Municipal educational institution Verkhnetimersyanskaya secondary school

Message on the topic:

"Biography and creativity of Anna Akhmatova"

The work was completed by a 7th grade student

Platonov Nikolay

The Russian language teacher checked and

Literatures

Mygysh N.G.

2015

Akhmatova A.A. Biography

Anna Andreevna Akhmatova (real name Gorenko) was born into the family of a marine engineer, retired captain of the 2nd rank at the station. Big Fountain near Odessa. A year after the birth of their daughter, the family moved to Tsarskoe Selo. Here Akhmatova became a student at the Mariinsky Gymnasium, but spent every summer near Sevastopol. “My first impressions are Tsarskoye Selo,” she wrote in a later autobiographical note, “the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where small motley horses galloped, the old train station and something else that was later included in the “Ode to Tsarskoye Selo” "".

In 1905, after her parents’ divorce, Akhmatova and her mother moved to Yevpatoria. In 1906 - 1907 she studied in the graduating class of the Kiev-Fundukleevskaya gymnasium, in 1908 - 1910. - at the legal department of the Kyiv Higher Women's Courses. On April 25, 1910, “beyond the Dnieper in a village church,” she married N. S. Gumilyov, whom she met in 1903. In 1907, he published her poem “There are many shiny rings on his hand...” in the book he published. in the Paris magazine "Sirius". The style of Akhmatova’s early poetic experiments was significantly influenced by her acquaintance with the prose of K. Hamsun, the poetry of V. Ya. Bryusov and A. A. Blok. Akhmatova spent her honeymoon in Paris, then moved to St. Petersburg and from 1910 to 1916 lived mainly in Tsarskoye Selo. She studied at the Higher Historical and Literary Courses of N.P. Raev. On June 14, 1910, Akhmatova made her debut on the Vyach Tower. Ivanova. According to contemporaries, “Vyacheslav listened to her poems very sternly, approved only one, kept silent about the rest, and criticized one.” The “master’s” conclusion was indifferently ironic: “What dense romanticism...”

In 1911, having chosen the surname of her maternal great-grandmother as a literary pseudonym, she began to publish in St. Petersburg magazines, including Apollo. Since the founding of the "Workshop of Poets" she became its secretary and active participant.

In 1912, Akhmatova’s first collection “Evening” was published with a foreword by M. A. Kuzmin. “A sweet, joyful and sorrowful world” opens to the gaze of the young poet, but the condensation of psychological experiences is so strong that it evokes a feeling of approaching tragedy. In fragmentary sketches, little things, “concrete fragments of our life” are intensely shaded, giving rise to a feeling of acute emotionality. These aspects of Akhmatova’s poetic worldview were correlated by critics with trends characteristic of the new poetic school. In her poems they saw not only a refraction of the idea of ​​Eternal Femininity, no longer associated with symbolic contexts, in keeping with the spirit of the times, but also that extreme “thinness”. Psychological drawing, which became possible at the end of symbolism. Through the “cute little things,” through the aesthetic admiration of joys and sorrows, a creative longing for the imperfect broke through - a trait that S. M. Gorodetsky defined as “acmeistic pessimism,” thereby once again emphasizing Akhmatova’s belonging to a certain school. The sadness that breathed in the poems of “Evening” seemed to be the sadness of a “wise and already weary heart” and was permeated with the “deadly poison of irony,” according to G. I. Chulkov, which gave reason to trace Akhmatova’s poetic pedigree to I. F. Annensky, whom Gumilev called it a "banner" for "seekers of new paths", having in

kind of acmeist poets. Subsequently, Akhmatova told what a revelation it was for her to become acquainted with the poems of the poet, who revealed to her a “new harmony.”

Akhmatova will confirm the line of her poetic continuity with the poem “Teacher” (1945) and with her own confession: “I trace my origins to Annensky’s poems. His work, in my opinion, is marked by tragedy, sincerity and artistic integrity.” "The Rosary" (1914), Akhmatova's next book, continued the lyrical "plot" of "Evening". An autobiographical aura was created around the poems of both collections, united by the recognizable image of the heroine, which made it possible to see in them either a “lyrical diary” or a “lyric novel.” Compared to the first collection, “The Rosary” increases the detail of the development of images, deepens the ability not only to suffer and sympathize with the souls of “inanimate things,” but also to take upon oneself the “anxiety of the world.” The new collection showed that Akhmatova’s development as a poet does not proceed along the line of expanding themes, her strength lies in deep psychologism, in comprehending the nuances of psychological motivations, in sensitivity to the movements of the soul. This quality of her poetry intensified over the years. Akhmatova’s future path was correctly predicted by her close friend N.V. Nedobrovo. “Her calling is to dissect layers,” he emphasized in an article in 1915, which Akhmatova considered the best written about her work. After "The Rosary" fame comes to Akhmatova.

Her lyrics turned out to be close not only to “schoolgirls in love,” as Akhmatova ironically noted. Among her enthusiastic fans were poets who were just entering literature - M. I. Tsvetaeva, B. L. Pasternak. A. A. Blok and V. Ya. Bryusov reacted more reservedly, but still approved of Akhmatova. During these years, Akhmatova became a favorite model for many artists and the recipient of numerous poetic dedications. Her image is gradually turning into an integral symbol of St. Petersburg poetry of the Acmeism era. During the First World War, Akhmatova did not add her voice to the voices of poets who shared the official patriotic pathos, but she responded with pain to the wartime tragedies (“July 1914”, “Prayer”, etc.). Collection " White flock", published in September 1917, did not have such a resounding success as the previous books. But the new intonations of mournful solemnity, prayerfulness, and an overly personal beginning destroyed the usual stereotype of Akhmatova’s poetry that had formed among the reader of her early poems. These changes were caught by O. E. Mandelstam, noting: “The voice of renunciation is growing stronger and stronger in Akhmatova’s poems, and at present her poetry is close to becoming one of the symbols of the greatness of Russia.” After the October Revolution, Akhmatova did not leave her homeland, remaining in “her remote and sinner." In the poems of these years (the collections "Plantain" and "Anno Domini MCMXXI", both from 1921), grief about the fate of the native country merges with the theme of detachment from the vanity of the world, the motives of "great earthly love" are colored by the mood of mystical expectation of the "groom" , and the understanding of creativity as divine grace spiritualizes reflections on the poetic word and the poet’s calling and transfers them to the “eternal” plane.

In 1922, M. S. Shaginyan wrote, noting the deep-seated quality of the poet’s talent: “Over the years, Akhmatova increasingly knows how to be amazingly popular, without any quasi, without falsehood, with stern simplicity and with priceless parsimony of speech.” Since 1924, Akhmatova has ceased to be published. In 1926, a two-volume collection of her poems was supposed to be published, but the publication did not take place, despite lengthy and persistent efforts. Only in 1940 did a small collection “From Six Books” see the light, and the next two - in the 1960s (“Poems”, 1961; “The Running of Time”, 1965).

Since the mid-1920s, Akhmatova has been heavily involved in the architecture of old St. Petersburg, studying the life and work of A. S. Pushkin, which corresponded to her artistic aspirations for classical clarity and harmony of poetic style, and was also associated with understanding the problem of “poet and power.” In Akhmatova, despite the cruelty of time, the spirit of high classics lived indestructibly, determining both her creative manner and style of life behavior.

In the tragic 1930s - 1940s, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, the death of friends, her excommunication from literature by the party resolution of 1946. Time itself gave her the moral right to say together with the “hundred-million people”: “We They didn’t deflect a single blow.” Akhmatova's works of this period - the poem "Requiem" (1935? in the USSR published in 1987), poems written during the Great Patriotic War, testified to the poet’s ability not to separate the experience of personal tragedy from the understanding of the catastrophic nature of history itself. B. M. Eikhenbaum considered the most important aspect of Akhmatova’s poetic worldview to be “the feeling of her personal life as a national, people’s life, in which everything is significant and universally significant.” “From here,” the critic noted, “an exit into history, into the life of the people, hence a special kind of courage associated with the feeling of being chosen, a mission, a great, important cause...” A cruel, disharmonious world bursts into Akhmatova’s poetry and dictates new themes and new poetics: the memory of history and the memory of culture, the fate of a generation, considered in historical retrospect... Narrative plans of different times intersect, the “alien word” goes into the depths of the subtext, history is refracted through the “eternal” images of world culture, biblical and evangelical motifs. Significant understatement becomes one of the artistic principles of Akhmatova’s late work. The poetics of the final work, “Poems without a Hero” (1940 - 65), was built on it, with which Akhmatova said goodbye to St. Petersburg in the 1910s and to the era that made her a Poet. Akhmatova’s creativity as the largest cultural phenomenon of the 20th century. received worldwide recognition.

In 1964 she became a laureate international award"Etna-Taormina", in 1965 - winner of the honorary degree of Doctor of Letters from Oxford University. On March 5, 1966, Akhmatova ended her days on earth. On March 10, after the funeral service in the St. Nicholas Naval Cathedral, her ashes were buried in the cemetery in the village of Komarovo near Leningrad.

Courage
We know what's on the scales now
And what is happening now.
The hour of courage has struck on our watch,
And courage will not leave us.
It's not scary to lie dead under bullets,
It's not bitter to be left homeless, -
And we will save you, Russian speech,
Great Russian word.
We will carry you free and clean,
We will give it to our grandchildren and save us from captivity
Forever!

Anna Akhmatova

as a girl - Gorenko, by first husband Gorenko-Gumilyov, after the divorce she took her last name Akhmatova, by second husband Akhmatova-Shileiko, after divorce Akhmatova

Russian poetess of the Silver Age, translator and literary critic, one of the most significant figures of Russian literature of the 20th century; nominee for the Nobel Prize in Literature

short biography

On June 11, 1889 in Odessa, in one of the houses of the Big Fountain, she was born Anechka Gorenko, who was destined to gain fame as one of the most famous Russian poets of the 20th century, a classic during his lifetime, a talented translator, literary critic, and critic. She became the sixth child in the family of a retired naval mechanical engineer, a hereditary nobleman. Anna spent her childhood and adolescence in Tsarskoye Selo, where the family moved in 1980. Here she studied at the Mariinsky Gymnasium from 1900 to 1905, and here in 1903 she met Nikolai Gumilyov, her future husband, a man who played a special role in her fate.

After her parents’ divorce in 1905, Anna, her mother and sisters left for Yevpatoria: girls with tuberculosis benefited from the healing climate. She completed her studies at the Fundukleevskaya gymnasium in the city of Kyiv, where in 1906 they moved to live with relatives. Since 1908, Anna Gorenko has been a student at the Kyiv Higher Women's Courses, Faculty of Law. Her studies failed to instill a love for jurisprudence, but the student enthusiastically studied Latin. In April 1910, Anna agreed to the marriage proposal made by N. Gumilev. Having gotten married, the couple first went on a honeymoon (Paris, Italian cities), then spent some time in Slepnevo - the estate of N. Gumilyov’s mother.

The prospect of becoming a lawyer no longer attracted Anna Gorenko. She came to St. Petersburg and in the same 1910 she entered Raev’s Higher Historical and Literary Courses. The future celebrity began writing poetry at the age of 11. In 1907, N. Gumilyov, who published the Russian-language magazine Sirius in Paris, first published the poem “There are many shiny rings on his hand,” signed “Anna G.”, but the publication did not last long. In 1911, the aspiring poetess’s poems began to appear in magazines published in St. Petersburg. It was then that the reading public learned about Anna Akhmatova. My father once vetoed the use of “Gorenko” in the caption to poems, so the surname borne by his maternal great-grandmother was used as a creative pseudonym.

Thanks to N. Gumilyov, who by that time was a well-known and authoritative figure in literary and artistic circles, Akhmatova herself quickly became part of this environment. Anna Andreevna's path to fame was not long and thorny. Already her first collection of poems, “Evening,” which was published in 1912, did not go unnoticed by critics and indicated that a new name had appeared in Russian poetry. The rapid ascent came as a surprise to many, including N. Gumilyov himself, who once, after reading Anna’s poems, gave her advice to take up dancing. When the “Workshop of Poets” was founded, Akhmatova took an active part in its activities and was its secretary.

In May 1914, the lyrical collection “Rosary Beads” was published, after which real fame came to the poetess. It was favorably received not only by ordinary admirers of her talent, but also by poets who had a significant influence on Akhmatova’s early poetics - Alexander Blok and V. Bryusov. The book went through eight more reprints until 1923. Like “Evening,” “The Rosary” was written in line with Acmeism; Anna Akhmatova stood at the origins of this literary movement. They admired her, imitated her, wrote dedications, artists looked for opportunities to paint her portrait... However, the outbreak of the First World War could not help but make adjustments to her biography - the active public activity of the poetess was curtailed, Gumilyov went to the front. Akhmatova increasingly visited his Slepnevo estate, where she discovered a life that had little in common with that in St. Petersburg. She was tormented by tuberculosis, and a lot of time and effort was spent on treatment.

This period was full of reading Russian classics, which also left a noticeable imprint on her further creative activity. Acquaintance with unsophisticated village life, the loss of a sense of stability, and the drama of the wartime introduced new intonations into her poetry - prayerfulness, solemn grief. Poems from this time formed the basis of the third collection (1917) - “The White Flock”. It is generally accepted that he enjoyed less success, but Akhmatova herself explained this by the difficult wartime.

After the establishment of Bolshevik power in 1917, the hereditary noblewoman made a choice in favor of the “deaf and sinful” Motherland, remaining where “my people, unfortunately, were,” without emigrating, as so many of her circle did. Several years of serious hardships and dramatic personal events (divorce in 1918 from N. Gumilev, his execution in 1921, repeated unsuccessful marriage with the poet and scientist V. Shileiko) somewhat alienated Akhmatova from creativity and public activities, but in the fall of 1921 She again began to actively publish, take part in the life of literary associations, and perform. In 1921, two of her collections of love lyrics were published at once - “Plantain” and “Anno Domini”.

Since 1923, Akhmatova, as an author, was declared an ideologically alien element, turned into a target for criticism and stopped publishing, forcing her to change the vector of her creativity: she immersed herself in the study of Pushkin’s legacy, translated a lot, and became interested in architecture. Her biography at that time was not much different from the lives of thousands of compatriots whose loved ones became innocent victims Stalin's repressions. Only son Akhmatova, Lev Gumilev, were arrested three times and exiled to camps; Her third husband, Nikolai Punin, and many friends and acquaintances died in Stalin’s dungeons. For thirty years the poetess lived, in her own words, “under the wing of death.” The suffering and sorrow of a Russian woman who lived in terrible times was embodied in the poem cycle “Requiem” (1935-1940), wartime poems. At the whim of Stalin (his daughter really liked Akhmatova’s poems), in 1939 the poetess was allowed into Soviet literature, accepted into the Writers’ Union, and already in 1940 her collection “From Six Books” was published, and in general this year was incredibly fruitful in her creative biography.

In September 1941, Akhmatova, who met the beginning of the Great Patriotic War in Leningrad, was evacuated and remained in Tashkent until May 1945. In 1943 she was awarded the medal “For the Defense of Leningrad”. Her poems of that time were not only permeated with sorrow and suffering, but also called for courage, fulfillment of civic duty, and became the personification of the unconquered Russian word and the Russian spirit. In the Hall of Columns of the House of Unions in April 1946, she was greeted with a standing ovation and a prolonged ovation. However, the time of triumph and admiring reception by the public was very short: on August 16, the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued on the magazines “Zvezda” and “Leningrad”, which dashed the hopes of the intelligentsia for greater freedom and harshly criticized the work of Akhmatova and Zoshchenko. In 1949, in addition to the disasters (hunger, searches, moral persecution), his son was sentenced to 10 years in the camps. Wanting to mitigate the harsh punishment in 1950, the poetess, stepping over herself, wrote a laudatory cycle of poems “Glory to the World,” but her hopes were not justified.

On January 19, 1951, thanks to the petition of A. Fadeev, Akhmatova was again included in the Union of Soviet Writers; in May 1955, she was assigned to the village. Komarovo own housing (the first in his life) - a country house, in 1956 the rehabilitated Lev Gumilyov returned from the camp. This was a relatively prosperous period in the poetess’s life; she again had the opportunity to engage in creativity. In 1958, the collection “Poems” was published; in 1962 - “Poem without a Hero”, begun in 1940, was completed, the famous autobiographical “Requiem” was put to paper and finalized, which would see the light after her death, in perestroika 1987.

Despite restrictions in publications, Akhmatova’s fame went far beyond the USSR, the poetess’s skill was recognized internationally, and for foreign readers she became the personification of the great Russian culture. In 1962 she was a nominee Nobel Prize in the field of literature. In 1964 in Italy she received the international literary prize "Etna-Taormina", in 1965 in London she tried on the mantle of an honorary doctor of literature from the University of Oxford. Also in 1965, a large collection “The Running of Time” was published, which included poems different periods. Anna Andreevna died on March 5, 1966 in the Domodedovo sanatorium, where she was recovering after her fourth heart attack. Her ashes rest in the village of Komarovo near St. Petersburg.

Biography from Wikipedia

Anna Gorenko was born in the Odessa district of Bolshoi Fontan in the family of a hereditary nobleman, retired naval mechanical engineer A. A. Gorenko (1848-1915), who after moving to the capital became a collegiate assessor, an official for special assignments of the State Control. She was the third of six children. Her mother, Inna Erasmovna Stogova (1856-1930), was distantly related to Anna Bunina: in one of her draft notes, Anna Akhmatova wrote: “... In the family, no one, as far as the eye can see, wrote poetry, only the first Russian poetess Anna Bunina was the aunt of my grandfather Erasmus Ivanovich Stogov...” Grandfather's wife was Anna Egorovna Motovilova - the daughter of Yegor Nikolaevich Motovilov, married to Praskovya Fedoseevna Akhmatova; Anna Gorenko chose her maiden name as a literary pseudonym, creating the image of a “Tatar grandmother” who allegedly descended from the Horde Khan Akhmat. Anna's father was involved in this choice: having learned about the poetic experiments of his seventeen-year-old daughter, he asked not to disgrace his name.

In 1890, the family moved first to Pavlovsk and then to Tsarskoe Selo, where in 1899 Anna Gorenko became a student at the Mariinsk Women's Gymnasium. She spent the summer near Sevastopol, where, in her own words:

I received the nickname “wild girl” because I walked barefoot, wandered without a hat, etc., threw myself from a boat into the open sea, swam during a storm, and sunbathed until my skin peeled off, and with all this I shocked the provincial Sevastopol young ladies .

Remembering her childhood, Akhmatova wrote:

My first memories are of Tsarskoye Selo: the green, damp splendor of the parks, the pasture where my nanny took me, the hippodrome where little colorful horses galloped, the old train station and something else that was later included in the “Ode of Tsarskoye Selo”.

I spent every summer near Sevastopol, on the shore of Streletskaya Bay, and there I became friends with the sea. The most powerful impression of these years was the ancient Chersonesos, near which we lived.

A. Akhmatova. Briefly about yourself

Akhmatova recalled that she learned to read from Leo Tolstoy’s alphabet. At the age of five, listening to the teacher teach older children, she learned to speak French. In St. Petersburg, the future poetess found the “edge of the era” in which Pushkin lived; At the same time, she also remembered St. Petersburg “pre-tram, horse-drawn, horse-drawn, horse-drawn, horse-drawn, rumbling and grinding, covered from head to toe with signs.” As N. Struve wrote, “The last great representative of the great Russian noble culture, Anna Akhmatova absorbed all this culture and transformed it into music.”

She published her first poems in 1911 (“ New life", "Gaudeamus", "Apollo", "Russian Thought"). In her youth she joined the Acmeists (collections “Evening”, 1912, “Rosary”, 1914). Characteristics Akhmatova’s creativity can be called fidelity moral principles existence, a subtle understanding of the psychology of feeling, comprehension of the national tragedies of the 20th century, associated with personal experiences, a gravitation towards classic style poetic language.

The autobiographical poem “Requiem” (1935-1940; first published in Munich in 1963, in the USSR in 1987) is one of the first poetic works dedicated to the victims of repression of the 1930s.

"Poem without a Hero" (1940-1965, relatively full text first published in the USSR in 1976) reflects Akhmatova’s view of her contemporary era, from the Silver Age to the Great Patriotic War. The poem has outstanding significance as an example of modern poetry and a unique historical canvas.

In addition to poetic works, Akhmatova has written articles about the works of A. S. Pushkin and M. Yu. Lermontov, and memoirs about their contemporaries.

Beginning in 1922, Anna Akhmatova's books were subject to censorship. From 1925 to 1939 and from 1946 to 1955, her poetry was not published at all, except for poems from the cycle “Glory to the World!” (1950). According to Akhmatova’s longtime acquaintance Jozef Czapski, her first trip abroad since 1914 most likely took place only in 1964, to Taormina, Italy. Britannica specifies the first date - from 1912.

The first relatively complete and scientifically commented posthumous edition: Akhmatova A. Poems and poems / Ed. V. M. Zhirmunsky. - L., 1976. - (Large series of the Poet's Library).

Akhmatova's poems have been translated into many languages ​​of the world.

Life and art

Anna Akhmatova with her husband N. S. Gumilyov and son Lev

• 1900-1905 - study at the Tsarskoye Selo gymnasium, then a year in Yevpatoria.
• 1906-1907 - studied at the Kyiv Fundukleevskaya Gymnasium. Among the teachers are the future famous philosopher Gustav Shpet and mathematician Julius Kistyakovsky.
• 1908-1910 - studied at the Kyiv Higher Women's Courses and at the Higher Women's Historical and Literary Courses of N.P. Raev in St. Petersburg. She wrote her first poem at the age of 11. Father forbade signing poems with his last name Gorenko, and she took the maiden name of her great-grandmother on the female side, Praskovya Fedoseevna Akhmatova(married Motovilova), who died in 1837. On her father’s side, Praskovya Fedoseevna came from an old noble family of the Chagadayev princes, known since the 16th century, and on her mother’s side, from the ancient Tatar family of the Akhmatovs, which became Russified in the 17th century.
• 1910 - in April she married Nikolai Gumilyov.
• 1910-1912 - was in Paris twice, traveled around Italy. The impressions from these trips and from meeting Amedeo Modigliani in Paris had a noticeable impact on the poetess’s work.
• 1911 - first publications under the name “Anna Akhmatova” (previously, in 1907, under the signature “Anna G.” Gumilyov published her poem “There are many shiny rings on his hand ...” in Paris in the magazine “Sirius” that he published. The magazine was not successful and almost immediately ceased to exist).
• 1912
  • in March the first book was published - the collection “Evening”, published by the “Workshop of Poets” with a circulation of 300 copies.
  • in October a son was born - Lev Nikolaevich Gumilyov.
• 1914 - in the spring, “The Rosary” was first published by the publishing house “Hyperborey” with a considerable circulation of 1000 copies at that time. Until 1923, the book went through another 8 reprints.
• 1917 - the third book, “The White Flock,” was published by the Hyperborey publishing house with a circulation of 2,000 copies.
• 1918
  • in August, a divorce from Gumilyov took place.
  • married the Assyriologist scientist and poet Vladimir Shileiko.
• 1921
  • In April, the Petropolis publishing house published the collection “Plantain” with a circulation of 1000 copies.
  • summer - broke up with V.K. Shileiko.
  • on the night of August 3-4, Nikolai Gumilyov was arrested, and then, three weeks later, shot.
  • In October, the fifth book “Anno Domini MCMXXI” (Latin: “In the Summer of the Lord 1921”) was published by the Petropolis publishing house.
• 1922 - became the wife, without official marriage registration, of art critic Nikolai Punin.
• From 1923 to 1934 it was practically not published. According to the testimony of L.K. Chukovskaya (“Notes about Anna Akhmatova”), many poems of those years were lost during travel and during evacuation. Akhmatova herself wrote in her note “Briefly about myself” in 1965:

“Since the mid-20s, my new poems have almost stopped being published, and my old ones have almost stopped being reprinted.”

• 1924 - settled in the “Fountain House”.
• June 8, 1926 - a divorce was filed from Vladimir Shileiko, who was planning to enter into a second marriage with V.K. Andreeva. During the divorce, she officially received the surname Akhmatova for the first time (previously, according to documents, she bore the surnames of her husbands).
• October 22, 1935 - Nikolai Punin and Lev Gumilyov were arrested and a week later released.
• 1938 - son Lev Gumilev was arrested and sentenced to 5 years in forced labor camps.
  • broke up with Nikolai Punin.
• 1939 - admitted to the Union of Soviet Writers.
• 1935-1940 - the poem “Requiem” was written.
• 1940 - new, sixth collection: “From six books.”
• 1941 - met the war in Leningrad. On September 28, at the insistence of doctors, she was evacuated first to Moscow, then to Chistopol, not far from Kazan, and from there through Kazan to Tashkent. A collection of her poems was published in Tashkent.
• 1944 - May 31, Anna Akhmatova was among the first to return from evacuation to Leningrad.
  • summer - break in relations with Vladimir Garshin.
• 1946 - Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines “Zvezda” and “Leningrad” dated August 14, 1946, in which the work of Anna Akhmatova and Mikhail Zoshchenko was sharply criticized. Both of them were expelled from the Union of Soviet Writers.

• 1949 - On August 26, N.N. Punin was arrested, on November 6, L.N. Gumilyov was arrested. Sentence: 10 years in forced labor camps. During all the years of her son's arrest, Anna Akhmatova did not give up trying to rescue him. Possibly an attempt to demonstrate loyalty Soviet power was the creation of the cycle of poems “Glory to the World!” (1950). Lydia Chukovskaya in “Notes about Anna Akhmatova” writes:

“The cycle “Glory to the World” (in fact, “Glory to Stalin”) was written by Akhmatova as a “petition to the highest name.” This is an act of despair: Lev Nikolaevich was arrested again in 1949.”

• 1951 - January 19, at the suggestion of Alexander Fadeev, Anna Akhmatova was reinstated in the Union of Soviet Writers.
• 1954 - in December she participated in the Second Congress of the Union of Soviet Writers.
• 1956
  • On July 7, she was awarded the Certificate of Honor of Armenia.
  • Lev Gumilyov returned from prison, rehabilitated after the 20th Congress of the CPSU, who mistakenly believed that his mother did not make enough efforts to free him. But on April 24, 1950, Akhmatova wrote a letter to Stalin asking him to release her son, which remained unanswered, and on July 14, 1950, USSR Minister of State Security V. S. Abakumov sent Stalin a memo “On the need to arrest the poetess Akhmatova”; from that time on, relations between mother and son were tense.

• 1958 - the collection “Poems” was published
• 1962 - finished “Poem without a Hero,” which she worked on for twenty-two years.
• 1964 - received the Etna-Taormina Prize in Italy.
• 1965
  • trip to England to receive an honorary doctorate from Oxford University.
  • The collection “The Running of Time” was published.
• 1966
  • March 5 - died in a sanatorium in Domodedovo (Moscow region).
  • March 7 - at 22:00 the All-Union Radio broadcast a message about the death of the outstanding poetess Anna Akhmatova.
  • On March 9, the coffin was delivered from Moscow to Leningrad. On the morning of March 10, 1966, a funeral service for the deceased was first held in the lower church of St. Nicholas Cathedral, and at about 3 p.m. a civil funeral service was held in the House of Writers on Voinova Street in the former mansion of A.D. Sheremetev. She was buried on the same day in the village of Komarovo near Leningrad. The authorities planned to install a pyramid, usual for the USSR, on the grave, but Lev Gumilyov, together with his students, built a monument to his mother on his own, collecting stones where he could, and laying out a wall as a symbol of the Wall of the Crosses, under which his mother stood with parcels to her son. Initially, there was a niche in the wall that looked like a prison window; later this “embrasure” was covered with a bas-relief with a portrait of the poetess. The cross, as Anna Akhmatova bequeathed, was originally made of wood. In 1969, a bas-relief and a cross were installed on the grave according to the design of the sculptor A. M. Ignatiev and the architect V. P. Smirnov.

Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad””

Akhmatova is a typical representative of empty, unprincipled poetry, alien to our people. Her poems, imbued with the spirit of pessimism and decadence, expressing the tastes of the old salon poetry, frozen in the positions of bourgeois-aristocratic aesthetics and decadence, “art for art’s sake,” which does not want to keep pace with its people, harm the cause of educating our youth and cannot be tolerated in Soviet literature.

Member of the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks A. A. Zhdanov August 15-16, 1946 from reports (generalized transcript):

<…>Either a nun or a harlot, or rather a harlot and a nun whose fornication is mixed with prayer.<…>Such is Akhmatova with her small, narrow personal life, insignificant experiences and religious-mystical eroticism. Akhmatov's poetry is completely far from the people. This is the poetry of the top ten thousand of old noble Russia, doomed<…>

According to K. Simonov, “the choice of target for attacking Akhmatova and Zoshchenko was connected not so much with them themselves, but with the dizzying, partly demonstrative triumph in the atmosphere of which Akhmatova’s speeches in Moscow took place,<…>and with the emphatically authoritative position that Zoshchenko occupied after returning to Leningrad.”

The resolution was canceled as erroneous at a meeting of the Politburo of the CPSU Central Committee on October 20, 1988.

Addresses

Odessa

• 1889 - born at 11 ½ station of the Bolshoi Fontan in a dacha rented by her family. Current address: Fontanskaya road, 78.

Sevastopol

• 1896-1916 - visited her grandfather (Lenin St., 8)

St. Petersburg - Petrograd - Leningrad

A. A. Akhmatova’s entire conscious life was connected with St. Petersburg. She began writing poetry in her gymnasium years, at the Tsarskoye Selo Mariinsky Gymnasium, where she studied. The building has survived (2005), this is house 17 on Leontyevskaya Street.

• 1910-1912 - Tsarskoe Selo, Malaya Street, house No. 64. They live with Gumilyov’s mother (the house has not survived, now it is the site of house No. 57 on Malaya Street). The house stood opposite the building of the Nikolaev men's classical gymnasium;
• 1912-1914 - Tuchkov lane, building 17, apt. 29; lived with Nikolai Gumilyov. From Akhmatova’s poems you can guess this address:

...I am quiet, cheerful, lived
On a low island that's like a raft
Stayed in the lush Neva Delta
Oh, mysterious winter days,
And sweet work, and slight fatigue,
And roses in the wash jug!
The lane was snowy and short,
And opposite the door to us is the altar wall
The Church of St. Catherine was erected.

Gumilyov and Akhmatova affectionately called their small cozy home “Tuchka”. They then lived in apartment 29 of building No. 17. It was one room with windows overlooking the alley. The lane overlooked the Malaya Neva... This was Gumilyov’s first independent address in St. Petersburg; before that he lived with his parents. In 1912, when they settled on Tuchka, Anna Andreevna published her first book of poems, Evening. Having already declared herself a poetess, she went to sessions in Altman’s workshop, which was located nearby, on Tuchkova Embankment.

Anna Andreevna will leave here. And in the fall of 1913, leaving his son in the care of Gumilyov’s mother, he returned here to “Tuchka” to continue creating on the “snowy and short lane.” From “Tuchka” she escorts Nikolai Stepanovich to the theater of military operations of the First World War. He will come on vacation and stop not at Tuchka, but at 10, Fifth Line, in Shileiko’s apartment.

• 1914-1917 - Tuchkova embankment, 20, apt. 29;
• 1915 - Bolshaya Pushkarskaya, no. 3. In April - May 1915, she rented a room in this house; her notes mention that she called this house "The Pagoda".
• 1917-1918 - apartment of Vyacheslav and Valeria Sreznevsky - Botkinskaya street, 9 (now building 17);
• 1919-1921 - Shileiko’s apartment - northern wing of house No. 34 on the Fontanka embankment (aka Sheremetyev Palace or “Fountain House”);
• 1919-1920 - Khalturina street, 5; corner apartment of two rooms on the second floor of a service building on the corner of Millionnaya Street and Suvorovskaya Square;
• spring 1921 - E. N. Naryshkina's mansion - Sergievskaya street, 7, apt. 12; and then house number 18 on the Fontanka embankment, the apartment of friend O. A. Glebova-Sudeikina;
• 1921 - sanatorium - Detskoe Selo, Kolpinskaya street, 1;
• 1922-1923 - apartment building - Kazanskaya street, 4;
• end of 1923 - beginning of 1924 - Kazanskaya street, 3;
• summer - autumn 1924-1925 - embankment of the Fontanka River, 2; the house stands opposite the Summer Garden at the source of the Fontanka, flowing from the Neva;
• autumn 1924 - February 1952 - southern courtyard wing of the palace of D. N. Sheremetev (N. N. Punin's apartment) - embankment of the Fontanka River, 34, apt. 44 (“Fountain House”). Akhmatova’s guests had to receive passes at the entrance of the Institute of the Arctic and Antarctic, which at that time was located there; Akhmatova herself had a permanent pass with the seal of the “Northern Sea Route”, where “tenant” is indicated in the “position” column;
• summer 1944 - Kutuzov embankment, fourth floor of building No. 12, Rybakovs’ apartment, during the renovation of the apartment in the Fountain House;
• February 1952-1961 - apartment building - Red Cavalry Street, 4, apt. 3;
• The last years of his life, house No. 34 on Lenin Street, where apartments were provided to many poets, writers, literary scholars, and critics;

Moscow

Arriving in Moscow in 1938-1966, Anna Akhmatova stayed with the writer Viktor Ardov, whose apartment was located at Bolshaya Ordynka, 17, building 1. Here she lived and worked for a long time, and here in June 1941 she first met Marina Tsvetaeva.

Tashkent

• 1941, November - st. Karla Marksa, no. 7.
• 1942-1944, March - st. V.I. Zhukovsky (in the 2000s it was renamed Sadyk Azimov St.), no. 54. In 1966, the house was destroyed by the Tashkent earthquake.

Komarovo

In 1955, when Akhmatova’s poems began to appear in print again. The literary fund provided her with a small house in the village of Komarovo on Osipenko Street, 3, which she herself called “Budka”. The dacha became a center of attraction for the creative intelligentsia. Dmitry Likhachev, Lydia Chukovskaya, Faina Ranevskaya, Nathan Altman, Alexander Prokofiev, Mark Ermler and many others have been here. Young poets also came: Anatoly Naiman, Evgeny Rein, Dmitry Bobyshev, Joseph Brodsky.

While the “booth” was being set up in 1955, Anna Andreevna lived with her friends the Gitovichs at 36, 2nd Dachnaya Street.

In 2004, the dacha was restored. In 2008, the building was robbed (no previous robbery attempts had been recorded).

In 2013, on June 22 (the Saturday closest to her birthday), on Osipenko Street, next to the famous “Budka”, where Anna Andreevna lived, the 8th traditional literary and musical evening in memory of the poet took place. Organizers: prose writer and poet Anatoly Naiman and administration municipality village Komarovo.

Akhmatov readings
in 2013

Sign on the "Booth"

"Booth"

Room window
Anna Akhmatova
in "Budka"

Portraits

The first (not counting Modigliani's 1911 drawings) graphic portrait of Akhmatova was made by S. A. Sorin (St. Petersburg, 1913, according to other sources: 1914).

The picturesque portrait of Anna Akhmatova, painted by K. S. Petrov-Vodkin in 1922, is known.

N. I. Altman painted a portrait of Anna Andreevna Akhmatova in 1914. The artist O. L. Della-Vos-Kardovskaya wrote about Altman’s work: “The portrait, in my opinion, is too scary. Akhmatova is somehow green, bony, there are cubic planes on her face and background, but behind all this she looks similar, looks terribly similar, somehow disgusting in some negative sense...” The artist’s daughter, E. D. Kardovskaya, believes, that: “But no matter how much I like the Akhmatova portrait of my mother from the artistic side, I still think that Akhmatova is the way her friends knew her - poets, admirers of those years, Akhmatova is “clearly” conveyed not in this portrait, but in portrait by Altman."

Many artists wrote and painted about Akhmatova, including Amedeo Modigliani (1911; the most beloved portrait of Akhmatova, always in her room), N. Ya. Danko (sculptural portraits, 1924, 1926), T. N. Glebova (1934), V. Milashevsky (1921), Y. Annenkov (1921), L. A. Bruni (1922), N. Tyrsa (1928), G. Vereisky (1929), N. Kogan (1930), B. V. Anrep ( 1952), G. Nemenova (1960-1963), A. Tyshler (1943). Less known are her lifetime silhouettes, created by S. B. Rudakov in 1936 in Voronezh.

Anna Akhmatova in Modigliani's drawing. 1911

N. Altman. Portrait of A. A. Akhmatova, 1914. Russian Museum

Portrait of Akhmatova by Olga Kardovskaya, 1914

Portrait of Akhmatova on a postage stamp of Kazakhstan, 2014

Memory

• There are streets named after A. Akhmatova in Pushkin (Akhmatovskaya Street), Kaliningrad, Odessa, Kiev, Donetsk, Tashkent, Moscow, Tyumen, Astrakhan and Maykop, Akhmatova Lane is in Yevpatoria (Republic of Crimea).
• Monument to Akhmatova in the city of Taormina (Sicily, Italy).
• Akhmatova evening meetings, evenings of memory dedicated to Anna Andreevna’s birthday - June 25 - have become a tradition in the village of Komarovo. Held on the weekend closest to the date on the threshold of the famous “Booth”, where Akhmatova lived
• On November 25, 2011, the premiere took place at the Moscow International House of Music musical performance“Memory of the Sun”, dedicated to Anna Akhmatova. The performance was created by singer Nina Shatskaya and actress Olga Kabo.
• On July 17, 2007, in Kolomna, a memorial plaque was unveiled on the wall of an old mansion in memory of A. Akhmatova’s visit to the city on July 16, 1936, who lived that summer nearby at the Shervinsky dacha on the banks of the Oka, on the outskirts of the village of Cherkizova. Anna Andreevna dedicated the poem “Near Kolomna” to the Shervinskys.
• The Anna Akhmatova motor ship sails along the Moscow River. Also, the double-deck passenger motor ship of Project 305 “Danube”, built in 1959 in Hungary (former name “Vladimir Monomakh”), is named after Akhmatova.
• At the Crimean Astrophysical Observatory, astronomers L. G. Karachkina and L. V. Zhuravleva named the small planet they discovered on October 14, 1982, (3067) Akhmatova. The Akhmatova crater on Venus is also named after Anna Akhmatova.

Monuments, museums

Marble bas-relief at 11 ½ station of the Big Fountain in Odessa

Museum “Anna Akhmatova. Silver Age".
St. Petersburg, Avtovskaya st., 14

Memorial plaque in memory of A. A. Akhmatova’s visit to Kolomna

Bezhetsk

In the city of Bezhetsk, where the son of Anna Andreevna Akhmatova, Lev Nikolaevich Gumilyov, spent his childhood years, a sculptural composition dedicated to A. A. Akhmatova, N. S. Gumilyov and L. N. Gumilyov was installed.

Kyiv

On the 128th anniversary of the birth of Anna Akhmatova, on June 23, 2017, a monument to the poetess was unveiled in the Mariinsky Park in Kyiv. The author of the monument is sculptor Alexander Stelmashenko. It took about two years to complete the sculpture. The monument captures Akhmatova’s famous profile, her recognizable bangs and elegance. The height of the statue is almost four and a half meters.

The location of the monument is not accidental. One day, while walking with her sister and nanny near the Mariinsky Palace, little Anya found a pin in the shape of a lyre. The nanny then said to Anya: “This means you will become a poet.”

Moscow

On the wall of the house where Anna Akhmatova stayed when she came to Moscow (Bolshaya Ordynka Street, 17, building 1, Viktor Ardov’s apartment), there is a memorial plaque; In the courtyard there is a monument made according to a drawing by Amadeo Modigliani. In 2011, an initiative group of Muscovites, led by Alexei Batalov and Mikhail Ardov, came up with a proposal to open an apartment-museum of Anna Akhmatova here.

Memorial plaque to A. A. Akhmatova in Moscow at st. Bolshaya Ordynka, 17

Odessa

In Odessa, at the beginning of the alley leading to the place where the house in which the poetess was born was located, in the mid-80s of the 20th century her memorial bas-relief and a cast-iron bench were installed (stolen by vandals in the mid-1990s, later replaced by marble).

The “Silver Age” monument is a sculptural portrait of the poets Marina Tsvetaeva and Anna Akhmatova. Opened in April 2013.

Saint Petersburg

In St. Petersburg, monuments to Akhmatova are installed in the courtyard Faculty of Philology state university and in the garden in front of the school on Vosstaniya Street.

On March 5, 2006, on the 40th anniversary of the poet’s death, the third monument to Anna Akhmatova by St. Petersburg sculptor Vyacheslav Bukhaev (a gift to the Nikolai Nagorsky Museum) was unveiled in the garden of the Fountain House and the “Informer Bench” (Vyacheslav Bukhaev) was installed - in memory of surveillance of Akhmatova in the fall of 1946. On the bench there is a sign with the quote:

Someone came to me and offered me 1 month<яц>do not leave the house, but go to the window so that you can see me from the garden. A bench was placed in the garden under my window, and agents were on duty around the clock.

She lived in the Fountain House, where the Akhmatova Literary and Memorial Museum is located, for 30 years, and called the garden near the house “magical.” According to her, “The shadows of St. Petersburg history come here”.Informer's bench in the garden of the Fountain House. Architect V. B. Bukhaev. 2006

Monument on Voskresenskaya embankment, opposite the Crosses. 2006

In December 2006, a monument to Anna Akhmatova was unveiled in St. Petersburg, located across the Neva from the Kresty detention center, where she bequeathed to erect it. In 1997, it was planned to lay out Akhmatovsky Square on this site, but the plans were not destined to come true.

In 2013, in Pushkin, near house No. 17B on Leontyevskaya Street, a monument to Anna Akhmatova was opened, located at the entrance to the Tsarskoye Selo Gymnasium of Arts named after her. The author of the monument is St. Petersburg sculptor Vladimir Gorevoy.

Tashkent

At the end of 1999 in Tashkent, with the participation of Russian cultural center In Uzbekistan, a club-museum “Mangalochy Yard” was opened, the name of which was given by one of the first lines of poetry by Akhmatova, written upon her arrival in evacuation from Leningrad in the winter of 1942. The club-museum is located in the Palace of Culture of Tractor Builders.

Cinema

On March 10, 1966, unauthorized filming of the funeral service, civil memorial service and funeral of Anna Akhmatova was carried out in Leningrad. The organizer of this filming is director S. D. Aranovich. He was assisted by cameraman A.D. Shafran, assistant cameraman V.A. Petrov and others. In 1989, the footage was used by S. D. Aranovich in documentary film"Personal file of Anna Akhmatova"

In 2007, the biographical series “The Moon at its Zenith” was filmed based on Akhmatova’s unfinished play “Prologue, or a Dream within a Dream.” Starring Svetlana Kryuchkova. The role of Akhmatova in dreams is played by Svetlana Svirko.

In 2012, the series “Anna German. The Secret of the White Angel." In an episode of the series depicting the life of the singer’s family in Tashkent, a meeting between Anna’s mother and the poetess was shown. In the role of Anna Akhmatova - Yulia Rutberg.

Bibliography

Lifetime editions

• Anna Akhmatova. "Evening" 1912.
• Anna Akhmatova. "Rosary" 1914-1923 - 9 editions.
• Anna Akhmatova. "White Flock" 1917, 1918, 1922

Anna Akhmatova. Right by the sea. Poem. "Alkonost". 1921

• Anna Akhmatova. "Plantain" 1921.
• Anna Akhmatova. "Anno Domini MCMXXI" ed. "Petropolis", P., 1922; Berlin, 1923
• Anna Akhmatova. From six books. L. 1940.
• Anna Akhmatova. Favorites. Poetry. Tashkent. 1943.
• Anna Akhmatova. Poems. M. GIHL, 1958.
• Anna Akhmatova. Poems. 1909-1960. M. 1961.
• Anna Akhmatova. Requiem. Tel Aviv. 1963. (without the author's knowledge)
• Anna Akhmatova. Requiem. Munich. 1963.
• Anna Akhmatova. Time running. M.-L. 1965.

Major posthumous publications

• Akhmatova A. Selected / Comp. and entry Art. N. Bannikova. - M.: Fiction, 1974.
• Akhmatova A. Poems and prose / Comp. B. G. Druyan; entry article by D. T. Khrenkov; prepared texts by E. G. Gershtein and B. G. Druyan. - L.: Lenizdat, 1977. - 616 p.
• Akhmatova A. Poems and poems / Compiled, prepared text and notes by V. M. Zhirmunsky. - L.: Sov writer, 1976. - 558 p. Circulation 40,000 copies. - (Poet's Library. Large series. Second edition)
• Akhmatova A. Poems / Comp. and entry Art. N. Bannikova. - M.: Sov. Russia, 1977. - 528 p. - (Poetic Russia)
• Akhmatova A. Poems and poems / Comp., intro. Art., note. A. S. Kryukova. - Voronezh: Central-Chernozem. book publishing house, 1990. - 543 p.
• Akhmatova A. Works: In 2 vols. / Comp. and preparation of the text by M. M. Kralin. - M.: Pravda, 1990. - 448 + 432 p.
• Akhmatova A. Collected works: In 6 vols. / Comp. and preparation of the text by N.V. Koroleva. - M.: Ellis Luck, 1998-2002.
• Akhmatova A. Notebooks. 1958-1966. - M. - Torino: Einaudi, 1996.

Musical works

• Opera "Akhmatova", premiere in Paris at the Opéra Bastille on March 28, 2011. Music by Bruno Mantovani, libretto by Christophe Ghristi
• “Rosary”: vocal cycle by A. Lurie, 1914
• “Five Poems by A. Akhmatova”, vocal cycle by S. S. Prokofiev, op. 27, 1916 (No. 1 “The sun filled the room”; No. 2 “True tenderness...”; No. 3 “Memory of the sun...”; No. 4 “Hello!”; No. 5 “The Gray-Eyed King”)
• “Venice” is a song from the album Masquerade by the Caprice group, dedicated to the poets of the Silver Age. 2010
• “Anna”: ballet-mono-opera in two acts (music and libretto - Elena Poplyanova. 2012)
• “White Stone” - vocal cycle by M. M. Chistova. 2003
• “The Witch” (“No, Tsarevich, I’m not that one...”) (music - Zlata Razdolina), performer - Nina Shatskaya (Video The Witch - Nina Shatskaya)
• “Confusion” (music - David Tukhmanov, performer - Lyudmila Barykina, album “In the Wave of My Memory”, 1976)
• “I Stopped Smiling” (music and performer - Alexander Matyukhin)
• “My heart is beating”, poem “I see, I see a moonbow” (music - Vladimir Evzerov, performer - Aziza)
• “Instead of wisdom - experience, insipid” (music and performer - Alexander Matyukhin)
• “The Culprit”, poem “And in August the jasmine bloomed” (music - Vladimir Evzerov, performer - Valery Leontiev)
• “Dear traveler”, poem “Dear traveler, you are far away” (performer - “Surganova and Orchestra”)
• “Oh, I didn’t lock the door” (music and performer - Alexander Matyukhin)
• “Loneliness” (music -?, performer - trio “Meridian”)
• “The Gray-Eyed King” (music and performer - Alexander Vertinsky)
• “It would be better for me to cheerfully call out ditties” (music and performer - Alexander Vertinsky)
• “Confusion” (music - David Tukhmanov, performer - Irina Allegrova)
• “As simple courtesy commands” (music and performer - Alexander Matyukhin)
• “I’ve lost my mind, oh strange boy” (music - Vladimir Davydenko, performer - Karina Gabriel, song from the television series “Captain’s Children”)
• “The Gray-Eyed King” (music and performer - Alexander Matyukhin)
• “That night” (music - V. Evzerov, performer - Valery Leontyev)
• “Confusion” (music and performer - Alexander Matyukhin)
• “The Shepherd Boy”, poem “Over the Water” (music - N. Andrianov, performer - Russian folk metal group “Kalevala”)
• “I didn’t cover the window” (music and performer - Alexander Matyukhin)
• “Over the Water”, “Garden” (music and performer - Andrey Vinogradov)
• “You are my letter, dear, don’t crumple it up” (music and performer - Alexander Matyukhin)
• “Oh, life without tomorrow” (music - Alexey Rybnikov, performer - Diana Polentova)
• “Love conquers deceitfully” (music and performer - Alexander Matyukhin)
• “Can’t Return” (music - David Tukhmanov, performer - Lyudmila Gurchenko)
• “Requiem” (music by Zlata Razdolin, performer Nina Shatskaya) Video Fragment of “Requiem” - Nina Shatskaya
• “Requiem” (music - Vladimir Dashkevich, performer - Elena Kamburova)
• “Requiem” for soprano, choir and orchestra (music - Elena Firsova, performers - Claudia Barainski, conductor Vasily Sinaisky)
• “The Gray-Eyed King” (music and performer - Lola Tatlyan) Video “Madrigal” (The Gray-Eyed King)
• “Pipe”, poem “Over the Water” (music - V. Malezhik, performer - Russian ethno-pop singer Varvara)
• “Come see me” (music by V. Bibergan, performer - Elena Kamburova)

A brief message about the life and work of Anna Akhmatova for children in grades 2, 3, 4, 5, 6, 7

Akhmatova - Gorenko, was born into a family with Tatar ancestry, on July 11 or 23 according to the old style in 1889.

While still a child, at one year old, the girl was transported to the village of Tsarskoye, where she had to live for almost 16 years. Anna's memories were associated with memories of the splendor of green parks, with a nanny who periodically went with the girl to the local epic rum. Anyuta often remembered little horses and the old station. And every summer she vacationed in Crimea on the shores of the Black Sea, near Streletskaya Bay.
When she was only five, the girl listened with inspiration to the stories of the teacher who taught her older brothers French. Later she was sent to study at a girls’ gymnasium in Tsarskoselskoye. I didn’t study very well in the first year, but after a while, the young girl’s studies improved, they improved.
By the age of 11, Akhmatova composed her first work.

In 1903, Anna met Gumilev, to whom she systematically showed her works.

In 1905, the girl’s family ceased to exist; her mother and father divorced. After which Anna moved to Evpatoria.

In 1907 she graduated from the gymnasium, and from 1908 to 1810 she attended women's courses in jurisprudence.

In 1910, I signed up to attend historical and literary courses that took place in St. Petersburg, with the participation of N.P. Raeva. In the same year, Anna accepted Gumilyov’s offer to become his wife. After getting married, the newlyweds lived in the village of Tsarskoye.

A year later, Anna gave birth to Gumilyov’s son, but the birth of the child did not unite the family and, a year later, the young couple separated, and Akhmatova, to put it briefly, soon united her life with the poet V.K. Shireyko.
Having started writing at the age of 11 and publishing at the age of 18, Akhmatova first made her work public in the summer of 1910, while reading her works in front of an audience of authors under the leadership of Ivanov and Kuzmin. Several times Akhmatova tried to publish without the participation of her husband.

In this regard, the young poetess sends her poems for consideration to V.Ya. Bryullov, with the question, is it worth writing further? Having familiarized himself with the texts of the poems received, Bryullov remained silent. But the girl didn’t stop there. And soon Anna’s poems were published in the magazines “Gaudeamus”, “General Journal”, “Apollo”. Soon after their publication, Akhmatova spoke with them in front of a huge audience at the Higher Women's Courses.

1914 - the collection “Rosary Beads” appeared, which, for unknown reasons, was reprinted more than ten times. It was he who brought fame to the poetess throughout Russia, which became the subject of imitation by novice poets. Looking into the past, living with memories of childhood, Akhmatova began writing a poem about childhood, which was completely finished and ready for reading in 1914.

During the war, the poetess seems to fall silent; she is not heard from for several years. Later, it became known that Anna became seriously ill with tuberculosis, which did not let her go for a long time, and therefore her writing was sharply limited.
A short biography of Anna Akhmatova is characterized by a wide poetic range and, despite her illness, the poetess writes patriotic poems and lyrical cycles, distinguished by motifs of blood unity.
Later, the poetess was forced to evacuate from Leningrad to Tashkent. There she writes great amount poems, is working on writing the poem "Poem without Sorrow". At this time, a historian from Berlin became interested in Akhmatova, who visited Anna in Tashkent. It was his visit that brought the wrath of Stalin and Akmatov upon the poetess; in short, she fell out of favor with the angry Stalin, who issued an order to the authorities to prohibit the publication of Anna Andreevna’s works. The dictatorship became seriously bitter; nothing could change the commander-in-chief’s decision.
If we talk about Akhmatova, briefly, even at the end of her life, Anna Andreevna published a collection of poems, “The Running of Time,” and a year before her death she was awarded an Italian literary prize.
And in 1966, on March 5, Anna Andreevna Akhmatova’s heart stopped.

The famous poetess and face of her era, Anna Andreevna Akhmatova, née Gorenko, was born on June 11, 1889 in a small town near Odessa. Her father was an engineer in the navy, and her mother was of noble birth. The surname Gorenko is a legacy of her father, however, he and Anna had disagreements about poetry, so she began to sign the surname of her great-grandmother, the Tatar princess, Akhmatova. After that, Anna always signed with this surname, creating for herself a wonderful pseudonym and a regal image.

By a happy accident, Anna Akhmatova spent her childhood in Tsarskoe Selo, studying literature, history and trying herself in writing. Some time later, she met her first love in the same Tsarskoye Selo. His name was Nikolai Gumilev (one of the most famous Russian poets).

Anna Akhmatova continued her further studies in Kyiv at the most honorable gymnasium, namely the Higher Women's Courses. After that, having chosen the direction of her future activity, she entered historical and literary courses in St. Petersburg. In 1910, the wedding of Nikolai Gumilyov and Anna Akhmatova took place.

N. Gumilyov himself was an avid supporter of the literary views of the Acmeists, so Anna also joined them, completely sharing the views of her husband. In 1912, Anna Akhmatova’s first collection “Evening” was published, which immediately announced her as a significant woman poet. The praise that young Anna received encouraged her to create even more productively and develop in her chosen direction.

The first collection was followed by such as “Rosary”, “White Flock”, then “Plantain”. “Rosary beads” were already a slightly different format: more meaningful, deep poetry, which appealed to the taste of the whole of Russia, then the USSR, after which Anna Akhmatova began to conduct literary readings in different cities of your country.

Anna Akhmatova survived in 1917 October Revolution, carrying out her convictions with dignity - without supporting the new government, she was constantly persecuted by them, but did not leave her homeland. We can see in her poetry boundless love for the country, no matter what it is called, and respect from Anna Akhmatova. She has always been with Russia in soul and with her heart.

During the Great Patriotic War, Anna Akhmatova experienced the loss of her husband and the imprisonment of her son, Lev Gumilyov, in prison, his constant stay in concentration camps. All that remained for this woman was to write, create and pray for the return of her little blood home.

In 1948, Anna Akhmatova was expelled from the Writers' Union due to attacks by the chief secretary of the Regional Committee of the Party, Zhdanov. This event did not break the spirit of the poetess, because the whole world was open to her - fame went before her. In 1956 she received her PhD from Oxford University. Anna Akhmatova's life was eventful tragic events, however, we can see that she always held on only the best way. Anna Akhmatova died on March 5, 1966 in a sanatorium near Moscow, but her poems, her works, fame and honorable life were preserved in the hearts of all who valued her poetry.

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Anna Akhmatova chronological table

Anna Andreevna Akhmatova- Russian poetess, translator and literary critic, one of the most significant figures of Russian literature of the 20th century.

June 23, 1889— Born in the village of Bolshoy Fontan near Odessa in the family of a hereditary nobleman, a retired naval mechanical engineer. Real name Gorenko, married to Gumilyov. Akhmatova - pseudonym, chosen by the poetess maiden name maternal great-grandmothers.

1890-1905 — Akhmatova’s childhood years were spent in Tsarskoe Selo. Here she studied at the Tsarskoye Selo (Mariinskaya) girls' gymnasium. She spent her holidays near Sevastopol, on the shore of Streletskaya Bay.

1903 — Acquaintance with Nikolai Stepanovich Gumilyov, poet, translator, critic.

1906-1907 — Studying in the graduating class of the Kiev-Fundukleevskaya gymnasium.

1908-1909 — Study at the legal department of the Kyiv Higher Women's Courses.

1910 - “... I married N.S. Gumilyov, and we went to Paris for a month.” (From his autobiography.) In Paris, the artist A. Modigliani made a pencil portrait of Akhmatova.

1912 — A son, Lev, was born, who later became a historian, geographer, and specialist in the ethnogenesis of the peoples of Eurasia. The first book was published - the collection “Evening”, published by the “Workshop of Poets” with a circulation of 300 copies

1914 - in the spring, “The Rosary” was first published by the publishing house “Hyperborey” in a considerable circulation for those times - 1000 copies. Until 1923, there were 8 more reprints.

1917 - the third book, “The White Flock”, was published by the Hyperborey publishing house with a circulation of 2000 copies.

1918 — married Assyriologist and poet Vladimir Shileiko.

1921 — the collection “Plantain” was published in a circulation of 1000 copies. She broke up with V.K. Shileiko. The book “Anno Domini MCMXXI” (Latin: “In the Summer of the Lord 1921”).

1922 - became the wife of art critic Nikolai Punin

1923 — 1934 almost never published.

1939 - admitted to the Union of Soviet Writers.

1935-1940 - the poem “Requiem” was written.

1935 — Arrest of Akhmatova’s son Lev Nikolaevich Gumilyov. (He was arrested three times - in 1935, 1938 and 1949.)

1940 - new, sixth collection: “From six books.”

1941 - I met the war in Leningrad. On September 28, at the insistence of doctors, she was evacuated first to Moscow, then to Chistopol, not far from Kazan, and from there through Kazan to Tashkent. A collection of her poems was published in Tashkent.

1946 - expelled from the Union of Soviet Writers.

1950 - creation of a cycle of poems “Glory to the World!” (1950)

January 19, 1951- at the suggestion of Alexander Fadeev, Akhmatova was reinstated in the Union of Soviet Writers.

1954 - in December participated in the Second Congress of the Union of Soviet Writers.

1958 - the collection “Poems” was published

1964 - In Italy she received the Etna-Taormina Prize.

1965 - Honorary Doctorate from Oxford University, published the collection “The Running of Time”.

March 5, 1966— She died in Domodedovo, near Moscow. She was buried in Komarovo near St. Petersburg.

Akhmatova’s chronological table is briefly outlined above, but you can expand it using biographical data.