of Nikolai Gumilyov - a few days before his death, she wrote terrible lines:

You will not be alive
You can't get out of the snow.
Twenty eight bayonets,
Firearms five.
Bitter new thing
I sewed for a friend.
Loves, loves blood
Russian land.

And then she bitterly regretted her foresight:

I called death dear
And they perished one by one.
Oh woe to me, these graves
Foretold by my word.

And then, when in 1933 her son Lev Gumilyov was arrested for the first time, then just by accident, her sensitive mother's heart sank with a fatal premonition. She recalled the terms from a poem by Marina Tsvetaeva, written back in 1916:

Ginger lion cub
With green eyes
A terrible legacy to carry you.

(Student message)

In October 1935, a second arrest followed. Lev Gumilyov himself spoke about it this way: “Then there was a persecution of students from intelligent families in Leningrad ... Among those arrested was NN Punin, an art critic, an employee of the Russian Museum. Mom went to Moscow, through friends she addressed a letter to Stalin ... Soon we were all released, since the main organizer of the "criminal group", NN Punin, was released ... True, after that I was expelled from the university, and I was starving for the whole winter. "

The third arrest took place in October 1938, when the repressions against dissidents took on terrible proportions. This time, no letters and requests helped - Lev Gumilyov was sentenced to 10 years in prison; but in connection with the removal of Yezhov, this terrible term was replaced by 5 years of forced labor camps. All his life, Lev Gumilyov will pay for the fact that he is the son of great parents.

4. Historical and literary parallels

In your history lessons, you certainly spoke about the terrible years of Stalinism, about the massive repressions of 1937-1938. These years have been woven into the history of Russia with a mourning ribbon.

I ask you to make a short excursion into history so that you can feel the atmosphere of that time.

(Student message)

Akhmatova was under the scrutiny of the OGPU both as the wife of a counterrevolutionary and as a disgraced poet. Not participating in active opposition, but also not singing the praises of the new life, she simply writes very little and even less is published; exists through translations and rarely published articles. She is not yet ranked among the cohort of "internal emigrants" declared by the party to be outcasts, she is listed only as a "fellow traveler", but she constantly feels the wary gaze of "Barbel" (as she called Stalin) and lives under the threat of daily arrest.

The time of fear for themselves, for their relatives and friends was for many a time of despair and disbelief in justice. Of course, it was impossible to keep silent about this, but to speak out loud means to sign a death warrant for yourself. Such works were created, but publication was out of the question. Many carefully kept in themselves the memories of those years, so that later (after all, they believed in the best), without splashing pain and despair, they could convey the truth to the reader. It was only after Stalin's death that the publication of many works became possible. Years later, "One Day of Ivan Denisovich" and the Gulag Archipelago by Alexander Solzhenitsyn, "Sofya Petrovna" by Lydia Chukovskaya, "White Clothes" by Dudintsev, "Children of the Arbat" by Anatoly Rybakov appeared.

"The bell, which rang distinctly in the corridor, immediately woke him up. It was two o'clock in the morning. The call was repeated persistently and firmly. Sasha went out into the corridor, took off the chain.
- Who?
- From the house management.
Recognizing the janitor's voice, Sasha turned the key. A janitor stood in the doorway, behind him was an unfamiliar young man in a coat and a hat, and two Red Army men with crimson buttonholes. Having imperiously pushed Sasha aside, the young man entered the apartment. One soldier stayed at the door, another went into the kitchen and stood at the back door. Watching Sasha warily, the young man handed him a search and arrest warrant.
Mom was sitting on the bed, hunched over, holding a white nightgown on her chest, gray hair falling over her forehead, over her eyes, and she looked with a sidelong, fixed gaze at the commissioner who entered the room.
- Mom, don't worry ... I've got a search. This is a misunderstanding. It will be found out.
The commissioner ordered to open the closet, to turn out the pockets of his jacket, there was a notebook with addresses and telephone numbers ... Everything that he considered suspicious was neatly folded into a folder. The search is over.
- Get ready.
Mom was collecting Sasha's things, her hands were trembling.
“Sasha, look what I put for you,” Sofya Alexandrovna parted the edge of the bundle with trembling hands, “here’s soap, tooth powder, a brush, a towel ...
Her voice trembled.
- Here's a scallop, here ... here's your scarf ... a scarf ...
Her words turned into sobs, she was exhausted, dying, going over these things, the things of her boy, who is being torn away from her, taken to prison. Sofya Alexandrovna sank into a chair, sobs shook her small, full body.
Over the course of one night, from a beautiful woman, Sofya Alexandrovna turned into a gray-haired old woman. At first, it seemed to her that if she appeared before those who arrested Sasha, their hearts would tremble, because they also have mothers. Then I saw many such mothers - their appearance did not touch anyone's hearts. They stood in long lines, and each was afraid that the share of compassion that might still be glimmering behind the blind doors would not go to her, but to the one who passed through this door earlier.
She did not sleep at night - what does he sleep on? I could not eat - what does he eat, hunched over a prison bowl, he, a living and dear being to her, her life, her blood?
Numb, oppressed by the consciousness of her powerlessness, lonely and suffering, she offered up prayers to God, whom she had long abandoned, and now prayed that the spirit of kindness and mercy, omnipresent and all-pervading, soften the hearts of those who will decide Sasha's fate. "

5. Justification for the choice of the title of the poem

Of course, Anna Akhmatova did not accidentally give her poem such a name. I think it will be easier for you to perceive this work, to comprehend it if you listen to a short excerpt from Mozart's Requiem - Lacrimosa. This is one of Anna Andreevna's favorite works.

MUSIC SOUNDS

What is your impression? How can you characterize this piece of music? What emotions does it give rise to?(This is solemn, sad, mournful music ...)

What attitude should be created in the reader who picks up a work with such a title? (The title itself suggests that a work so named will be dedicated to the memory of someone, or to tragic events; thus, the author immediately states the theme of grief, sorrow, loss, remembrance.)

6. Reading and analyzing the poem

You, of course, paid attention to the dates under the parts of the poem, it was created over five years, clearly correlating with the time of the arrests of his son. Butpreface and epigraphmarked with much later dates.

Why do you think?(This topic, this pain did not let Akhmatova go for many years.)

How would you define the theme of the poem? (Unity with the people in the terrible years of "Yezhovism", maternal grief as a symbol of the people's misfortune, the theme of memory.)

Pay attention to the epigraph. Which lines express the main pathos, idea? ( "I was then with my people, Where my people, unfortunately, were.")

- "Instead of a preface" is written in prose. Why do you think Akhmatova introduces this autobiographical detail into the text?

READING the chapter "Instead of a FOREWORD"

(Akhmatova perceives the words of the woman standing next to her as a kind of order, and fulfilling it is a kind of duty to those with whom she spent 300 hours in terrible queues)

Find the signs of the times in the prosaic preface.

(Prison queues, "recognized" instead of "recognized", whispering conversations, lips blue from hunger and nervous exhaustion)

In "Dedication" Akhmatova constantly uses the pronoun "WE" (show by example).

READING the chapter "Dedication"

Why does she make this emphasis? (In this case, "I" would denote only personal grief, and with the pronoun "WE" the poet emphasizes common pain and misfortune)

What artistic means does the poet use to describe a common maternal grief? (Hyperbole: "mountains bend, the great river does not flow"; comparisons: "as if with pain the life was taken out of the heart, as if it was rudely overturned on its back")

READING the Introduction

Reading famous lines"Introductions", you understand that this is written by a person who has drunk the cup of despair to the bottom. In literature lessons, we talked a lot about Petersburg of Pushkin, Nekrasov, Dostoevsky. Akhmatova was very fond of the city in which she became a poet, who gave her fame and recognition; the city in which she knew both happiness and disappointment.

How does she paint this city now? ("Leningrad dangled as an unnecessary appendage Near his prisons")

Akhmatova expands the geography of the people's misfortune, taking us to the Kremlin walls, to Moscow. A vivid metaphor

The death stars were above us
And innocent Russia writhed
Under bloody boots
And under the tires of black marus

requires decryption(the "death stars" most likely personify the Kremlin stars, as a symbol of the state that has committed lawlessness, the cars (they are also prison funnels), on which the arrested were taken away, were called "black marusias", the colorful verb "writhed" apparently means agonizing non-resistance)

The image of the mother is central, dominant. But, despite the fact that in the main part Akhmatova talks about her personal sufferings, the theme of unity with the universal pain of the people, set in the epigraph, preface and dedication, allows us to perceive the maternal grief of the poetess as universal. This is especially emphasized by the small, but very significant in its significance chapter "The Crucifixion". Unlike other chapters, it has its own epigraph taken from the Bible. We turned to biblical topics more than once, so I asked one of the students to analyze the chapter and find illustrative material for it.

READING the chapter "Crucifixion"

7. Study message "The chapter" The Crucifixion "in the" Requiem "is a universal sentence to the inhuman system that dooms the mother to immense and disappointing suffering."

(Student message)

“The Bible has always been a source of inspiration for creative people. Writers and poets have reflected their ideas, thoughts and feelings in a great book.

Anna Akhmatova also turned to the Bible more than once. Anna Akhmatova's "Requiem" is extremely tragic in its essence. The tenth chapter of the poem "Requiem" culminates in the mother's suffering. Small in volume, it carries a huge semantic load. It is in this chapter that all the pain of the heroine is revealed - the mother who has lost her son. The suffering of the mother is associated with the state of the Mother of God, the Virgin Mary, the suffering of the son with the torments of Christ, crucified on the cross.

The image "Heaven melted in fire" appears. This is a sign of a great catastrophe, a world historical tragedy. The words spoken by Christ on the eve of his human death are completely earthly; turning to God is a reproach, bitter lamentation about your loneliness, abandonment, helplessness. The words spoken to the mother are simple words of consolation, pity. "Don't cry for Me, Mati, see in the grave."

Grief is grief, it is the same for the inhabitants of heaven and for mere mortals. Reading the chapter "The Crucifixion", one involuntarily recalls the paintings of Rembrandt, Rubens, Vasnetsov, Veronese and many others who addressed the same topic.

In each of these pictures we find the mournful figure of the mother - she is always next to her suffering son. In P. Veronese's painting, we see the face of a mother bending over her son. Tears flow from her eyes ... The gospel face of the woman in Vasnetsov's painting "The Shroud" resembles an icon of a grieving mother.

Most of all I was struck by Rembrandt's painting "Descent from the Cross". Rembrandt depicted the figure of a mother who had lost her senses, and, contrary to the canons, painted her face, disfigured by suffering. Contemporary artists are passionate about the same subject. Obviously, the biblical story is eternal.

The crucifixion in Requiem is a universal condemnation of an inhuman system that condemns the mother to immense and disappointing suffering. "

And now I would like to return to one of the themes of the poem - the theme of MEMORY.

Why does a person need memory? I asked you to think about it at home.

(students read their essays)

9. Analysis of the "Epilogue". Continuation of the theme of the purpose of poetry and the monument in the poem.

READING the chapter "Epilogue" ("And if someday ...")

In "Epilogue" there is a clear cross with Pushkin's "Monument". Akhmatova, however, does not describe the monument itself, but defines the place where it should stand: "... here, where I stood for three hundred hours and where the bolt was not opened for me." Where is "here"? (At the prison wall, the monument should stand against the background of the red brick walls of the Crosses)

Of course, anyone who saw the alleged monument to Akhmatova at the prison walls would have a question, why was it erected here? And the answer would be "REQUIEM"

But the monument erected by Akhmatova at the Komarovskoye cemetery looks something like this: a brick wall, and on it is Akhmatova's bas-relief.

10. Conclusions.

In her poem A. Akhmatova described quite figuratively and visibly the era in which the people were destined to suffer. The heroine realized her unity with the people, gained the strength of a woman who realized her high destiny. It is a memorial to maternal suffering.

The arrested son is a pain that never heals Akhmatova's wound. But maternal grief has been expanded to the scale of a national misfortune, an all-Russian grief: behind her are thousands of women at the gates of the prison, suffering like her. She gains strength, feeling herself in their voice, transmitting their mute cry:

For them I have woven a wide veil
Of the poor, they have overheard words ...

A requiem for a son could not but be perceived as a requiem for a whole generation, a generation from which very few survived by the fortieth year. Having created "Requiem", Akhmatova served a requiem for the innocently convicted. Memorial service for my generation. Memorial service for my own life.

The epigraph to the poem was written in 1961. For 30 years of her life A. Akhmatova constantly turned to the poem "Requiem". Nowhere in the poem is the motive of retribution, revenge. The entire poem is a terrible accusation against the era of lawlessness and inhumanity. It is also dedicated to the innocent perished and narrated as if in a low voice. So they say at funerals and commemorations.

Summarizing.

Homework.Write a mini-essay "The image of the mother in the poem by A. Akhmatova" Requiem "

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Slide captions:

“I was then with my people, Where my people were, unfortunately was…” Analysis of the poem by A. Akhmatova “Requiem”. Russian language and literature teacher Kortunova Lilia Nikolaevna

Anna Akhmatova is a whole era in the poetry of our country. She generously endowed her contemporaries with human dignity, her free and winged poetry - from the first books about love to the stunning in its depth "Requiem". K. Paustovsky.

The purpose of the lesson: to trace how the poet's civil and poetic mission is fulfilled by the poem, how the history of the country is refracted and reflected in her work.

Akhmatova (Gorenko) Anna Andreevna 06/23/1889 - 03/05/1966

REQUIEM - a funeral mass in the Catholic Church. The name is given from the first word of the Latin chant: "Grant them eternal rest, O Lord"; mourning polyphonic work. Literally translated - "request for peace."

Akhmatova proudly announced: "11 people knew" Requiem "by heart, and no one betrayed me."

Nikolay Gumilev, Anna Akhmatova, son of Leo

Monument to A.A. Akhmatova in St. Petersburg "... here where I stood for three hundred hours and where the bolt was not opened for me." (Near the prison wall against the background of the red brick walls of the Crosses)

Monument to A.A. Akhmatova. Fragment of a family monument in Bezhetsk

Nikita Struve: "But, of course, above all and above all, Akhmatova amazed and conquered with that music, that divine harmony that emanated from her and transformed everything around ... Akhmatova was poetry itself, its highest and purest embodiment."

Conclusions In her poem A. Akhmatova described quite figuratively and visibly the era in which the people were destined to suffer. The heroine realized her unity with the people, gained the strength of a woman who realized her high destiny. It is a memorial to maternal suffering. The arrested son is a pain that never heals Akhmatova's wound. But maternal grief has been expanded to the scale of a national misfortune, an all-Russian grief: behind her are thousands of women at the gates of the prison, suffering like her. She receives strength, feeling herself in their voice, transmitting their mute cry: For them I have woven a wide veil From the poor, they have overheard words ... the fortieth year, few survived. Having created "Requiem", Akhmatova served a requiem for the innocently convicted. Memorial service for my generation. Memorial service for my own life. The epigraph to the poem was written in 1961. For 30 years of her life A. Akhmatova constantly turned to the poem "Requiem". Nowhere in the poem is the motive of retribution, revenge. The entire poem is a terrible accusation against the era of lawlessness and inhumanity. It is also dedicated to the innocent perished and narrated as if in a low voice. So they say at funerals and commemorations.

Homework Write a mini-essay "The image of a mother in A. Akhmatova's poem" Requiem "