Analysis of the work "A Poem without a Hero" by Akhmatova A.A. Deciphering "A Poem without a Hero" as a prophecy Analysis of Akhmatova's poem "A Poem without a Hero"

"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 immobile, but the reader does not keep up with the poet," Akhmatova wrote in the article "Pushkin's Stone Guest", and, as always, one should see here 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 into an almost 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 oxymoron: Not X is stationary, but Y cannot catch up with it, or not X is stationary, but Y is not moving fast enough.The easiest way to bring this construction to the level of conventional logic is to remove two negatives in poetry ("poetry is not still") : poetry is mobile, and it is precisely due to this property that the difference in speeds arises at which the reader is behind.

But this would be too easy a solution, since it removes the opposition between poetry / poet and reader on the basis of movement, which is ambivalent in relation to poetry. In essence, the mobility / immobility of poetry cannot be unambiguously defined: it is like a point on the horizon, towards which the reader rushes, and which, as he approaches it, moves away, remaining in the end unattainable. One can give another metaphor for this illusory "mutual rapprochement", or movement: the situation of the bridge (cf. the importance of this symbol for Akhmatova, especially in connection with "Poem without a Hero"): if you stand on the bridge "against the current" and watch how the 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 "Akhmatov reader" is, if not to keep up with the poet, then at least to follow in his footsteps, along the road signs he leaves behind. It is appropriate now to summarize this movement. It should be emphasized that in this case we are not talking about results in the narrow sense of the word, that is, about what was implemented 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, the "results" here dispense not only with a bibliography, but also without the names of those who contributed to Akhmatovianism - and this anonymity is quite conscious. It is explained not by the unwillingness to establish a hierarchy and thereby voluntarily or involuntarily give assessments (or rather, not only this). It was more important for us to show that the formation of the "Akhmatov's reader-researcher" took place according to the "methodology" set by Akhmatov's text, that the path was laid according to its instructions, mostly covert, in the form of hints, and even confusing.

Our own Poem studies date from the early 1960s; the number of like-minded people with whom the approaches to what is now called "deciphering" were discussed was then small. But earlier, and simultaneously, and later, others also turned to the "Poem": it, as if into a funnel, drew into its study, interpretation, communion 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). With 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 the endless pursuit of the "Poem" - all this is, as it were, the result of the joint creation of its "students". Of course, among them were and are the "first disciples."

It seemed to us more important to try to penetrate into the self-contained mechanism of the "Poem", which activates the possibilities of its researcher. We are trying to reconstruct in the most general terms the story of how the "Poem" chose its reader and educated him, while pursuing its goals. These goals have now come to light, by 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 a lot of questions, bewilderments and uncertainties, it immediately became clear: "A Poem without a Hero" is a radical experience in transforming the genre of the poem, with which it is perhaps difficult to compare anything in Russian poetry over the past 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, is contained (literally, 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 course of decades, new and new lists, stanzas and lines (and not only "uncensored") surfaced (and this continues to this day - these are the features of the "Poem"), records of listeners and readers, and, finally, - perhaps 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 hypostasis (ballet libretto) - played the role of an arbiter, verifying much of what was "produced" earlier, and thereby testing the chosen path.

In other words, what was contained in the "Poem" (mainly in its poetic part) was implicitly confirmed, which meant that the attentive reader correctly caught 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 accurately indicates the day when the "Poem" came to her). ", on the other hand, it is difficult to determine the time when she began to sound in her; several times she declared the "Poem" finished, 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 unambiguously make no 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 the terminology of Levi-Strauss, that is, an indirect path, disguise), with musical structures, etc. In this sense, the departure of the "Poem" into a ballet libretto is an illustration of the possibility of recoding inherent in it, 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 manifests itself in at least two aspects: intertextuality and the already named bricolage. Intertextuality was striking, even if there were no special instructions from Akhmatova for quoting (primarily for autoquoting). In "Letter to N.N." Akhmatova pointed to the poem "Contemporary" as a harbinger sent by the "Poem". There was no poem with such a name, but according to the lines “Always smarter than everyone, pinker and taller than everyone”, reflected in the “Poem” (“Everyone is smarter and taller than everyone”), the poem “Shadow” was easily recognized, Epigraph from the poem by Sun. Knyazev "love has passed ..." prompted him to turn to a collection of his poems, where a "fawn curl" was found. Block'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 the poem itself, has no end. The concept of a "cathedral" or "flowing" quotation was introduced, ascending not to one, but simultaneously to several sources or pointing to a certain quotation archetype. This fluctuation, multi-layered citation averts 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 centonicity was to draw the reader's attention to a certain background, constantly audible second step.

The saturation of the "Poem" with someone else's word, it would seem, serves as an indication to 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 the prototypes, but to the metapoetic layer of the "Poem", which almost prevails over the plot. In a certain sense, the "Poem" is based on the meonal method of writing, once formulated by Mandelstam: "It is terrible 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 "The Attack", Mandelstam speaks of the role of the reader (the reader who understands and consciously assumes this role) in mastering this kind of text: pointers, implied, the only ones that make the text understandable and logical, the poetically literate reader puts all these signs on his own, as if extracting them from the text itself" (italics mine. - T. Ts.) 2.

In Akhmatova's poetics, these retreats, outgrowths, punctures and absenteeism become the most important constructive techniques. Isn't the "Poem" itself a continuous digression? It is quite difficult to isolate the plot itself (the love triangle) in it, and it turns out that a very small space of text is allotted to it. In general, in the "Poem" everything is, as it were, "around the bush": Instead of a preface. Three dedications, Introduction, Intermedia, Afterword, Intermezzo, Epilogue, Notes, numerous (and varying) epigraphs, missing (wandering around) stanzas, 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 many other things wind, taking the "Poem" out of the genre).

Approaches and retreats, in particular, digressions, turn out to be that meonal frame on which, as in the air, rests what is determined not in essence, not "materially", but only by changing configurations in the auxiliary parts of the "Poem". The direct description is replaced by zero, apophatic, shadowy, inverted (mirror), etc. Best of all (as always) this is formulated by Akhmatova herself (about her portrait by Modigliani): "... told me something about this portrait that I I can't "neither remember nor forget," as one famous poet said about something completely different. Or (in the "Prose of the Poem"): "... the same person who is mentioned in its title and whom the Stalinist secret police were so eagerly 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: the elements of a poetic text float in the semantic space, as it were, in a balanced way, without being attached to one point, that is, without having an unambiguous semantic characteristic. Between the elements of the text there is a sparse semantic space in which the usual, automatic semantic connections are weakened. The author builds the semantic space of the text with the highest degree of freedom. From here arises the concept of doubles - not a double, but precisely 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 "similar"). In this sense, the question of "similarity" of twins is removed, and the goal is seen in another way: in the transcendental unification of the entire diversity of the world. The double of the Author turns out to be not only the Heroine ("You are one of my twins"), but also the City ("Our separation is imaginary, / I am inseparable from you"); "Where am I myself and where is only a 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 but arise: is it necessary in this case to look for prototypes? As if everything said above indicates that this is completely unnecessary, that, on the contrary, it would be a violation of the reception. Moreover, the search for prototypes or realities in literature, especially in a poetic work, usually goes beyond the direct analysis of the text into a literary-historical (biographical) commentary; thereby emphasizing ["optionality. Indeed, the strength of a work of art and the guarantee of its long life in time and space lies in the fact that it remains significant, equal to itself even when its realities are forgotten and unrecoverable. Actually, this is also said and Akhmatova, refusing to explain the "Poem" and guided by a lofty example: "Ezhe pisah, pisah."

However, in the complex, "inverted" semantics of the "Poem" this statement is refuted by the Author himself - and in such a way that one can see in it an inducement, an indication, and not a prohibition to search for hidden meanings. Doubting the reader's ingenuity or realizing that for this "Poem" the reader needs to be trained and "created" (isn't the emphasis on the reader's constant struggle-help, that is, his cooperation with the Author?), Akhmatova introduces a special part of the "Poem" - "Tails ", which is a kind of guide, a "textbook" for the reader: it contains both instructions on how to overcome misunderstanding and persistent urges to search. And here again it should be said that the road signs were correctly defined - and not only in general, but also in detail. It has already been said that when the search began, they began, for various reasons, almost from scratch. But when the fragments of the "Prose about the Poem" became known (available), and above all the ballet libretto, it turned out that the cooperation 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 right or wrong, or, in any case, not quite right and not quite right. The "prohibitions" which we have just defined as implicit indications have taken on their direct meaning, warning against literalism. A certain role in the overly literal perception of the "Poem" was played by its magic, which draws 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 there be an illusion 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 decipherment, in particular, to the unambiguous establishment of prototypes? In this sense, there is no decryption. Moreover, it turned out that the researchers could not go beyond the limits set by Akhmatova: those figures that she considered possible to name turned out to be confirmed; others remained unrecognized - conjectural or "cathedral". 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 difficult game is being played with the reader-student, the reader-researcher. In particular, refutations - no need to look for such and such - are in fact the introduction of new names, expanding the boundaries of the text. It's not just a "Poem without a Hero", it's a Poem without Heroes, and there are too many such non-heroes listed! (reception is far from trivial). Thus, the intent of the "Poem" is absolute, all the details are worked out, all of them are aimed at the reader. This, of course, does not in any way refute the spontaneity of the "Poem", which led the Author and saved him, that is, performed the same demiurgic role in relation to the Author.

Here it is impossible not to think about the goals set by Akhmatova, formulating them quite definitely in the same "Poem". First of all, these are “literary” goals, which have already been mentioned: to break open the stagnant genre of the Russian poem, to create something fundamentally new, to emphasize dissimilarity to the previous one and dissimilarity to oneself, but at the same time “self-continuity”, that is, identity to oneself. In this sense, "I am the quietest, I am simple" is an outright hoax.

With Akhmatova, you must constantly be on your guard. Both the responses of readers, which she cites, and irritation at their dullness (cf. "Second letter", where the reader is reproached for being too gullible, for allowing himself to be knocked down by false instructions) - all lead to the same thing: the search for a plot , it is more reliable to conduct prototypes by means of the text itself (within the framework of intertextuality) than on the basis of memoirs - and not only because the criterion of reliability / unreliability is always relevant in relation to memoirs. Akhmatova's goal was not to describe some event that happened around her, but to recreate the literary and artistic side of a certain historical period with its purely symbolic, symbolic realities.

Akhmatova "forced" to carry out historical and cultural, literary, theatrical, musicological and other research in order to restore the St. Petersburg Hoffmannian and its role in the context of the tragic period of Russian history. The details scattered in the "Poem" turned out to be those threads that pulled out entire layers. Who knows, that part of the St. Petersburg Hoffmanniana that was connected with the "Stray Dog" would have been opened if Akhmatova had not reminded of it ("We are in the "Dog""), having taken care to give an explanatory comment to this mention, since she soberly imagined that the new generations of readers need such a comment. Thus, two more than significant tasks of the "Poem" can be defined: 1) to reform the genre of the poem; 2) restore "Petersburg of the 10s".

However, despite the importance of these tasks, Akhmatova could not confine herself to them. Leaving aside the genre experiment, one could say that a sentimental or romantic journey, sustained in passeistic tones, remained outside of it. We must not forget about the time when this was written, about the biographical circumstances of Akhmatova herself, about a life in which memory and conscience turned out to be the main categories of being, 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 the connecting link, the guarantee of the preservation of Man equal to himself and the ban on oblivion. "It's me, your old conscience, / I found a burnt story" - the lines are, as it were, the motto of the "Poem". Therefore, her morality and, in particular, the polemic with those who are identified as Kuzmin by indirect and citation signs (but are not uniquely identified with him), do not belong to the genre of literary polemics. The character who has become the personification of "forgetfulness", the one for whom "there was nothing sacred", carries destruction in 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 itself a mediastinum, a connecting link, a hope for restoration.

And along with these lofty goals, Akhmatova (or "Poem") created her reader-researcher, turning out to be an exemplary guide to the structure of the text (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 from dictation, the Author - an apparatus that captures something) and intentionality. In this latter case, we return again to the bricolage, that is, the indirect path. Just as in the archetypal model of the world, bricolage is the main and most effective way of teaching orientation in the world, mastering a person in space and mastering space by a person, so in the "Poem" bricolage turns out to be not only the main constructive technique (and, of course, an artistic means) but also the most effective way of learning.

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

Bibliography

1. Mandelstam O. Egyptian stamp // Mandelstam O. Sobr. cit.: V 4 t. M., 1991. T. 2: Prose. S. 40.

2. Ibid. pp. 230-231.

For the preparation of this work, materials from the site http://www.akhmatova.org/ were used.

Starting the analysis of Akhmatova's work "A Poem without a Hero", one cannot ignore the interpretation given by the author himself. A triptych is a work of three parts. Three dedications, and at the same time, at the very beginning, Akhmatova gives a personal “justification for this thing”: the memory of those who died in the besieged Leningrad. And then he explains that the poem should be taken as it is, without trying to find a secret meaning.

But after such a long preface, the text just gives the impression of a riddle and a rebus. The introduction, even before the first part, was written in different years: the pre-war and besieged northern capital, Tashkent during the war years, the first spring after the Victory ... Scattered fragments are connected by the fact that they are all memories, the author's view through the years.

The poetic meter of the poem is closer to the anapaest, although the changing size of the lines, the omission of stressed positions in some places make it more like an accent verse. The same applies to the method of rhyming: two consecutive lines with the same ending are underlined by the third, which is repeated in the sixth line. This creates the impression of haste, quick conversation, "hurrying after a fleeing thought." And the fact that sometimes the number of lines with the same rhyme increases to four enhances the effect.

The main theme of the first part is phantasmagoria, the heroes are a swarm of images, otherworldly creatures, fictional characters. The action takes place in 1913, and echoing the "devil's dozen" dates, the presence of evil spirits shines through all the lines. “Without a face and a name”, “possessed city”, “ghost”, “demon”, “goat-legged” - this whole part of the poem is sprinkled with similar names, therefore, after reading it leaves a feeling of confusion, delirium of an inflamed consciousness.

The second part surprises with the words “disgruntled editor” quoted. He voices exactly those thoughts about the poem that come to the mind of the reader. And this normality, "sober thinking" seems alien in the text. But the lyrical heroine begins her explanations and again plunges into the carousel of semi-real images. The actors are the era of both romanticism and the twentieth century; the ghosts of the great ones are called to life: Shelley, Shakespeare, Sophocles, Cagliostro, El Greco. This abundance of names makes us look at the second part of the poem as an attempt by the author to comprehend the past - not his own, but a whole layer of history - through the work of people.

An unexpected remark - “The howling in the chimney subsides, distant sounds of Requiem are heard, some kind of deaf groans. These are millions of sleeping women raving in their sleep” - makes you literally stumble, break out of the entangling haze of words. And the word "rave" again reinforces the feeling that the poem is an incoherent, fragmentary confession of a lyrical heroine, without composition and meaning.

The beginning of the third part (epilogue) is sobering: the action takes place in besieged Leningrad. "The city is in ruins... fires are burning out... heavy guns are groaning." Reality breaks into the narrative from all over, and although it remains hasty and expressive, it no longer tells about ghosts. Camp dust, interrogation, denunciation, revolver. Siberia, the Urals, the exile and punishment of the children of a great country. The final lines of the poem: “Having lowered her dry eyes, and wringing her hands, Russia went east before me” amaze with their strength and a sense of the ubiquitous tragedy. After these words, the irony of the name begins to emerge: in “A Poem without a Hero” the heroine is the Motherland, history, era. And she - the one that was familiar to the lyrical heroine, whom she recalls in the first parts - is no longer there.

The huge gaping hole where the broken old had been was not filled with the new. Akhmatova did not see the prospect (and who saw it in those turbulent years?), although the poem was completed in 1962.

Twenty-two years (according to other sources - twenty-five years) this work was created, and Anna Andreevna herself became the hero, then Petersburg, to which a separate dedication was written, then the nineteenth century. But in the end, all these "heroes" are fused into a single character - a great country, of which only memories remain.

Satyrs are a bold ruler. A. Pushkin Saltykov-Shchedrin is one of the most original writers of Russian literature. His work is aimed at exposing the vices of society. His talent perfectly coped with the tasks that the era set before him. Taking up social denunciation, he did it very talentedly and skillfully. Having chosen the form of fairy tales, the writer fills the traditional folk form with new content. Saltykov-Shchedrin is fluent in the Aesopian language, in the allegorical form of which there is ambiguity, which the writer needs so much to convey all the absurdity and inconsistency

In the novel by Ivan Alexandrovich Goncharov "An Ordinary Story" a kind of confrontation between two heroes standing on the same social level is shown, moreover, they are relatives. It is interesting to observe how Pyotr Ivanovich cools down the romanticism and good-heartedness of his nephew. It seems that the author is completely on the side of the sane Aduev Sr., why did the characters switch places at the end of the novel? What is it: a confusion of the author's thoughts or a successful artistic device? Young Alexander comes to St. Petersburg straight from the warm embrace of his mother, full of romantic dreams and thoughts to enter into a decisive battle with the sun.

Pushkin's landscape lyrics reflect a keen perception of the poetic nature of the world around him. Every detail of the landscape is colorful, expressive and marked, it serves as the embodiment of the ideal of the harmony of nature, its "eternal beauty", contact with which awakens a sense of the joy of being. In the poem "Again I visited ..." the details of the landscape are reminiscent of the days of youth and at the same time indicate the inexorable movement of life. The landscape is true and concrete. If in the poem "Village" a description of nature is necessary for contrasting the second part of the poem, here it recreates the image of a poor Russian village

An unexpected remark - “The howl in the chimney subsides, the distant sounds of Requiem are heard, some kind of deaf groans. These are millions of sleeping women raving in their sleep” – makes you literally stumble, break out of the enveloping haze of words. And the word "rave" again reinforces the feeling that the poem is an incoherent, fragmentary confession of a lyrical heroine, without composition and meaning.

The huge gaping hole where the broken old had been was not filled with the new. Akhmatova did not see the prospect (and who saw it in those turbulent years?), although the poem was completed in 1962.

One of Akhmatova's most fundamental creations is the Poem without a Hero, which covers various periods of the poetess's life and tells about the fate of Akhmatova herself, who survived her creative youth in St. Petersburg, the besieged city and many hardships.

In the first part, the reader observes nostalgia and a journey into past eras. Akhmatova sees how “delusions are resurrected” and bursts of some kind of conversation, she meets “guests” who appear in masks and are shadows of the previous time.

Most likely, the poetess here, as it were, travels along the waves of memory and describes a situation where a person plunges deep into images, remembers people with whom he has communicated for a long time and some of which can no longer be seen on this earth. Therefore, the action takes on the features of a kind of carnival and phantasmagoria. This part ends with the call of a hero who is absent in the poem.

The theme of the availability/absence of the hero is continued by the second part, which describes communication with the editor, who is the only voice of reason in the entire poem and, as it were, returns the reader to the rational world. He asks how there can be a poem without a hero and Akhmatov, it would seem that it begins some kind of reasonable explanation, but then again it seems to return to a dream or some kind of daydream that is far from reality. And here the thoughts lead the poetess towards memories not of her own biography and 1913, but towards discussions about culture in general and previous eras.

In the final part, the poetess describes the evacuation from the city, the ruined country and the hardships of the war. Here the main theme becomes the motherland, the native country, with which the poetess also experienced all sorts of troubles. At the same time, here the poetess speaks of the coming time, but she sees no prospects and nothing worthy there, for the most part, Akhmatova’s appeal is directed to past eras, she “has come around with a distant echo” and she wanted to hear such an echo from previous times and her memories.

Of course, one should speculate who is the hero in this poem and whether there really can be a poem without a hero at all. In fact, the hero is present here to some extent, he can be his homeland, and St. Petersburg, and Akhmatova herself. Nevertheless, if we somehow generalize and try to look at the situation more globally, then the hero of this poem is undoubtedly the stream of consciousness that passes through people, times and countries.

Analysis of the poem A poem without a hero according to plan

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Ministry of Education and Science of Ukraine

Vinnitsa State Pedagogical University named after Mikhail Kotsiubynsky

Department of Foreign Literature

Coursework in foreign literature

ARTISTIC INDIVIDUALITY OF "POEMS WITHOUT A HERO"

ANNA AKHMATOVA

5th year students

Institute of Correspondence Education

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 ARTISTIC SKILLS OF ANNA AKHMATOVA IN "POEM WITHOUT A HERO"

2.2.1 The role of the 20th century poet in the poem

2.4 Features of the language of Akhmatova's poem

INTRODUCTION

For today's school, for high school teenagers who are already familiar with great poetic names, from Pushkin to Blok and Mayakovsky, Anna Akhmatova's poetry 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 not losing tenderness - they are attractive, and in their youth they are able to stop and enchant everyone, and not only those who love poetry in general, but also quite rational and pragmatic "computer" young men who prefer 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, love for Akhmatova is suffering, a kind of love and torture, a painful break in the soul, painful, “decadent”. The image of such "sick" love in the early Akhmatova was both an image of the sick pre-revolutionary time of the 10s and an image of the sick old world. It is not for nothing that the late Akhmatova, especially in her Poem without a Hero, will administer severe judgment and lynching, moral and historical, over him.

In light of the fact that in our literary criticism certain topics have not yet been elucidated and even not really studied, the question of the artistic originality of works is of interest to researchers. Therefore, the topic of our term paper "The artistic originality of Anna Akhmatova's "Poem without a Hero"" seems to be relevant.

The study of Anna Akhmatova's work has been going on for a long time. However, the lyrics of the poetess 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 the "Poem without a Hero".

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

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

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

study the scientific literature on the topic;

collect the necessary material;

make observations and develop methods for classifying the extracted material;

conduct a textual and literary analysis of the work;

describe the observations and draw the necessary conclusions.

These tasks, set by us 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 the lessons of Russian and foreign literature when studying the work of Anna Akhmatova, and also used as entertaining material in optional classes, in individual work with students, in practical classes at universities.

1.1 The history of creation and the meaning of "Poem without a Hero"

The most voluminous work of Akhmatova, the beautiful, but at the same time extremely difficult to understand and complex "Poem without a Hero", was created for more than twenty years. Akhmatova began to write it in Leningrad before the war, then during the war she continued to work on it in Tashkent, and then finished 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,” writes about Akhmatova’s poem, “on the night of December 27, 1940, she sent one small passage 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 pieces of the first part ("1913") and "Dedication". At the beginning of January, almost unexpectedly for myself, I wrote “Tails”, and in Tashkent (in two stages) - “Epilogue”, which became the third part of the poem, and made several significant inserts 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 it turned out so), the Poem was to become a synthesis of the themes, images, motives and melodies that were most important for her work, that is, a kind of Result of Life and Creativity. Some new artistic principles, developed by the poetess mainly during the Great Patriotic War, found their expression in it, and the most important of them is the principle of rigorous historicism. After all, the Poem is highly indebted to the suffering and courage that Akhmatova acquired in the 1930s, becoming a witness and participant in a national tragedy. The silent cry of the people in the prison lines never ceased to sound in her soul and in her word. “A Poem without a Hero” accepted and, like in a powerful crucible, melted down all this incredible and seemingly unbearable 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 from the life of the author himself and from 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 an 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 aloud, never 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," which 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 am 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 is another reason behind this: Akhmatova addressed not only the living, but also the unborn, as well as the inner world. "I" of the reader, who for the time being kept in 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 is enclosed in the mind of the reader. We are not always ready or able to perceive the voice of extreme rightness found "on the other side of hell."

Akhmatova, who was 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 but her own experience, combined with her desire to understand the tragic circumstances of her own life in order to be able to bear their burden, led her to believe that her life itself was deeply symbolic. In order to find the “guess” of her own life, she introduces into the “Poem Without a Hero” a number of people - her friends and contemporaries, for the most part already deceased - and in this broad context she brings the symbols closer to reality; its symbols are living people with their own historical destinies.

1.2 Composition of the poem

Summing up her life and the life of her generation, Akhmatova returns far back: the time of the action of one of the parts of the work is 1913. From the early lyrics of Akhmatova, we remember that an underground rumble, incomprehensible to her, disturbed her poetic consciousness and introduced the motifs of an approaching catastrophe into her poems. 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 great height of vital and historical-philosophical knowledge.

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

From the fortieth year

As from a tower, I look at everything.

Like saying goodbye again

With what I said goodbye a long time ago

Like being baptized

And I go under the dark vaults.

"Nine hundred and thirteenth year" ("Petersburg story"), the most significant part of the poem in terms of volume, divided into four chapters. It begins with the fact that on the eve of 1941 the author expects a mysterious "guest from the future" in the Fountain House. But instead of him, under the guise of mummers, 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 from unrequited love for Olga Sudeikina, is played out. He is "Pierrot" and "Ivanushka of an ancient fairy tale", she is "Colombina of the tenth years", "goat-legged", "Confusion-Psyche", "Donna Anna". Knyazev's rival, also a poet, with whose fame he cannot argue, 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 lying in bed in a room where 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 was unhappy

He swore to me that he was busy and sick,

Locked up your phone

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

Reading the last sentence

You won't know who's in love with whom

Who, when and why met,

Who died and who survived

And why do we need these today

Reasoning about the poet

And some 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 her Poem and the romantic poem of European literature, existing independently of the poet. Just as the Muse, Dante's interlocutor, visits her, so the Poem could already be known to Byron (George) and Shelley. This frivolous lady, dropping her lace handkerchief, "squints languidly because of the lines" and obeys no one, least of all the poet. When she is driven to the attic or threatened with the Star Chamber, she replies:

"I'm not that English lady

And not at all Clara Gazul,

I have no pedigree at all

In addition to sunny and fabulous,

And July himself brought me.

And your ambiguous glory

Twenty years lying in a ditch

I'm not doing that yet.

We are still drinking with you

And I'm royal with my kiss

I will reward your evil midnight."

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

SECTION II. ARTISTIC FEATURES OF ANNA AKHMATOVA IN "POEM WITHOUT A HERO"

2.1 The theme of "Poems without a Hero" by Akhmatova

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, then only in order to find a clue to her life. "Tails" is preceded by the quotation "In my beginning is my end", and in the first part of the "Poem", when the harlequinade sweeps by, she says:

As the future ripens in the past,

So in the future the past smolders -

Terrible holiday 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, mostly poets, friends of her "hot youth", among which she herself is the same as she was in 1913 , and whom she calls her "twins". 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 moon froze "brightly over the Silver Age":

Christmas time was warmed by bonfires,

And carriages fell from the bridges,

And the whole mourning city floated

For an unknown destination

Along the Neva or against the current, -

Just away from your graves.

Akhmatova recalls Pavlova ("our incomprehensible swan"), Meyerhold, Chaliapin. But most importantly, it resurrects the spirit of an era that ended so abruptly and completely with the outbreak of the World War:

Ridiculously close to the denouement:

Because of the screens, Petrushkin's mask,

Around the fires coachman's dance,

Above the palace is a black-and-yellow banner...

Everything is already in place, who needs it,

Fifth act from the Summer Garden

It blows... The ghost of Tsushima hell

Right here. - A drunk 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 easy-to-digest material. The charm of words and the supernatural power of rhythm make us look for the "key" to the poem: to find out who really were those people to whom the poem is dedicated, to reflect on the meaning of numerous epigraphs, to unravel its vague hints. And we find that the events described in the first part of "1913" are contrasted with everything that happened after. For the year 1913 was the last year in which the actions of the individual as such still had any significance, and already from 1914 the "Real Twentieth Century" intruded more and more into everyone's life.

The blockade 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 Persons and heroes in Anna Akhmatova's Poem Without a Hero

2.2.1 The role of the poet of the twentieth century in "Poem without a hero"

To find a clue to her being, 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 in a broader perspective. Taking the suicide of a young poet as a plot for the New Year's performance and linking his image with the image of another poet, her close friend Mandelstam, who happened to become the poet of the "Real Twentieth Century" and died tragically in one of the camps invented this century, Akhmatova explores the role of the poet in general and their role in particular. In 1913, Knyazev could still control fate at his own will - he preferred to die, and this was his personal business. The poets of the "Real Twentieth Century", slaves of the madness and torment of their country, were given no choice - even voluntary death now acquires a different, not narrowly personal meaning. Unwittingly, they personified either the "voice" or the "muteness" of their country. And yet, despite all the suffering, they would not have exchanged their cruel and bitter fate for a different, "ordinary" life.

When Akhmatova says that she is 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 such a way, he deprived himself of the opportunity to play that unusual role that lay ahead of those who remained to live:

How many deaths went to the poet,

Silly boy, he chose this one. -

First, he did not tolerate insults,

He did not know at what threshold

It costs and what road

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 it is apparently for this that Akhmatova awaits on the eve of 1941, when shadows of the past visit her.

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

You ask my contemporaries:

Convicts, "stopyatnits", captives,

And we will tell you

How they lived in unconscious fear,

How children were raised for the chopping block,

For the dungeon and for the prison.

Blue clenched lips,

Crazed Hecubes

And Kassandra from Chukhloma,

We will thunder in a silent chorus

(We who are crowned with shame):

We are on the other side of hell...

In the "Epilogue" the hero of the poem becomes St. Petersburg-Leningrad, a city once cursed by "Queen Avdotya", the wife of Peter the Great, the city of Dostoevsky. Crucified in the blockade, he was seen by Akhmatova as a symbol of what she invested in 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 whole city, which reached its limit when its inhabitants slowly died of hunger and cold under shelling. But the horrors of the war were met by all 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, by tying all the threads, to break the shameful dumbness 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 like a part of her city:

Our separation is imaginary:

I'm inseparable from you

My shadow on your walls

My reflection in the channels

The sound of footsteps in the Hermitage halls,

Where my friend wandered with me.

And on the old Wolf Field,

Where can I cry at will

Above the silence of the mass graves.

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

It was difficult for emigrants who were close to the situation of 1913 to appreciate 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, of Akhmatova, the author of the "Rosary":

With who she 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 the "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 the opinion of Sudeikina herself about her role in "A Poem Without a Hero", because most of it was written during her lifetime, although Akhmatova speaks of her as long dead. It is curious that Sudeikina also appears in the poems from the Trout Breaks the Ice cycle 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 subsequently 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 we meet both Knyazev and Sudeikina, but the first one also comes to tea with the author along with others who have long died (including “Mr. Dorian”), - a scene echoing 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 to realize the connection between art and life, which she had only vaguely felt before:

A beauty like Bryullov's canvas.

Such women live in novels

They also appear on screen...

For them commit theft, crime,

Their carriages lie in wait

And they get poisoned in the attics.

("Trout breaks the ice")

In "Reshka" [ 1, 335 ] Akhmatova expresses fear that she may be accused of plagiarism, because the "Poem" is full of quotations and allusions to the works of other poets, some of them, like Blok and Mandelstam, were its characters [13, 239]. In the first dedication to Knyazev and Mandelstam, Akhmatova wrote: "... and since I didn't have enough paper, / I'm writing on your draft. / And then someone else's word comes through..." [1, 320].

In A Poem without a Hero, Akhmatova seems 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 gets 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 were expressed about the author, sometimes, as she herself claims, other people's voices merge with her voice, and her poems echo someone else's poetry. 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 the actors of an allegorical masquerade, on which characters of literature, mythology, history and fairy tales flicker, she eventually creates a series of psychological portraits that connect literature, allegories and symbols with life. Among the hawks are Sancho Panza with Don Quixote, and Faust, and Don Juan, and Lieutenant Glan, and Dorian Gray. And as soon as a connection was established between her contemporaries and the heroes of literature, antiquity, folk tales, 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 and Sudeikina are twins. We enter the world of dreams:

And in a dream everything seemed to be

I'm writing a libretto for someone

And there is no end to music.

And after all, a dream is also a thing,

soft embalmer. Blue bird,

Elsinore terraces parapet.

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

I paid for you

Chistogan,

Exactly ten years went

Under the gun

Neither left nor right

Didn't look

And behind me is a bad glory

Rustled.

[ 1, 342 - 343 ]

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 the way she is, such 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 getting away from it. The poet says to his friend:

Do not be angry with me, Dove,

What will I touch this cup:

Not you, but myself I will execute.

Still, payback is coming -

Do not be afraid - I do not sword at home,

Come boldly towards me -

Your horoscope is ready for a long time...

The words of Knyazev 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 predestination of fate. And in response to the poet from the darkness the words are heard:

There is no death - everyone knows that

To repeat it became insipid,

And what is - let them tell me.

The three characters about whom she gives explanations to the editor - the poet dressed up with a verst, the sinister Don Juan, the image associated with Blok, and the poet who lived only twenty years - are both guilty and innocent. "Poets have no sins at all" [1, 328], writes Akhmatova. The question of how it happened that only she was left alive, entails the following question: why did this happen? The freedom from sin, which the poet-legislators of 1913 are endowed with, does not bring relief from the pangs of conscience. The poet and the 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 Present Twentieth Century" in general and Akhmatova in particular is to defend her case. The poet-legislator, sinless on one level, bearing the burden of other people's sins on the other, is the creator or spokesman of that which can overcome death - the Word. This is what makes the poet's silence something shameful, this is what she, the "flew-off shadow", deserved 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, comprehends the world of Dante, Byron, Pushkin, Cervantes, Oscar Wilde. The naming of a name is the bridge that is thrown across space and time and opens the way to another world, where we usually get imperceptibly to ourselves and where we are all living symbols, "affirming reality."

If we can talk about the poet's philosophy, then this poem is Akhmatova's philosophical creed, it is a prism through which she sees the past and the future. And it is not so important whether we, like Akhmatova herself, believe that her meeting with Isaiah Berlin had consequences of 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 in unity with those of her contemporaries with whom she was 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 search for an explanation of the riddle of his life. In A Poem Without a Hero, Akhmatova found an answer, admitting that everything in the world must inevitably be the way it is, and at the same time, it cannot help but change. In her mirror, "The Real Twentieth Century" is not only 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 Anna Akhmatova's Poem Without a Hero

Two names appear immediately, as soon as we get acquainted with the "Poem without a Hero" - the names of Dostoevsky and Blok. Moreover, not only direct historical and literary continuity is important here, but also the 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 his perception especially clearly in “A Poem Without a Hero”. It is important that Akhmatova's line of perception of Dostoevsky is visually 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 side of plot and compositional construction, but from the side of that 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 precisely this coming epoch; in Akhmatova's eyes, he is the most characteristic expression of her essence, her temporary atmosphere, her fatal predestination. This is an important distinction and should be kept in mind. But it does not prevent Dostoevsky and Blok from appearing in Akhmatova's poem, complementing each other, prolonging each other in time and thus enabling Akhmatova to reveal the philosophical and historical essence of her work, which is central to her work.

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

In addition, the poet is in the understanding of Akhmatova an exceptional phenomenon. This is the highest manifestation of human essence, not subject to anything in the world, but in its “willfulness” revealing those high spiritual values by which humanity lives. In the first part of the poem, a character appears among the mummers, who is “dressed with a striped verst”, “painted colorfully and rudely”. [ 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 higher being is captured and revealed - “a creature of a strange disposition”, an extraordinary legislator (“Hamurabi, lycurgi, solones You can learn from should "), as a phenomenon of the eternal and irresistible (he is "the same age as the oak of Mamre" and "the age-old interlocutor of the moon"). He is a romantic from time immemorial, a romantic by nature, by vocation, by the inevitability of his attitude. He "carries his triumph" around the world, no matter what, for "Poets do not stick 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 testaments that ancient history left to subsequent generations. So the poet in the interpretation of Akhmatova becomes not just a being of a higher order, but a mysterious emanation of the spiritual essence and experience of mankind. Hence the strange attire 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 by his name and his destiny the epoch in which he lives.

Blok also appears in the poem under such illumination, but already as a private realization of the poet's general ideas, as a phenomenon just as lofty, but historically conditioned in this case.

And here's what else is important: in "A Poem Without a Hero" two planes intersect, interacting and complementing each other in the perception of both Dostoevsky and Blok. The first plan is historical (or rather, historical and literary), which makes it possible for Akhmatova to declare herself as a successor to their work, their main theme. The second plan is deeply personal, subjective and human, which makes it possible for 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 "Poems without a Hero" by Akhmatova

“The entire narrative of Akhmatova in A 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 lyrics ... ", - wrote K. Chukovsky [ 13, 242 ].

He was right when he spoke of the powerful means of lyricism, with the help of which the poem was created. Despite the fact that it is based on the rigorously carried out principle of historicism, that its true, although not named, hero is the Epoch and, therefore, the poem can be attributed to works of an epic appearance, yet Akhmatova remains here predominantly, and often exclusively lyricist.

Some of the most characteristic features of her lyrical manner are fully preserved in the poem. As in her love lyrics, she makes extensive use of, for example, favorite techniques of reticence, blurring and, as it were, unsteady dottedness of the entire narrative, now and then plunging into a semi-mysterious, permeated with personal associations and nervously pulsating subtext, designed for the reader's spiritual responsiveness and conjecture. In "Reshka", devoted mainly to the author's reflections on the poem itself, on its meaning and meaning, she writes:

Akhmatova's poem composition

But I confess that I used

sympathetic ink,

I write in mirror writing

And there is no other way for me,

Miraculously, I stumbled upon this

And I'm not in a hurry to part with it.

At first glance, the poem seems strange - a whimsical play of the imagination, material reality is fancifully mixed with grotesque, semi-delusional visions, fragments of dreams, jumps in memories, displacements of times and epochs, 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 the entire further development of the plot. Blok’s theme of Fate, which runs through all three parts with a heavy commanding step, is instrumented by Akhmatova in sharply intermittent and dissonant tones: a pure and high tragic note is continually interrupted by the noise and din of the “devil’s harlequinade”, the clatter and thunder of a strange New Year’s carnival, as if driven by the music of Stravinsky ghosts from the long-vanished and forgotten 1913. Confusion-Psyche emerges from the portrait frame and mingles with the guests. Runs up the flat steps of the stairs "Dragoon Pierrot" - the twenty-year-old who is destined to shoot himself. Blok's image immediately appears, his mysterious face -

Flesh that almost became spirit

And an antique curl above the ear -

Everything is mysterious in the alien.

This is him in a crowded room

I sent that black rose in a glass ...

Unexpectedly and loudly, across the Russian impassability, under the black January sky, the voice of Chaliapin sounds -

Like an echo of mountain thunder, -

Our glory and triumph!

He fills hearts with trembling

And rushing off-road

Over the country that nurtured him ...

So, in separate accurately and sparingly recreated details, Akhmatova draws the distant year 1913, familiar to the reader from her early books. No wonder researchers and critics even spoke about historical painting in this work, given by the peculiar means of art of the twentieth century, including modernist. It must not be forgotten here that the whole 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 is adjacent to illusory, fiction and even phantasmagoria. The poem, of course, is difficult for an inexperienced reader, it requires a certain culture of reading, not to mention the ability to get used to the psychological world of the poet as much as possible. The Poem of Memory is, no less important, also the Poem of Conscience.

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

The darkness of the Epilogue is cut through, however, 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 examined the material on the artistic originality of Anna Akhmatova's "Poem without a Hero". As noted, it is a unique work in many respects. This is the most significant thing of the late Akhmatova, that new Akhmatova, whose work falls on the 1940s - 1960s. Written in the manner of a conditional generalization, with hints and understatements, with a clear desire for broad semantic categories, with symbolic allegories, it gravitates toward works that are commonly called programmatic. The “Poem without a Hero” contains not a personal-lyrical, as it was before, but a historical concept, which is revealed on the material of a love “adventure”, growing up to an event of epochal significance, tragically high. Real people are brought out in the poem and real events are described, but no names are named, the incidents are not interpreted, but presented in the context of a single historical drama of the era. “In the later poems of Akhmatova,” notes L.Ya. Ginzburg, “figurative meanings dominate, the word in them becomes emphatically symbolic.” [ 2, 216 ] This was the fate of other participants in the acmeist 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 a new function of culture. Through historical or literary associations, culture now openly enters into the text. Especially in the "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 invested everything that she invested in it - the fate of the people of her generation, the fate of the people, the history of time and her biography - not only spoke about the ink that “ The poem "is written, - she turned to her, she prayed to her:

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

Save me like I saved you

And do not let in the bubbling darkness.

LIST OF USED LITERATURE

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

Ginzburg L.Ya. Akhmatova. (Several pages of memoirs). - 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. - S. 75 - 147

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

Kruzhkov G. “You are many years late…”: Who is the hero of the “Poem without a Hero”?: [About Akhmatova's poem] // Novy Mir. - 1993. - No. 3. - S.216 - 226

Pavlovsky A.I. Anna Akhmatova: Life and work: A book for teachers. - M.: Enlightenment, 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. To the analysis of Anna Akhmatova's "Poem without a Hero" // TSU. ХІІ scientific conference of students. Tartu. 1967

Finkelberg M. About the hero of the "Poem without a Hero": [About Akhmatova's poem] // Russian Literature. - 1992. - No. 3. - S.207 - 224

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

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