Assessment of the Stalin era.

Even today, there is a lot of debate about what impact the Stalinist era had on our country: positive or negative?

In my opinion, despite the fact that during the reign of Joseph Stalin a great leap was made in the development of industry, construction and education, this period of time, it seems to me, is negative, since it entailed a lot of blood and troubles for the population of the USSR.

Firstly, At the XV Congress of the All-Union Communist Party of Bolsheviks in 1927, it was decided to carry out the collectivization of agricultural production in the USSR - the elimination of individual peasant farms and their unification into collective farms. The grain procurement crisis of 1927 became the background for the transition to collectivization. The notion that the peasants hold onto the bread has become widespread.

Collectivization was accompanied by the so-called "dispossession". The actions of the authorities to carry out collectivization led to mass resistance among the peasants. Began mass slaughter of cattle, refusal to join the collective farms. Already on the first day of the OGPU, about 16,000 kulaks were arrested. In total, in 1930-1931, 381,026 families with a total number of 1,803,392 people were sent to special settlements. During 1932-1940, another 489,822 dispossessed people arrived in special settlements. Hundreds of thousands of people died in exile. In March 1930 alone, the OGPU counted 6,500 riots, 800 of which were suppressed with the use of weapons.

Secondly, in 1932, a number of regions of the USSR were struck by a famine, called "Stalin's worst atrocity." The simplest workers became victims of hunger, for the sake of which social experiments were carried out. The death toll was 6-8 million people.

According to a number of historians, the famine of 1932-1933 was artificial: as A. Roginsky stated, the state had the opportunity to reduce its scale and consequences, but did not. The root cause of the famine was the strengthening of the collective farm system and the political regime by repressive methods.

Thirdly, in 1937-1938 there was a period of mass repressions ("Great Terror"). The campaign was initiated and supported personally by Stalin and caused extreme damage to the economy and military power of the Soviet Union. Entire groups of the population fell under suspicion: former "kulaks", former members of various intra-party oppositions, persons of a number of nationalities foreign to the USSR, suspected of "double loyalty", and even the military.

Together with those who died during this period in the Gulag, correctional labor institutions and prisons, as well as political prisoners shot under criminal articles, the number of victims in 1937-1938 amounted to about 1 million people.

In this way, for the period 1921-1953, up to 10 million people passed through the Gulag, and in total from 1930 to 1953, according to various researchers, from 3.6 to 3.8 million people were arrested on political charges alone, of which 748 were shot 786 thousand people. Also during this period, the USSR lost many talented figures of culture, art and science. Based on all this, we can conclude that the Stalin era caused damage in relation to the population and, to some extent, to the development of the USSR.

Igor Vasilyevich Kurchatov - Soviet physicist, creator of the Soviet atomic bomb. Born January 8, 1903 in the city of Sim.

He is the founder and first director of the Atomic Energy Institute from 1943 to 1960, and one of the founders of the use of nuclear energy for peaceful purposes.

Simultaneously with his studies at the Simferopol State Men's Gymnasium, he graduated from an evening craft school, received a specialty as a locksmith and worked at a small mechanical plant Thyssen.

In September 1920 he entered the Taurida University at the Faculty of Physics and Mathematics.

Since 1930, head of the Physics Department of the Leningrad Institute of Physics and Technology.

In February 1960, Kurchatov came to the Barvikha sanatorium to visit his friend Academician Khariton. Sitting down on a bench, they started talking, suddenly there was a pause, and when Khariton looked at Kurchatov, he was already dead. Death was due to cardiac embolism by a thrombus.

After his death on February 7, 1960, the body of the scientist was cremated, and the ashes were placed in the Kremlin wall on Red Square in Moscow.

Igor Kurchatov– soviet physicist, founder of the Soviet atomic bomb. He was born on January 8, 1903 in Shem.

He is the founder and first director of the Institute of Atomic Energy from 1943 to 1960, as well as one of the founders of the use of nuclear energy for peaceful purposes.

Along with his studies at the Simferopol gymnasium breech men he graduated from the evening craft school, got a locksmith profession and worked in a small mechanical factory Thyssen.

In September 1920, he entered the Tauride University in the Physics and Mathematics Faculty.

Since 1930, the head of the physical department of the Leningrad Physico-Technical Institute.

In February 1960, Kurchatov arrived to the Barvikha sanatorium to visit his friend Academician Khariton. Sitting on the bench, they started talking, all of a sudden there was a pause, and when looked at Chariton Kurchatov, he was already dead. Death was due to thrombus embolism heart.

After the death of 7 February 1960 the scientist's body was cremated and the ashes placed in the Kremlin wall on Red Square in Moscow.

The theme of the judgment of time and historical memory in the poem "Requiem".

All times have their chroniclers. Anna Akhmatova was just such a poet-chronicler. She left behind a unique and sincere poetry. An emotional diary and a true chronicle of time is presented by her best poem "Requiem".

"Requiem" is a work about the death of people, the country, the foundations of being. The most frequent word in the poem is "death". It is always near, but never accomplished. A person lives and understands that one must live on, live and remember.

The last words of the text to the poem written in 1957 (“Instead of a preface”) are a direct quote from this poem. When one of the women standing next to A. Akhmatova in line asked in a barely audible voice: “Can you describe this?” She replied: "I can."

Gradually, poems were born about the terrible time that was experienced together with the whole people. It was they who composed the poem "Requiem", which became a tribute to the mournful memory of the people ruined during the years of Stalin's arbitrariness.

Reading the great pages, one is amazed at the courage and resilience of a woman who managed not only to survive all this with dignity, but also to melt her own and human suffering into poetry.

Rise, as to early mass,

We walked through the wild capital,

There they met the dead lifeless,

The sun is lower and the Neva is more foggy,

And hope sings in the distance.

Sentence...

And immediately the tears will flow

Already separated from everyone.

As if life is taken out of the heart with pain,

As if rudely overturned,

But it goes... It staggers... Alone...

Not a single true document of history gives such an emotional intensity as the work of Anna Akhmatova.

I've been screaming for seventeen months, I'm calling you home,

I threw myself at the feet of the executioner,

You are my son and my horror.

Everything is messed up,

And I can't make out

Now who is the beast, who is the man,

And how long to wait for the execution.

The poem was written intermittently for twenty-six years, life changed, Akhmatova became older and wiser. The work, like a patchwork quilt, is assembled from the sharpest episodes of Russian reality. Years of repression fell on the country and the souls of people with indelible pain.

And the stone word fell

On my still living chest.

Nothing, because I was ready

I'll deal with it somehow.

I have a lot to do today:

We must kill the memory to the end,

It is necessary that the soul turned to stone,

We must learn to live again.

In a small poem, Anna Andreevna managed to philosophically comprehend and convey the mood of the most tragic episode of Russian history, when the fates and lives of millions of citizens of the country were broken. Thanks to the courage of A. Akhmatova and others like her, we know the truth about that terrible time.

It was when I smiled

Only the dead, happy with peace.

And an unnecessary pendant, dangling

Near the prisons of their Leningrad.

And when, mad with torment,

There were already condemned regiments,

And a short parting song

Locomotive whistles sang,

Stars, death stood above us,

And innocent Russia writhed

Under the bloody boots

And under the tires of the black Marus.

LESSON SUMMARY
The theme of the court of time and historical memory in the poem by A.A. Akhmatova "Requiem"

The purpose of the lesson

The personal result is to realize the tragedy of the country in the era of Stalinist repressions, the need to preserve the memory of the terrible years in the history of the country, the value of a democratic society.

The meta-subject result is to be able to analyze textual information, independently formulate and solve cognitive tasks based on information analysis, and establish logical connections.

The subject result is to know the history of the creation of A. Akhmatova's poem "Requiem", the genre and compositional features of the work associated with the features of the narrative, to see the connection of the poem with works of oral folk art, to correlate the critics' assessment with their own assessment, to build a detailed coherent statement.

1. Organizational moment

Purpose of the stage:

Creating a working environment in the lesson, the formulation of the topic and purpose.

Teacher activity

The topic of the lesson.

Good afternoon. Continuing to study the work of A.A. Akhmatova, today we are getting acquainted with another of her works - the poem "Requiem". So, the theme of the lesson is The theme of the judgment of time and historical memory in the poem by A.A. Akhmatova "Requiem". Try to formulate the purpose of the lesson.

Student activities

Formulation of the purpose of the lesson based on the announced topic.

Possible student responses

Since the poem is called “Requiem”, the topic refers to the concepts of “judgment of time”, “historical memory”, it is necessary to show the great importance of moral guidelines for a person, especially in tragic years, using the example of a literary text.

2. Checking homework (find out the meaning of the word "requiem" and determine the role of the toponym Fountain House in Akhmatova's life)

Purpose of the stage:

Checking homework allows you to create a problematic situation in the lesson, which helps to increase student motivation, increase interest in the personality of A. Akhmatova, in the events described in the poem.

Teacher activity

A story about the history of the creation and publication of the poem "Requiem". Student task: Why is the poem's final title "Requiem"? It is important that students be able to understand the broad historical, socially significant aspect of Akhmatova's poem.

She worked on the lyrical cycle "Requiem", which Akhmatova would later call a poem, in 1934-40. and in the early 60s. "Requiem" was memorized by people whom Akhmatova trusted, and there were no more than ten of them. Manuscripts, as a rule, were burned, and only in 1962 Akhmatova handed over the poem to the editors of Novy Mir. By this time, the poem was already in wide circulation among readers in samizdat lists (in some lists, the poem had a competing name - "Fountain House"). One of the lists went abroad and was first published as a separate book in 1963 in Munich.

With the publication of Requiem, Akhmatova's work acquires a new historical, literary and social meaning.

Explain why in the final version the poem is called "Requiem" (not "Requiem", not "Fountain House")?

Student activities

The activity of students is based on doing homework - working with a dictionary, with reference literature.

Possible student responses

Requiem is a Catholic service for the dead, as well as a mourning piece of music. Akhmatova often calls the poem in Latin - " Requiem".

Latin text: "Requiem aeternam dona eis, Domine" ("Give them eternal rest, Lord!")

Fountain House - this was the name of the estate of Count Sheremetev (to distinguish it from others in St. Petersburg), this is the place of residence of Akhmatova in Leningrad. Now it is the house-museum of Akhmatova. The Fountain House was perceived by contemporaries not as the real habitat of Akhmatova, but as an image directly related to her poetry. This concept is not so much geographical as poetic. It was probably used as a symbol of creativity for the poetess. The Requiem was written here.

The Latin title of the poem could evoke literary and musical associations (Mozart's Requiem, Pushkin's Mozart and Salieri).

Obviously, in the name "Fountain House" there would be a lot of personal, and therefore unclear to the reader. There is a lot of detachment in the Latin version. The Russian version, without violating broad cultural associations, contains a generalization, a symbol of Death and Memory.

The epigraph to the poem was completed in 1961. Thus, the content of the poem cannot be reduced to a personal tragedy; it is a "folk" poem, a historical one.

Teacher activity

If the class could not find information at home, it is proposed to work with a dictionary in the class - to determine the meaning of the word "requiem", to recall the material of previous lessons about the life of Akhmatova, which indicated her place of residence in Leningrad - the Fountain House.

3. Studying new educational material.

Purpose of the stage:

Development of poetic text analysis skills.

Student activities

The study of Akhmatova's poem is proposed for students to carry out in groups.

Consider in which chapters the problem of historical memory and the judgment of time is most acute (in the chapters written on behalf of the mother, on behalf of the historian, on behalf of the poet). Think about why the author needed such polyphony. What literary traditions does Akhmatova continue in her poem. Solve the problem: is it really, according to A.I. Solzhenitsyn “It was a tragedy of the people, but in your case it is only a tragedy of mother and son”?

At this stage of the lesson, while working with the text, the reader's competence of students is formed (the ability to choose material that corresponds to the tasks, analyze, highlight the main thing). In addition, working in groups, students communicate with each other, process information, convey it to each member of the group (the formation of students' communicative competence).

For more successful completion of the task, students are encouraged to record the results of observations in a notebook.

Each group is asked to answer questions.

1 group

Whose traditions does A. Akhmatova continue when she speaks about the role of the poet in the life of society?

What is the name of the place and time in these chapters? Why indirectly?

What general cultural images appear in these chapters? What is the role of these images?

The angry voice of the poet - a suffering citizen of his country - is heard in six chapters of the poem. Akhmatova, continuing the Pushkin tradition (the role of the poet is “to burn the hearts of people with the verb”), already in the epigraph declares her position - “I was then with my people, where my people, unfortunately, were.” Akhmatova does not name the exact place and time in the epigraph - “I was then with my people there where my people, unfortunately, were." “Then” - “in the terrible years of Yezhovshchina”, “there” - in the camp, behind barbed wire, in exile, in prison - means together; does not say "at home" - creates an image through the negation of "not under an alien firmament."

“Instead of a preface” is a kind of testament to the poet, an order to “write”. Testament - because everyone standing in this line is desperate, they live in their own world of fear. And only a poet, sharing the fate of the people, can loudly declare what is happening. This part of the poem ideologically echoes Pushkin's lines: “Then the woman standing behind me asked me in my ear:

- Can you describe it?

And I said

- I can." Truthfully reflecting the realities of life, even in a situation where people are afraid to talk about it - this is the task of the poet.

This voice, describing the events as if “from the side”, will sound in chapter 10, which is a poetic metaphor: the poet, having seen it as if from the side, conveys the whole tragedy that happens to the Mother. Each of the mothers who lost their son is like the Mother of God, and there are no words that can convey her condition, her feeling of guilt, her impotence at the sight of the suffering and death of her son. The poetic parallel continues: if Jesus died, atoning for all the sins of mankind, then why does the son die, whose sins he must atone? Are not their executioners? The Mother of God has been mourning for every innocently dying child for many centuries, and any mother who loses her son is close to her in the degree of her pain.

And in the “Epilogue” (in its 1st part), the mother again concedes to the poet the right to narrate: “And I pray not for myself alone, but for everyone who stood there with me in the bitter cold, and in the July heat under the red, blinded wall ." it is difficult to change something - all that remains is to pray.

Second group

What is the genre feature of the chapters written from the perspective of the mother?

What lexical feature of the chapters can you note?

What literary associations can you name?

Possible response from the group:

The mother's voice is heard in seven chapters (1,2, 5-9). This story about the past, about his fate, about the fate of his son is monotonous, like a prayer, reminiscent of a lamentation or crying: “I will howl like archery wives under the Kremlin towers” ​​(written in accordance with the traditions of folklore genres: an abundance of repetitions is proof of this: “quiet” - “quiet”, “yellow month” - “yellow month”, “enters” - “enters”, “this woman” - “this woman”; the appearance of images of a river, a month). The verdict of fate is already realized: madness and death are perceived as the highest happiness and salvation from the horror of life. Natural forces predict the same outcome.

Each chapter of the mother's monologue becomes more and more tragic. Particularly striking is the laconism of the ninth: death does not come, memory is alive. She becomes the main enemy: "We must kill the memory to the end." And neither the poet nor the historian comes to the rescue - the grief of the mother is very personal, she suffers alone.

Third group

How is the era described by the historian represented? What chapters?

What realities underline the authenticity of the described events?

Possible group response

Historical realities are dissolved in many chapters. When does everything happen? "In the terrible years of Yezhovshchina". Where? "Where my people, unfortunately, were" - in Russia, in Leningrad. The voice of the historian is directly heard in two chapters - in the "Introduction" and in the second part of the "Epilogue".

The era in which the people are destined to suffer is described quite figuratively and visibly, very harshly: "... innocent Rus writhed under bloody boots and under the tires of" black marus "". Who is the victim? All the people, "convicted regiments." Who is the executioner? It was only once named: "He threw himself at the feet of the executioner." He is alone. But there are his assistants, driving around on "black Marus". They are determined by only one detail - "the top of the cap is blue." Since they are non-humans, there is nothing more to say about them. The executioner is not named, but it is clear: he is the Master of the country.

The last chapter presents the story of the tormented soul of the people: one half of them in prisons are husbands and sons, the other half are in prison lines, these are mothers and wives. All of Russia is in this queue.

The result of observing all groups can be as follows:

There is a noticeable contradiction in the poem: the mother dreams of oblivion - this is the only way to stop suffering, the poet and historian call on memory for help - without it one cannot remain faithful to the past for the sake of the future.

4. Consolidation of educational material

Purpose of the stage:

Consolidation of the material, the formation of value-semantic competencies.

Students are invited to draw a conclusion based on the observations made, express their agreement or disagreement with the words of A.I. Solzhenitsyn. Answer motivate.

In which chapters is the problem of historical memory and the judgment of time most acute (in the chapters written on behalf of the mother, on behalf of the historian, on behalf of the poet). Why did the author need such polyphony? What literary traditions does Akhmatova continue in her poem? Solve the problem: is it really, according to A.I. Solzhenitsyn “It was a tragedy of the people, but in your case it is only a tragedy of mother and son”?

Perhaps it will be difficult for students to unequivocally answer: whose “voice” in the poem is decisive, and this fact once again proves that the poem is not about the personal tragedy of a woman, as A.I. Solzhenitsyn. A poem about the tragedy of the whole people. And it was decided in accordance with the traditions of literature (a roll call with Pushkin's poetry, with oral folk art). Memory is the determining factor.

Two thousand years ago, the people condemned the son of God to execution, betraying him. And now all the people, betraying each other, are in a hurry to execute. In fact, the executioners are the people themselves. They are silent, they endure, they suffer, they betray. The poet describes what is happening, feeling guilty for the people.

The words of the "Requiem" are addressed to all fellow citizens. To those who planted, and to those who sat. And in this sense, it is a deeply folk work. In a short poem, a bitter page in the life of the people is shown. The three voices that resound in it are intertwined with the voices of a whole generation, of the whole people. The autobiographical line only makes the pictures of the universal global more penetrating and personal.

5. Homework

Purpose of the stage:

To update the knowledge of students on previously studied material, to correlate the material considered in the lesson with the tasks of the Unified State Examination in the Russian language and literature.

Students are invited to recall the works of Russian literature that raise the same problem as the poem by A.A. Akhmatova "Requiem", comment on this problem, explain its relevance.

Sections: Literature

To the lesson:

• portrait of A. Akhmatova,
• stand decorated with photographs of 30-40s.

On the desk:

• lesson theme,
• epigraph to the lesson

cognitive

• Disassemble the work.
• Show through the appeal to the word the atmosphere of time.

Educational

• Through an appeal to a work of art, reveal the personal positions of A. Akhmatova.

Educational

• Education of a civic position in adolescents, such personal qualities as: courage, stamina, loyalty.

During the classes

No, and not under an alien sky,
And not under the protection of alien wings, -
I was then with my people,
Where my people, unfortunately, were.

Teacher's word:

"Hands, matches, an ashtray - a beautiful and woeful rite. It was a rite when getting acquainted with Akhmatova's poetry in the 30s, and in particular with the poem" Requiem ": In those years, Anna Andreevna lived, spellbound by a torture chamber .. Anna Andreevna, visiting me, she would read me verses from the "Requiem" also in a whisper, but at her place in the Fountain House she did not even dare to whisper: suddenly, in the middle of a conversation, she fell silent and, pointing with her eyes at the ceiling and walls, took a piece of paper and a pencil, then loudly said something secular: "Do you want tea?" or "You are very tanned," then she covered a piece of paper in a quick handwriting and handed it to me. I read the poems and, remembering, silently returned them to her. "Today is early autumn," A. Akhmatova said loudly and, striking a match, burned the paper over the ashtray," she recalled Lydia Chukovskaya in his Notes on Anna Akhmatova. She recalled that often, going out into the street, she repeated these verses so as not to forget.

The 1930s turned out to be a difficult test for Akhmatova. She witnessed the monstrous repression that fell upon many of her friends, her family:

1) a son was arrested - a student at Leningrad University.

2) then - and her husband - N. Punin.

Akhmatova herself lived in constant expectation of arrest. She spent in long lines to hand over the parcel to her son.

Only a person who was absolutely convinced of the importance and necessity of poetry could continue to write at a time when a poem on a piece of paper could turn into a death sentence, to trust their work to true friends who were ready to learn poetry by heart in order to preserve them. As a result, the work that was saving for her became saving for many readers.

Reading the epigraph

Teacher: we turn to the "Requiem" ch. "Instead of a preface"

"Can you describe this?
And I said
- I can.
Then something like a smile flickered across what had once been her face."

Now let's turn to the work itself.

"Requiem" is not just a series of poems, it is a single whole.

Analysis of the work.

Chapter 1 "Initiation" - reading by a teacher or a pre-prepared student

Can you see the atmosphere of that time?

Is it possible to immediately recognize the mood, thoughts of people who lived at that time?

The atmosphere, time itself immediately rises before us in gray colors, something gloomy and heavy hangs over people, something oppresses them. "Prison locks", "mortal anguish", "heavy steps", "wild capital", "hateful cut" - all this cannot please, evoke emotions, all this makes people slaves. Slaves of dullness, darkness.

"Introduction" supplements "Dedication" - analysis after reading.

Is it possible to learn the history of the 30s from this poem? How did the country live?

"Condemned regiments", "locomotive whistles", etc. This chapter, without embellishment, speaks of the injustice of the time, of mass repressions, that people were not only kept in prisons, but also sent to Siberia. There is no life, there is death.

Is it not a sharp transition from the era to the personal? There is an image of a woman. Who is she?

Akhmatova speaks not of those, but per those who make up the majority. Having gone through all the torments of hell, she is in solidarity with all the women who have this share. This farewell to her husband is of a general nature.

What does this poem remind you of?

children's song

Why is she asking for prayer for her?

So that she has enough strength, so that she has more strength to endure everything, as she knows that there are many difficulties ahead.

Students analyze themselves after reading.

In these chapters, she doesn't believe that this is happening to her, this is happening to someone else. She looks at herself from the side. She asks to hang with a "black cloth" so as not to see everything that is happening

How is the image of a woman changing? Why?

After restraint comes an explosion of emotion, a scream, no pride. Since it concerns the son, the dearest person, and nature is unfavorable to her

And then in Chapter 6 numbness sets in, here is a hint of a way out of this hell - a high cross.

Why is this chapter titled "Sentence"?

The loss of the last hope, the expectation of something bright, there is only one thing left - to call death.

Therefore, the appearance of poems 8.9 ("Towards death") is very logical.

8, 9 chapters. Analysis

Answer:

Calls for death. She opens the door wide. In madness, she knows the depths of loneliness.

Teacher: Many years ago, 1914-1916, Akhmatova spoke about the moments of happiness that she would like to carry through her whole life, no matter how difficult it may be, but now she can’t even take the memories of her son.

Why does Akhmatova turn to biblical motifs after madness? "Crucifixion" - is this a poem by chance?

Is an epilogue necessary? Why is she afraid to forget all this? In what way does "Epilogue" echo "Initiation"? What is the character of the woman?

Teacher:

In the "Epilogue" 1.2 poem, the image of the Mother appears, which is of a generalizing nature.

Poem 1 says what fear and lack of freedom does to women, to mothers - it turns them into old women. The image of a woman is associated with a country (Russia), which is tired of this, but is still strong, with an era (gray-gray).

"Epilogue" picks up all the moments that were scattered throughout the work.

Memory is salvation from spiritual death for the whole people.

At this moment, when she has nothing to take away from her, she discovers strength (2 poem from the "Epilogue") "Requiem" is a guide to the life of that time, history, accurate, to the smallest detail, reflecting all the most terrible signs of the time.

D / z to write a creative work.

Theme options:

• "Signs of the times", "The fate of the country and women based on A. Akhmatova's poem "Requiem"
• "The fate of a Russian woman in the 30-40s based on A. Akhmatova's poem "Requiem".

T.G. Prokhorova

When studying Akhmatov's poem, it is extremely important to think about what distinguishes this piece from the background of many other works devoted to the theme of "man and the totalitarian state." Let's try to start with an extremely generalized question: “What is this poem about? What is its main theme?

Probably, when thinking about this issue, first of all, the events that served as an impetus for writing the poem are recalled - the arrest in 1935 of the son and husband of A. Akhmatova (L.N. Gumilyov and N.N. Punin), respectively, "Requiem" is perceived as a poem about the repressions of the 1930s, about the tragedy of the people in the era of Stalinism, "in the terrible years of Yezhovism."

But if the main theme of the poem is connected with the Stalinist repressions, why did A. Akhmatova include the chapter "Crucifixion" in it? What is her role in the work? Why not only in this, but also in other chapters, we meet Christian symbols, details, religious allusions. And in general, why is the lyrical heroine of "Requiem" presented as a believer, as an Orthodox Christian?

Let me remind you that A. Akhmatova is a poet whose formation took place in the era of the Silver Age - the heyday of modernism, and although the "Requiem" was written much later, its author remained in line with this tradition. As is known, in modernism not social, not concrete historical, but eternal, universal problems are put forward: life, death, love, God. In accordance with this, artistic time and space in the works of modernism are organized differently than, for example, in realistic texts, where time is most often linear, and space is quite concrete. So, in acmeism, with which A. Akhmatova was initially closely connected, the idea of ​​​​eternal return is fundamentally important, and therefore, in the space-time picture, the emphasis is placed primarily on what remains unchanged over the years.

To understand the principle of organizing artistic time and space in Akhmatov's "Requiem", let's analyze four lines from the "Introduction", which are a kind of key to understanding the author's concept of the poem:

The death stars were above us

And innocent Russia writhed,

Under the bloody boots

And under the tires of black marus.

First, let's pay attention to specific historical details that relate to the era of the 1930s. We find them, first of all, in the last, fourth line - these are “black marusi” - this is how the people at that time called a certain brand of cars, on which the arrested were usually taken away.

The next line also, it would seem, contains a very specific material detail - “bloody boots”, but it is no longer so clearly assigned to a specific time: alas, our history is such that traces of “bloody boots” can be found anywhere and anytime.

Next, we pay attention to the image of "innocent Russia". Think about why Akhmatova uses exactly this - ancient - name of her homeland? Reflecting on this issue, let us pay attention to the fact that not only artistic time, but also the space of the poem is expanding: from the concrete, it gradually, step by step, takes us deep into history, to the 17-18 centuries, and then to the time of early Christianity. If you try to graphically depict a picture that characterizes the artistic time and space of the poem "Requiem", you will get several concentric circles: the first symbolically expresses the events of the poet's personal life, her family tragedy, which served as the impetus for the creation of the "Requiem" (this time is autobiographical), the second the circle - wider - is the era of the 1930s, when millions of people became victims of repression, the third circle is even wider, it expresses the tragic history of Russia, where there was no less suffering, injustice and tears than in the 1930s, and, finally, the fourth the circle is already Eternal time, which leads us to the tragic plot of the crucifixion of Christ, makes us remember again the sufferings of the son of God and his mother.

Thus, the concept of the historical movement as a kind of tragic vicious circle emerges in the poem. That is why the image of "death stars", "standing above us" arises. This is a sign of the highest court, God's punishment. Think about where you have seen such an image before? In the Bible, in the Apocalypse, in literature? Remember, for example, the words that sound at the end of M. Bulgakov's novel "The White Guard": "Everything will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear
and the stars will remain (…)”. Try to compare the symbolism of the stars in Akhmatova and Bulgakov. Or maybe you will find other literary parallels?

And now let's highlight in the poem "Requiem" repetitive, through images that are perceived as symbolic signs of Eternity - these are the "cross", "star" and "river". Let's try to decipher them.

Let's start with the symbolism of the "cross", because even the prison, near the walls of which, "three hundredth with a transfer", the lyrical heroine stood, is called Crosses. Of course, the cross is a symbol of suffering. But if we take into account the Christian tradition, it should be clarified that we are talking about suffering in the name of love for people. If you refer to the "Dictionary of Symbols", you will find out that the "cross" is one of the oldest symbols known in the cultures of different peoples. It personifies not only suffering, but is also perceived as a sign of eternal life, immortality, as a cosmic symbol, a communication point between Heaven and Earth. In Christianity, the "cross" symbolizes salvation through the sacrifice of Christ, suffering, faith, redemption. Thus, this symbol, which appears already at the very beginning of the poem, can be perceived not only as a tragic sign, but also as a sign of salvation, love and redemption.

In this regard, let's think about the question: why in Akhmatova's poem the image of the mother becomes the key one, why even in the chapter "The Crucifixion", in the well-known gospel story, the figure is highlighted not of the son of God, but of the mother, whose pain is so great that people are even afraid to look into her side? The logic of the preceding reasoning allows us to come to the conclusion that the idea of ​​love and redemption is connected with the image of Akhmatova's mother. All the pains of the world pass, first of all, through the mother's heart. It is not surprising in this regard that the “streltsy wives”, whose husbands and sons were executed for participating in the uprising in the 17th century (“I will howl like Kremlin wives under Moscow towers”), and the Mother of God herself become a kind of doubles of the lyrical heroine.

The symbolic images of the "star" and "river" are no less significant in the poem. Revealing their meanings, we can once again be convinced that these images are closely connected with the symbol of the "cross", they seem to complement each other. With the help of the "Dictionary of Symbols" we establish that the "star" personifies the presence of a deity. In Christianity, the "star" also represents the birth of Christ. Consequently, we again come to the conclusion that the motive of suffering and death in Akhmatova is closely connected with the motive of eternal life. This meaning is embodied in its own way in the image of the "river" - a symbol known since antiquity and denoting the world flow, the course of life, renewal and, at the same time, the irreversible course of time, which implies oblivion.

So, all three of the key symbolic images we have considered make us, when reading the poem, constantly correlate what is happening on earth with the dimension of Eternity. That is why the lyrical heroine, whose grief caused by the suffering of her son was so great that life seemed to her just an unnecessary burden, was still able to eventually pass through the desert of death and experience a spiritual resurrection. The idea of ​​immortality, renewal, eternal life is also heard in the finale of the poem "Requiem". Here it is connected with the theme of the monument, which has a long history in Russian and world literature. Let's compare how this theme was treated in G.R.

If Derzhavin and Pushkin, each of whom presented his own version of a free translation of Horace's ode "To Melpomene", we are talking about a monument to the poet, and his work itself becomes it, providing him with immortality, then in Mayakovsky it is not so much poetry itself that is called a "monument" , how much "socialism built in battles", that is, a common cause, to the service of which the poet subordinated his talent. It is natural that in his poem the poetic “I” is increasingly replaced by “we” (“let us general Socialism built in battles will be a monument. A. Akhmatova, engaging in this poetic dialogue, also interprets the well-known theme in a polemical vein: thinking about the monument, she cuts off all the threads associated with the memory of the poet as a specific person. This monument should perpetuate not her person and not even her work, but maternal suffering and eternal maternal love as the only guarantee that these sufferings will not be repeated. It is with this love that the hope is connected that the vicious bloody circle of history will someday be interrupted and renewal will come. As symbolic signs of renewal, one can also perceive the images of a “river” with ships going along it and a “dove” (another well-known gospel symbol) that appear in the final lines of the poem, indicating that the vicious circle can still be overcome.

And now, based on the analysis done, try again to answer the question with which we started: “What is Akhmatova’s poem “Requiem” about?” I would like to believe that the answers will be different than they were.

Anna Andreevna Akhmatova is one of the greatest poets of the 20th century. A woman whose resilience and devotion was admired in Russia. The Soviet authorities first took away her husband, then her son, her poems were banned, and the press persecuted her. But no sorrows could break her spirit. And the trials that fell to her lot were embodied in her works by Akhmatova. "Requiem", the history of creation and analysis of which will be discussed in this article, has become the swan song of the poetess.

The idea of ​​the poem

In the preface to the poem, Akhmatova wrote that the idea for such a work arose during the years of the Yezhovshchina, which she spent in prison lines, seeking a meeting with her son. Once they recognized her, and one of the women asked if Akhmatova could describe what was happening around. The poetess replied: "I can." From that moment, the idea of ​​the poem was born, as Akhmatova herself claims.

"Requiem", the history of which is associated with very difficult years for the Russian people, was the writer's suffering. In 1935, the son of Akhmatova and Nikolai Gumilyov, Lev Gumilyov, was arrested for anti-Soviet activities. Then Anna Andreevna managed to quickly release her son by writing a letter to Stalin personally. But in 1938 a second arrest followed, then Gumilyov Jr. was sentenced to 10 years. And in 1949, the last arrest was made, after which he was sentenced to death, later replaced by exile. A few years later he was fully rehabilitated, and the accusations were found to be unfounded.

Akhmatova's poem "Requiem" embodied all the sorrows that the poetess endured during these terrible years. But not only the family tragedy was reflected in the work. It expressed the grief of all the people who suffered at that terrible time.

First lines

Sketches appeared in 1934. But it was a lyrical cycle, the creation of which was originally planned by Akhmatova. "Requiem" (the history of which is our topic) became a poem later, already in 1938-40. The work was finished already in the 50s.

In the 60s of the 20th century, the poem, published in samizdat, was very popular and passed from hand to hand. This is due to the fact that the work was banned. Akhmatova endured a lot in order to save her poem.

"Requiem": the history of creation - the first publication

In 1963, the text of the poem goes abroad. Here, in Munich, the work is officially published for the first time. Russian emigrants appreciated the poem, the publication of these poems approved the opinion of Anna Andreevna's poetic talent. However, the full text of the "Requiem" was published only in 1987, when it was published in the magazine "October".

Analysis

The theme of Akhmatova's poem "Requiem" is the suffering of a person for his loved ones, whose life hangs in the balance. The work consists of poems written in different years. But all of them are united by a mournful and mournful sound, which is already included in the title of the poem. The Requiem is meant for a memorial service.

In the prose preface, Akhmatova reports that the work was written at someone else's request. Here, the tradition laid down by Pushkin and Nekrasov showed itself. That is, the fulfillment of the order of a simple person, embodying the will of the people, speaks of the civic orientation of the entire work. Therefore, the heroes of the poem are all those people who stood with her under the "red blinded wall." The poetess writes not only about her grief, but also about the suffering of the whole people. Therefore, her lyrical "I" is transformed into a large-scale and all-encompassing "we".

The first part of the poem, written in three-foot anapaest, speaks of its folklore orientation. And the images (dawn, dark room, arrest, similar to the removal of the body) create an atmosphere of historical authenticity and lead back into the depths of centuries: "I am like archery wives." Thus, the suffering of the lyrical heroine is interpreted as timeless, familiar to women even in the years of Peter the Great.

The second part of the work, written in four-foot chorea, is in the style of a lullaby. The heroine is no longer lamenting and crying, she is calm and restrained. However, this humility is feigned, real madness grows inside her from the grief experienced. At the end of the second part, everything gets in the way in the thoughts of the lyrical heroine, madness takes possession of her completely.

The culmination of the work was the chapter "Towards Death". Here the main character is ready to die in any way: at the hands of a bandit, illness, "shell". But there is no mother of deliverance, and she literally turns to stone with grief.

Conclusion

Akhmatova's poem "Requiem" carries the pain and suffering of the entire Russian people. And not only experienced in the 20th century, but also for all the past centuries. Anna Andreevna does not describe her life with documentary accuracy, she talks about Russia's past, its present and future.