The national scale of the poem is Akhmatova's requiem. A comprehensive analysis of the poem by A.A. Akhmatova "Requiem. Analysis of the poem "Requiem"

The poem "Requiem" by Anna Akhmatova is based on the personal tragedy of the poetess. An analysis of the work shows that it was written under the influence of the experience during the period when Akhmatova, standing in the prison queues, tried to find out about the fate of her son Lev Gumilyov. And he was arrested three times by the authorities during the terrible years of repression.

The poem was written at different times, starting in 1935. For a long time this work was kept in the memory of A. Akhmatova, she read it only to friends. And in 1950, the poetess decided to write it down, but it was published only in 1988.

According to the genre, "Requiem" was conceived as a lyrical cycle, and later it was already called a poem.

The composition of the work is complex. It consists of the following parts: "Epigraph", "Instead of a preface", "Dedication", "Introduction", ten chapters. Separate chapters have the title: "Sentence" (VII), "To death" (VIII), "Crucifixion" (X) and "Epilogue".

The poem speaks on behalf of the lyrical hero. This is the "double" of the poetess, the author's method of expressing thoughts and feelings.

The main idea of the work is an expression of the scale of national grief. Epigraph A. Akhmatova takes a quote from her own poem “So it’s not in vain that we were in trouble together”. The words of the epigraph express the nationality of the tragedy, the involvement of each person in it. And further in the poem this theme continues, but its scale reaches enormous proportions.

Anna Akhmatova, to create a tragic effect, uses almost all poetic meters, a different rhythm, as well as a different number of stops in the lines. This personal technique of hers helps to sharply feel the events of the poem.

The author uses various tropes that help to comprehend the experiences of people. These are epithets: Russia "innocent", yearning "deadly", capital "wild", sweat "mortal", suffering "petrified", curls "silver". Lots of metaphors: "faces fall off", "weeks fly by", “Mountains bend before this grief”, "The locomotive whistles sang the song of parting". There are also antitheses: "who is the beast, who is the man", "And a stone heart fell on my still living chest". There are comparisons: "And the old woman howled like a wounded beast".

There are also symbols in the poem: the very image of Leningrad is an observer of grief, the image of Jesus and Magdalene is an identification with the suffering of all mothers.

After analyzing the "Requiem", check out other works:

"Courage", analysis of Akhmatova's poem
“She squeezed her hands under a dark veil ...”, analysis of Akhmatova’s poem
"The Gray-Eyed King", analysis of Akhmatova's poem
"Twenty first. Night. Monday", analysis of Akhmatova's poem
"Garden", analysis of the poem by Anna Akhmatova

In previous years, there was a fairly common idea of the narrowness, intimacy of Akhmatova's poetry, and it seemed that nothing foreshadowed her evolution in a different direction. Compare, for example, B. Zaitsev's review of Akhmatova after reading the poem "Requiem" in 1963 abroad: Stray Dog, that this fragile and thin woman will utter such a cry - feminine, maternal, a cry not only about herself, but also about all those who suffer - wives, mothers, brides ... Where did the masculine power of the verse come from, its simplicity, the thunder of words, as if ordinary, but buzzing with death bells, breaking the human heart and arousing artistic admiration?

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

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

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

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

At first, "Requiem" was conceived as a lyrical cycle and only later renamed into a poem.

Epigraph And Instead of Preface- semantic and musical keys of the work. Epigraph(an autoquote from Akhmatova's 1961 poem "So it was not in vain that we were in trouble together ...") introduces a lyrical theme into the epic narrative of a folk tragedy:

I was then with my people, Where my people, unfortunately, were.

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

IN dedication the theme of prose continues Preface. But the scale of the events described is changing, reaching a grand scale:

Mountains bend before this grief, The great river does not flow, But the prison gates are strong, And behind them are hard labor burrows...

Here they get a characteristic of the time and space in which the heroine and her random friends in the prison queues are located. Time is no more, it has stopped, it has become numb, it has become silent ("the great river does not flow"). Hard-sounding rhymes "mountains" and "burrows" reinforce the impression of severity, tragedy of what is happening. The landscape echoes the paintings of Dante's "Hell", with its circles, ledges, evil stone cracks... And prison Leningrad is perceived as one of the circles of the famous "Hell" by Dante. Next, in Entry, we encounter an image of great poetic power and precision:

And Leningrad dangled like an unnecessary appendage near its prisons.

Numerous variations of similar motifs in the poem resemble musical leitmotifs. IN dedication And Entry those main motives and images that will develop further in the work are outlined.

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

The choir of angels glorified the great hour, And the heavens melted in fire...

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

Magdalene fought and sobbed, The beloved disciple turned to stone, And where Mother stood silently, So no one dared to look.

Magdalene and the beloved disciple, as it were, embody those stages of the Way of the Cross that the Mother has already passed: Magdalene - rebellious suffering, when the lyrical heroine "howled under the Kremlin towers" and "threw at the feet of the executioner", John - the quiet stupor of a man trying to "kill the memory ", mad with grief and calling for death. The silence of the Mother, whom “no one dared to look at like that,” is resolved by a lament-requiem. Not only for his son, but for all those who are lost.

Closing the poem Epilogue"switches time" to the present, returning us to the melody and the general meaning Preface And Dedications: the image of the prison queue reappears "under the red blind wall". The voice of the lyrical heroine is getting stronger, the second part epilogue sounds like a solemn choral, accompanied by the blows of a funeral bell:

Again the hour of the funeral approached. I see, I hear, I feel you.

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

Then, that even in blissful death I'm afraid To forget the rumble of black marus. To forget how the hateful squelched the door And the old woman howled like a wounded animal. Topic: Anna Akhmatova. Poem "Requiem". 2 lessons

Goals and objectives of the lesson:

Introduce students to the poem by A.A. Akhmatova "Requiem", as well as biographical facts that formed the basis of the poem;

Give an idea of the totalitarian regime, report on the repressions of 1935-1938, trace the relationship between history and literature;

On the example of A. Akhmatova's poem, to bring up love for the Motherland, emotional responsiveness;

To stimulate the research activity of students in the independent preparation of materials for the lesson.

Methodical methods: students' communication, work on the poem "Requiem" (analysis of a poetic text), a teacher's story with elements of a conversation.

Vocabulary work: requiem, totalitarianism, Yezhovshchina, repressions, dissent.

Equipment and visibility: presentation

During the classes.

Epigraph to the lesson:

Akhmatova became YaroslavnaXXcentury.

Like the wife of Prince Igor from the "Word

about Igor's regiment" she mourned her

contemporaries in words that escaped

from a woman's suffering and compassionate soul.

V.S. Baevsky

Organizing time.

II . Introduction by the teacher.

Akhmatova's poetry, her fate, her appearance - beautiful and majestic - personify Russia in the most difficult, tragic years of its thousand-year history. (slide 1)

"Anna of All Russia" - that's what Marina Tsvetaeva called her. It is pride, adamant neither in humiliation nor in mortal fear. This is humility, namely humility, not meekness. Great sorrow and courage. In the life of Anna Andreevna there was a lot of suffering, grief, pain, caused not only by her personal life, but also by feelings for the fate of her country, for everything that happened in Russia. And terrible things happened. Lawlessness, injustice entered the life of every person, the fate of people was sometimes decided only by the movement of the eyebrow of a high-ranking person. “Could it be possible then that this fragile and thin woman would utter such a cry - feminine, maternal, a cry not only about herself, but also about all those who suffer - wives, mothers, brides ... Where did the masculine power of the verse come from, its simplicity, the thunder of words, as if ordinary, but buzzing with a death bell ringing, breaking the human heart and causing artistic admiration? words by Boris Konstantinovich Zaitsev.

III . Explanation of new material.

Today we will try to penetrate into the poetic world of Akhmatova, remembering only one, perhaps the most painful period of her life.

What was that time?

Vocabulary work.

(The words are written on the board: totalitarianism, repression, requiem, Yezhovism, dissent). (slide 2)

Now we will listen to a message in which we will meet unfamiliar words. Let's try to figure out their meaning.

Totalitarianism ( from lat.totalliter- in its entirety, in its entirety) is a state regime based on complete control over all spheres of society, characterized by the prohibition of democratic rights, the elimination of freedom, repressions against dissidents.

dissent - in the field of morality or public life, different from that adopted in or; as well as openly defending this judgment. People who express such opinions are called dissenters. In public structures, dissent is also persecuted. Punishments range from the most severe ( , ) to relatively mild ones: public censure, administrative punishments.

Repression (from lat.repressio- suppression) is a punitive measure, punishment.

Requiem (from lat.requiem)- 1) a funeral Catholic service;

2) a musical work of a mourning nature.

Yezhovshchina - in the history of the USSR - a period in the 1930s, characterized by mass repressions, the organization of which is associated with the name of the People's Commissar of Internal Affairs N. Yezhov, as well as these repressions themselves.Later, N. Yezhov himself was shot by Stalin's order.

Attachment 1. (slide 3)

The era of Stalin's rule in our country has become a model of a totalitarian regime. Totalitarian regimes strive for complete domination over the individual and society as a whole. One of the signs of a totalitarian system is strict control over society with the help of an extensive repressive apparatus.

The totalitarian state very actively used the mechanisms of violence. In the 1930s, the peasants became actually assigned to the collective farms, until the 1950s, they were not issued passports. The state resorted to mass repression against dissidents and even those who were suspected of dissent. The brutal control over society has created an atmosphere of fear and uncertainty.

Historians have not yet come to a consensus on the total number of victims of repression. A variety of figures are called, but cities (Magadan, Norilsk, etc.), canals (Moscow - Volga, Belomorkanal), railways were built by the prisoners.

The reason for the repressions of 1934-1935 was the murder of S. Kirov. The first result of this murder was the repressions against those who survived the "Red Terror": former nobles, clergymen, officers, intellectuals.

Anna Andreevna Akhmatova herself gave a description of this time: (slide 4)

So it was not in vain that we talked together,

Even without the hope of taking a breath.

And calmly continued on their way.

Not because I stayed clean

Like a candle before the Lord

Together with you I rolled at my feet

At the executioner's bloody doll.

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.

Akhmatova made the last quatrain an epigraph to her poem Requiem. The epigraph to the poem was written already in 1961, when the cult of Stalin and Stalin's repressions were first publicly condemned. Why did Akhmatova call her story about the events of those years "Requiem"?

Appendix 2

The basis of the poem was the personal tragedy of Akhmatova. Her son Leo was arrested three times. (slide 5) The first time he was arrested in 1935. The second time he was arrested in 1938. and sentenced to 10 years in camps, later reduced to 5 years. The third time he was arrested in 1949, he was sentenced to death, which was then replaced by exile. His guilt was not proven, he was later rehabilitated. Akhmatova herself considered the first 2 arrests as the revenge of the authorities for the fact that Lev was the son of Nikolai Gumilyov. The arrest of 1949, according to Akhmatova, was a consequence of the well-known Decree of the Central Committee of the All-Union Communist Party of Bolsheviks, and now her son was in jail because of her. All his life Lev Gumilyov will pay for the fact that he is the son of great parents.

The poem was written in 1935-1940. (slide 6) Akhmatova was afraid to write down poetry and therefore told new lines to her friends (in particular, Lydia Chukovskaya), who then kept the Requiem in memory. So the poem survived for many years when its printing was impossible.

One of Akhmatova's admirers recalls that to his question: “How did you manage to keep a record of these poems through all the difficult years?”, She replied: “But I didn’t write them down. I carried them through two heart attacks in memory.

In 1962, (slide 7), when all the poems were written down, Akhmatova proudly announced: 11 people knew Requiem by heart, and no one betrayed me.

IV . Reading of the poem "Requiem".

V . Analysis of the poem "Requiem"

The history of the creation and publication of the poem is not easy. (slide 8)

"Requiem" took shape gradually. It consists of individual poems written at different times. But, preparing these poems for publication, Akhmatova calls the cycle a poem.

The composition of the poem is three-part: it consists of a prologue, main part, epilogue, but at the same time it has a complex structure. The poem begins with an epigraph. This is followed by a preface written in prose and called by Akhmatova "Instead of a preface."

The prologue consists of two parts ("Initiation" and "Introduction").

After that comes the main part, consisting of 10 small chapters, three of which have a title - this is the seventh: "Sentence", the eighth: "To death", the tenth: "Crucifixion", consisting of two parts. The remaining chapters follow the title of the first line. The poem ends with an Epilogue, also in two parts.

Pay attention to the dates of the chapters. They clearly correlate with the time of the son's arrests. But the Preface and Epigraph are marked much later years.

Think about how this can be explained?(This topic, this pain did not let go of Akhmatova for many years.)

And now let's turn to the problematic question, which we will have to answer at the end of the lesson. (slide 9)

A.I. Solzhenitsyn said this about the poem: "It was a tragedy for the people, and for you - mothers and sons." We have to confirm or refute Solzhenitsyn's point of view: is the poem "Requiem" a tragedy of the people or a tragedy of mother and son?

The poem begins with a preface.Let's read "Instead of the preface", which is writtenprose. (slide 10)

Why do you think Akhmatova introduces this autobiographical detail into the text?(This is the key to understanding the poem. The preface takes us to the prison queue in Leningrad in 1930. A woman standing with Akhmatova in the prison queue asks "this ... describe." Akhmatova perceives this as a kind of mandate, a kind of duty to those with whom she spent 300 hours in terrible queues. In this part of the poem, Akhmatova for the first time declares the position of the poet.)

What vocabulary helps to represent that time?(Akhmatova was not recognized, but as they often said then, “recognized.” Everyone speaks only in a whisper and only “in the ear”; a stupor inherent in everyone. In this small passage, an era visibly looms.)

The next chapter is called "Initiation". (slide 11)

To whom does Akhmatova dedicate the poem?(To women, mothers, "girlfriends of two rabid years", with whom I stood in prison lines for 17 months.)

How does Akhmatova describe maternal grief?(The whole life of people now depends on the verdict that will be pronounced on a loved one. In the crowd of women who still hope for something, the one who heard the verdict feels cut off, cut off from the whole world with its joys and worries.)

What artistic means help convey this grief? Find them in the text. What is their role? (slide 12)

Appendix 3

EPITHETS

prison locks

great river (does not flow)

"hard labor burrows"

deadly longing

hateful screech

heavy steps

unwitting girlfriends

crazy years

COMPARISONS

got up as if for early lunch

the dead are more breathless

as if with pain life is taken out of the heart

as if rudely overturned

ANTITHESIS

For some, a fresh wind blows ...

…Yes, the steps are heavy soldiers.

Antithesis

With the help of this artistic means, the author shows that the world is, as it were, divided into two parts: executioners and victims, good and evil, joy and sorrow. The wind is fresh, the sunset - all this is a kind of personification of happiness, freedom, which are now inaccessible to those languishing in prison lines and those who are behind bars.

Comparisons

Emphasize the depth of grief, the measure of suffering.

epithets

They create the image of a country-prison, where the main feeling that people live in is hopelessness, mortal anguish, the absence of even the slightest hope for change.

"Convict holes" enhance the feeling of severity, tragedy of what is happening.

Here they get a characteristic of the time and space in which the l.g. Time is no more, it has stopped, numb, it has become silent (“the great river does not flow.” “Convict holes” reinforce the impression of severity, tragedy of what is happening.

Relatives feel everything: “strong prison gates” and the mortal anguish of the convicts.

Why is Akhmatov's combination "convict holes" in quotation marks? What work is the quote from? Why did Akhmatova include a quote from Pushkin in her text?(She specifically evokes in us associations with the Decembrists, since they suffered and died for a high goal.)

And why do Akhmatova's contemporaries suffer and die or go to hard labor?(This is senseless suffering, they are innocent victims of Stalinist terror. Senseless suffering and death are always experienced more difficult, which is why the words about “deadly longing” appear in the poem. The presence here of Pushkin’s line (slide 13) from the poem “In the depths of Siberian ores ...” pushes the space , gives way to history.)

In the poem, Akhmatova often uses biblical images and motifs.

(slide 14)

Already the first lines of "Dedication" "Before this grief ..." recreate the image of a world in which all the usual and stable norms have shifted. These lines make us remember the pictures of the Apocalypse. (slide 15)

Why does Akhmatova use an apocalyptic picture of the world?(To emphasize the immensity of grief, compare it with the end of the world. The mountains opened up, moved. This picture becomes a symbol of her era.)

What pronoun does Akhmatova use in Initiation? Why?(The pronoun “I” would denote only personal grief, the pronoun “we” emphasizes the general pain and misfortune. Her grief merges inextricably with the grief of every woman. The great river of human grief, overflowing with its pain, destroys the boundaries between “I” and “we”. This is our grief, this is us “the same everywhere”, this is us hearing the “heavy footsteps of soldiers”, this is us walking through the wild capital.)

From the very beginning, Akhmatova emphasizes that the poem touches not only on her misfortunes as a mother, but also on the nation's grief.

We read "Introduction". (slide 16)

- What artistic image does Akhmatova create in this chapter?

At the lessons of literature, we talked with you about the Petersburg of Pushkin, Nekrasov, Dostoevsky. Akhmatova was very fond of the city in which she became a poet, which gave her fame and recognition; the city where she knew happiness and disappointment. (slide 17)

How does she draw this city now? What artistic medium does it use? Find them in the text.

Appendix 4

METAPHORS

the train horns sang the song of parting

death stars were above us

innocent writhing Russia

COMPARISON

And swayed with an unnecessary pendant

Near the prisons of their Leningrad

EPITHETS

innocent Russia

under bloody boots

under the tires of black Marus

Let us draw a conclusion about their role in this part of the poem.(These artistic means very accurately characterize that time, making it possible to achieve amazing brevity and expressiveness: In the beloved city of Akhmatova, not only is there no Pushkin splendor, it is even darker than the Petersburg described in Dostoevsky’s novel. Before us is a city, an appendage to a giant prison that spread its buildings over the dead and motionless Neva. The symbol of the time here is the prison, the regiments of convicts going into exile, bloody boots and black Marusyas. And from all this "guilty Russia writhed").)

The death star metaphor requires comment. (slide 18)

Appendix 5

Death Star "- a biblical image that appears in the Apocalypse.

“The fifth angel sounded, and I saw a star that fell from heaven to earth, and the key to the well of the abyss was given to it. She opened the well of the abyss, and smoke came out of the well, like smoke from a great furnace; and the sun and the air were darkened by the smoke from the well. Locusts came out of the smoke to the Earth ... "

The image of the star is the main symbol of the coming Apocalypse in the poem.

The fact that the star is an ominous symbol of death is indicated by the context of the poem.

The image of the star will appear in the "Requiem" again in the chapter "To Death".

Time-Apocalypse. Where is all this happening? Is it only in Leningrad?

From the artistic details scattered throughout the poem, as well as specific geographical names, an idea is formed about the entire space of Russia: this is the Siberian blizzard, and the quiet Don, and the Neva, and the Yenisei, and the Kremlin towers, and the sea, and Tsarskoye Selo gardens. But in these open spaces there is only suffering, "only the dead smile, rejoice at peace." The introduction is the background against which events will unfold, it reflects the place and time of the action, and only after the introduction does the specific theme of the requiem begin to sound - lamentation for the son.

The main part opens with the poem "They took you away at dawn ...". (slide 19)

We read the first chapter.

What event is described in the first chapter? What words, expressions help to feel the severity of what happened?(On the takeaway, the children cried, the candle swam, the sweat of death on the forehead. The scene of the arrest is associated with the removal of the body of the deceased. “Walked as if on the go” is a reminder of the funeral. The coffin is taken out of the house. It is followed by relatives, crying children; the candle swam - all these details are a kind of addition to the painted picture.)

From whom is the story being told in the poem?(From the person of "I", i.e. the face of the lyrical heroine.)(slide 20)

This chapter is written in a style close to folk lamentation. Let's remember what crying is, as a genre of UNT. (slide 21)

Crying is one of the ancient literary genres, characterized by lyrical and dramatic improvisation on the themes of misfortune, death, etc. It can be made out both in verse and in prose. Crying has become widespread in traditional Russian ritual and everyday folk poetry.

Why does Akhmatova use the image of a “streltsy wife” here?

(slide 22)

“I will howl, like archery wives, under the Kremlin towers” - these lines give rise to an association with the Peter the Great era of the times of the suppression of the archery rebellion, when the brutal massacre of the rebels followed, and hundreds of archers were executed and exiled. This historical event became the basis of the plot of Surikov's painting "Morning of the Streltsy Execution".

The events of the picture take place in Moscow on Red Square. Archers and their families occupy the forefront of the picture. The artist revealed the terrible drama of the archers, focusing primarily on their state of mind, on how each of the condemned experiences their last dying moments, and also showing the despair and powerless tears of those who say goodbye to them, seeing them off on their last journey.

I will only talk about some of them. Behind the back of the red-bearded archer stands a mother, crushed by grief, mourning her son doomed to death. Here the first convict has already been led to the gallows. A cry of despair breaks from the chest of the young archer's wife, the boy, throwing up his hands, clung to his mother. Not far away, an old woman, probably the mother of one of the archers, sank heavily to the ground. Dark, earthy shadows fell on her face, exhausted by suffering.

This is how the artist Vasily Surikov showed the tragic fate of the people in the era of Peter the Great.

How do these historical events relate to the plot of the poem and its theme? (Appeal to the image of the “streltsy woman” helps to link the times, to speak about the typical fate of a Russian woman and to emphasize the severity of specific suffering, as well as the most severe suppression of the streltsy rebellion, which was associated with the initial stage of Stalinist repressions. The lyrical hero, as it were, personifies himself with the image of a Russian woman from the times of barbarism, who again returned to Russia. The meaning of the comparison is that nothing can justify the shed blood.)

Immediately after the scene of the son's arrest, which ends with a mother's "howl", the theme of the mother's illness begins.

We read the second chapter.

Guys, do these lines from childhood remind you of something?

Let's see how the mother's cry in this chapter relates to folklore. (slide 23)

We know m, that a lullaby is a genre of oral folk art, when a mother sings a song, lulling a child.

A lullaby sounds here, and it is not clear who and to whom can sing it - either a mother to an arrested son, or a descending Angel to a woman distraught with hopeless grief, or a month to an empty house. Imperceptibly, the lullaby turns into a prayer, rather, even into a request for someone to pray.

The appearance of the image of the Quiet Don in the lullaby is also not accidental. If we turn to Russian historical songs, we find that the image of the Quiet Don is constantly found in them. The image of a slowly flowing river is often associated in historical songs with shed tears. The melodious intonation, the introduction of traditional folklore images of the month and the river, the unhurried narration accompanying the quiet flow of the Quiet Don - all this sets off the tragic, sharply and unexpectedly sharpens it, and intensifies it many times over.

Let's go to chapter 3. (slide 24)

- Why does the third chapter consist of confused phrases?(The unrhymed, broken line emphasizes the unbearable suffering of the heroine. The suffering of the lyrical hero is such that she hardly notices anything around her. Her husband was shot, her son is in prison. All life has become like an endless nightmare.)

What happens to the heroine?(There is a split personality.)

The lyrical hero splits in two: on the one hand, the consciousness is suffering and cannot withstand suffering, on the other hand, the consciousness is watching this suffering, as it were from the side. “No, it's not me, it's someone else suffering. I wouldn't be able to do that." Expressing unspeakable grief with simple and restrained words is impossible. Clear logic and harmonious verse is interrupted - the heroine cannot speak, a spasm intercepted her throat. The verse ends in mid-sentence, with dots.

Let's read chapter 4. (slide 25)

To whom are the words of chapter 4 addressed?(To herself.)

- Why do memories of youth appear? How does the bright youth of Akhmatova and her terrible present enter the poem?

In contrast, her memory brings her back to her carefree past. The lyrical hero tries to look at his life from the outside and with horror notices himself, the former "merry sinner", in the crowd under the Crosses, where so many innocent lives end. Did she ever think that she would be 300th in the prison queue. But if she has the strength to remember her beautiful youth, to smile with a bitter smile at her carefree past, maybe in it she will find the strength to survive this horror and capture it for posterity.

We read 5 - 6 chapters. (slide 26)

Highlight the verbs in the fifth chapter.(I shout, I call, I rushed, I couldn’t make out, I wait, I look, I threaten.)

What do verbs convey?(The despair of the mother, the heroine at first acts, tries to do something to find out about the fate of her son, but there is no more strength to resist, numbness and submissive expectation of death sets in. Everything is confused in her mind, she hears a censer ring, sees lush flowers and traces of where - then nowhere, and the luminous star becomes fatal and threatens to die soon. The heroine is in a stupor, and another blow-sentence falls on her.)

We read the seventh chapter. (slide 27)

Judgment to whom? What contextual synonym is it replaced in chapter 7?

Chapter 7 is the climax in the story of the fate of the son, but in the foreground is the reaction of the mother. The verdict has been pronounced, the world has not collapsed. But the strength of the pain is such that the voice breaks into an inner cry, crushed by a deliberately everyday, monotonous enumeration of strange cases, which cuts off speech in mid-sentence. The verdict kills, first of all, the hope that helped the heroine to live. Now life has no meaning, moreover, it becomes an unbearable burden. This highlights the antithesis. Consciousness of choice is evidenced not only by the rejection of life, but also by an emphatically calm manner of reasoning.

What do you think the mother's choices are in these chapters?(How to bear the death of a son.)

What do you think the heroine is talking about?(She sees another way out - death.)

For her, such a payment for existence is unacceptable - a payment at the cost of her own unconsciousness. She prefers death to such survival. The alternative to life is death.

You'll still come, why not now? - this is how it startsnext chapter 8. (slide 28)

In what form is the heroine ready to accept death?(A poisoned shell, a bandit's weight. Typhoid fumes and even seeing the "top of a blue hat" was the worst thing at that time.)

If the alternative to life is death, then what is the alternative to death? Madness.

We read chapter 9. (slide 29)

Madness acts as the last limit of the deepest despair and grief, “madness has covered half of the soul with the wing”, “beckons to the black valley. Akhmatova emphasizes this idea using repetition: there will be nothing that supported the mind and life of the mother.

Why is madness worse than death? And this is more terrible, because, having gone mad, a person forgets what is dear to him (“And it will not allow me to take anything with me ... Not my son, terrible eyes ... Not part of a prison date ...” Madness is death and memory, and souls.This is the third way.But it is not chosen by the heroine of the poem.

Which path does she choose?(Live and suffer and remember.)

The culmination of the mother's suffering in the poem is the chapter "Crucifixion". (slide 30)

It is in this chapter that all the pain of a mother who has lost her son is revealed.

Read the title of chapter 10, what is it connected with?(Direct appeal to evangelical issues.)

And how can one explain the appearance in the poem of the picture of the Crucifixion of Christ?(The appearance in the poem of the picture of the Crucifixion of Christ is quite understandable. It arises in the mind of the heroine when she is on the verge of life and death, when "madness has covered half of the soul with the wing.")

We read chapter 10.What are the biblical images and motifs in this chapter? (slide 31)

The proximity of the "Crucifixion" to its source - to the Holy Scriptures is already fixed by the epigraph to the chapter: "Do not weep for Me, Mother, in the grave you see."

Orientation to the biblical text is also visible in the first lines

chapters - in the description of natural disasters accompanying the execution of Christ.

In the Gospel of Luke we read: "... and there was darkness over all the earth until the ninth hour: and the sun was darkened, and the veil of the Temple was torn in the middle" .

Jesus' question to the Father, "Why did you leave me?" also goes back to the gospel, being almost a quotation reproduction of the words of the crucified Christ.

The words of Jesus “Oh, do not weep for me…” in the text of the Gospel are addressed not to the mother, but to the women accompanying him, “who wept and sobbed for Him.”

Do the words addressed to the Father and Mother sound the same? (slide 32)

The first part describes the last minutes of Jesus before the execution, his appeal to his mother and father. His words addressed to God sound like a reproach, a bitter lamentation about his loneliness and abandonment. The words spoken to the mother are simple words of consolation, pity, a call for reassurance.

With the help of what artistic image does Akhmatova show the greatest catastrophe, which is the death of Christ?(Heavens on fire.)

In the second part, Jesus is already dead. (slide 33) Three are standing at the foot of the Crucifixion: Magdalene, beloved disciple John and the Virgin Mary - the mother of Christ. There are no names and surnames in the Requiem, except for the name of Magdalene. Even Christ is not named. Mary - "Mother", John - "beloved disciple".

What is the peculiarity of Akhmatova's interpretation of the gospel story?(Addressing the words of the Son directly to the Mother, Akhmatova thereby rethinks the Gospel text (rethinking the Gospel text, Akhmatova focuses on the Mother, her suffering. And the death of the son entails the death of the Mother, and therefore, the Crucifixion created by Akhmatova is not the crucifixion of the son, but Mother, or rather the Son and the Mother)).

How is the image of the Mother revealed in chapter 10?(Magdalene and the beloved disciple, as it were, embody those stages of the Way of the Cross that the Mother has already passed: Magdalene - rebellious suffering, when the heroine “howled under the Kremlin towers” and “threw at the feet of the executioner”, John - the quiet stupor of a person trying to “kill the memory ", Maddened by grief and calling for death. Mother's grief is boundless - it is even impossible to look in her direction, her grief cannot be expressed in words. The silence of the Mother, whom "so no one dared to look at," is resolved by a crying requiem. Not only for her son , but also for all the lost.)

Why did Akhmatova use this story from the Bible? (slide 34)(In the poem, Akhmatova connected the story of God's Son with the fate of her own, and therefore the personal and universal merge together. The suffering of the mother is associated with the grief of the Virgin.)

Epilogue . The student reads by heart. (slide 35)

Remember what order Akhmatova received while standing in the prison line described in the preface?(The nameless woman asks on behalf of everyone to “Describe it.” And the poet promises: “I can.”)

Did she do it?(In the Epilogue, she reports to them about her fulfilled promise. At the end of her poetic narration, the heroine sees herself again in the prison queue. At the beginning of the poem, a specific image of the prison queue is given.)

For the first time in the poem, we see a portrait created with the help of an extended metaphor.

Whose portrait is this? Or whose?(This is a portrait of exhausted women, mothers.)

Is it a specific portrait or a generalized one? In the Epilogue, the image of the prison queue is generalized. The heroine merges with this line, absorbs the thoughts and feelings of these tormented women.

(slide 36) The epilogue is written in the genre of memorial lamentation, memorial prayer: “And I am not praying for myself alone ...” For whom is she praying?(About those who stood in the prison queues with parcels, who did not renounce, who voluntarily shared suffering with loved ones, about everyone who was with her in these trials, for whom she wove a “wide cover”.)

What syntactic device helps to create this prayer?(Anaphora.)(slide 37)

How fear peeps out from under the eyelids ...

Like cuneiform hard pages...

Like curls of ashen and black ...

And the one that was barely brought to the window,

And the one that does not trample the earth, dear,

And the one that beautifully shook her head ...

I remember them always and everywhere,

I will not forget about them even in a new trouble ...

Not near the sea where I was born...

Not in the royal garden ...

Forget the rumble of black marus...

Forget how hateful the door slammed...

And let the prison dove roam in the distance,

And the ships are quietly moving along the Neva.

What role do they play?(Create a special rhythm of the verse. Give speech tragedy, pain. Help express grief.)

What is the theme of the second part of the epilogue? (slide 38)

In the work of which Russian poets did you come across this theme? (In the work of Derzhavin, Pushkin. Pushkin has a poem “Monument”, in which he says that a “folk path” will not grow to the “not made by hands” monument, because “I awakened good feelings with a lyre”; secondly, “in my cruel age I glorified freedom”; thirdly, the protection of the Decembrists (“and called for mercy on the fallen.”)

What unusual meaning does this theme take on under Akhmatova's pen?(This monument should stand at the request of the poet. Akhmatova does not describe the monument itself. But determines the place where it should stand. She gives consent to the celebration of the erection of a monument to herself in this country on one condition: it will be a monument to the poet near the prison wall. )

Why asks to erect a monument where it stood for 300 hours?(This monument should not stand in places dear to her heart, where she was happy, because the monument is not only to the poet, but also to all mothers and wives who stood in prison lines in the 30s. This is a monument to people's grief: “Then, as in blissful death I'm afraid to forget the rumble of the black Marus.")

More recently, such a monument to Akhmatova was erected.

A few years ago, a monument to Anna Akhmatova appeared in St. Petersburg opposite the infamous Kresty prison. She indicated his place herself: “Where I stood for three hundred hours and where the bolt was opened for me.” Thus, the poetic testament is finally brought to life: “If someday in this country they plan to erect a monument to me ...” The three-meter sculpture stands on a pedestal of dark red granite. Frozen in bronze, Akhmatova looks at the "Crosses", where her son Lev Gumilyov was imprisoned, from the opposite bank of the Neva. Inner suffering, hidden from prying eyes, is expressed in her fragile and thin figure, in a tense turn of her head.

And now back to the epigraph, which was written 20 years after the poem. (slide 39)

Why do you think the word people is heard twice in the epigraph to the poem about personal grief?(Akhmatova already in the epigraph openly declares her main role in life - the role of a poet who shared the tragedy of the country with her people. “I was then with my people, where my people, unfortunately, were.” She does not specify where , it is "there" - in the camp, behind barbed wire, in exile, in prison; "there" means together, in the broad sense of the word. Thus, Requiem is not only a personal tragedy, but also a folk tragedy.)

What does Akhmatova see as her poetic and human mission?(To express and convey the sorrow and suffering of the “hundred millionth” people.)

"Requiem" became a monument in the word to Akhmatova's contemporaries: both the dead and the living. "Requiem" for a son could not but be perceived as a requiem for a whole generation. Having created the "Requiem", Akhmatova served a memorial service for the innocently convicted. Memorial service for my generation. Memorial service for my own life.

Let's return to the problematic issue. (slide 40)

What answer can we give on the basis of the analysis of the poem? To do this, use the notes in your notebook. A. I. Solzhenitsyn: “It was a tragedy of the people, and you have a mother and a son.”

V I . Homework. (Slide 41)

Continue thinking: Rereading the Requiem, I thought...

I understand...

I realized...

I reviewed...

"Requiem" by Akhmatova

According to the genre, "Requiem" was conceived as a lyrical cycle, and later it was already called a poem.

The poem speaks on behalf of the lyrical hero. This is the "double" of the poetess, the author's method of expressing thoughts and feelings.

The main idea of the work is an expression of the scale of people's grief. Epigraph A. Akhmatova takes a quote from her own poem “So it’s not in vain that we were in trouble together”. The words of the epigraph express the nationality of the tragedy, the involvement of each person in it. And further in the poem this theme continues, but its scale reaches enormous proportions.

The author uses various tropes that help to comprehend the experiences of people. These are epithets: Russia "innocent", yearning "deadly", capital "wild", sweat "mortal", suffering "petrified", curls "silver". Lots of metaphors: "faces fall off", "weeks fly by", “Mountains bend before this grief”,"The locomotive whistles sang the song of parting". There are also antitheses: "who is the beast, who is the man", "And a stone heart fell on my still living chest". There are comparisons: "And the old woman howled like a wounded beast".

There are also symbols in the poem: the very image of Leningrad is an observer of grief, the image of Jesus and Magdalene is an identification with the suffering of all mothers.

In 1987, Soviet readers first got acquainted with A. Akhmatova's poem "Requiem".

For many lovers of the poetess's lyrical poems, this work has become a real discovery. In it, a "fragile ... and thin woman" - as B. Zaitsev called her in the 60s - issued a "cry - female, maternal", which became a verdict on the terrible Stalinist regime. And decades after writing, one cannot read a poem without a shudder in the soul.

What was the strength of the work, which for more than twenty-five years was kept exclusively in the memory of the author and 11 close people whom she trusted? This will help to understand the analysis of the poem "Requiem" by Akhmatova.

History of creation

The basis of the work was the personal tragedy of Anna Andreevna. Her son, Lev Gumilev, was arrested three times: in 1935, 1938 (given 10 years, then reduced to 5 corrective labor) and in 1949 (sentenced to death, then replaced with exile and later rehabilitated).

It was during the period from 1935 to 1940 that the main parts of the future poem were written. Akhmatova first intended to create a lyrical cycle of poems, but later, already in the early 60s, when the first manuscript of the works appeared, the decision came to combine them into one work. And indeed, throughout the entire text, one can trace the immeasurable depth of grief of all Russian mothers, wives, brides who experienced terrible mental anguish not only during the years of Yezhovism, but throughout all times of the existence of mankind. This is shown by the analysis of Akhmatova's "Requiem" chapter by chapter.

In the prose preface to the poem, A. Akhmatova spoke about how she was “identified” (a sign of the times) in the prison queue in front of the Crosses. Then one of the women, who woke up from a stupor, asked in her ear - then everyone said so -: “Can you describe this?” The affirmative answer and the created work became the fulfillment of the great mission of a real poet - always and in everything to tell people the truth.

Composition of the poem "Requiem" by Anna Akhmatova

The analysis of a work should begin with an understanding of its construction. The epigraph, dated 1961, and "Instead of a Preface" (1957) indicate that the thoughts about the experience did not leave the poetess until the end of her life. The suffering of her son became her pain, which did not let go for a moment.

This is followed by "Initiation" (1940), "Introduction" and ten chapters of the main part (1935-40), three of which have the title: "Sentence", "To Death", "Crucifixion". The poem ends with a two-part epilogue, which is more epic in nature. The realities of the 30s, the massacre of the Decembrists, the executions of archers that went down in history, finally, the appeal to the Bible (the chapter "Crucifixion") and at all times the incomparable suffering of a woman - this is what Anna Akhmatova writes about

"Requiem" - title analysis

A funeral mass, an appeal to higher powers with a request for grace for the deceased ... The great work of W. Mozart is one of the poetess's favorite musical works ... Such associations are evoked in the mind of a person by the name of the poem "Requiem" by Anna Akhmatova. An analysis of the text leads to the conclusion that this is sorrow, commemoration, sadness for all those “crucified” during the years of repression: the thousands of dead, as well as those whose souls “died” from suffering and painful experiences for their relatives.

"Initiation" and "Introduction"

The beginning of the poem introduces the reader into the atmosphere of "mad years", when a great grief, before which "mountains bend, a great river does not flow" (hyperbolas emphasize its scale) entered almost every house. Emphasizes the general pain of the pronoun "we" - "involuntary girlfriends" who stood at the "Crosses" in anticipation of the verdict.

An analysis of the poem "Requiem" by Akhmatova draws attention to an unusual approach in depicting the beloved city. In the "Introduction", bloody and black Petersburg appears to the exhausted woman as only an "unnecessary appendage" to the prisons scattered throughout the country. Scary as it may seem, “death stars” and “black marousi” harbingers of trouble, driving around the streets, have become commonplace.

Development of the main theme in the main part

The poem continues with a description of the scene of the son's arrest. It is no coincidence that the roll call here is with the folk lament, the form of which Akhmatova uses. "Requiem" - the analysis of the poem confirms this - develops the image of a suffering mother. A dark chamber, a swollen candle, “mortal sweat on the brow” and a terrible phrase: “I followed you, as if on a takeaway.” Left alone, the lyrical heroine is fully aware of the horror of what happened. Outward calmness is replaced by delirium (part 2), manifested in inconsistent, unsaid words, a memory of the former happy life of a cheerful "mockery". And then - an endless queue under the Crosses and 17 months of painful waiting for the verdict. For all the relatives of the repressed, it became a special facet: before - there is still hope, after - the end of all life ...

An analysis of the poem "Requiem" by Anna Akhmatova shows how the personal experiences of the heroine are increasingly acquiring the universal scale of human grief and incredible resilience.

The climax of the work

In the chapters "Sentence", "To Death", "Crucifixion", the emotional state of the mother reaches its climax.

What awaits her? Death, when neither the projectile, nor the typhoid fumes, nor even the “top of the blue hat” are any longer afraid? For the heroine, who has lost the meaning of life, she will become salvation. Or madness and a petrified soul, allowing you to forget about everything? It is impossible to convey in words what a person feels at such a moment: “... this is someone else suffering. I wouldn't be able to…”

The central place in the poem is occupied by the chapter "Crucifixion". This is the biblical story of the crucifixion of Christ, which Akhmatova rethought. "Requiem" - an analysis of the condition of a woman who has lost her child forever. This is the moment when "the heavens melted into fire" - a sign of a catastrophe on a universal scale. The phrase is filled with deep meaning: “And where Mother silently stood, So no one dared to look.” And the words of Christ, trying to console the closest person: “Do not cry for me, Mati…”. As a sentence to any inhuman regime that dooms a mother to unbearable suffering, the “Crucifixion” sounds.

"Epilogue"

The analysis of Akhmatova's work "Requiem" completes the definition of the ideological content of its final part.

The author raises the problem of human memory in the "Epilogue" - this is the only way to avoid the mistakes of the past. And this is also an appeal to God, but the heroine asks not for herself, but for everyone who was next to her at the red wall for 17 long months.

The second part of the "Epilogue" echoes the well-known poem by A. Pushkin "I erected a monument to myself ...". The theme in Russian poetry is not new - it is the definition by the poet of his purpose on Earth and a certain summing up of creative results. The desire of Anna Andreevna is that the monument erected in her honor should not stand on the seashore, where she was born, and not in the garden of Tsarskoye Selo, but near the walls of the Crosses. It was here that she spent the worst days of her life. Just like thousands of other people of an entire generation.

The meaning of the poem "Requiem"

“These are 14 prayers,” said A. Akhmatova about her work in 1962. Requiem - the analysis confirms this idea - not only for the son, but for all the innocently destroyed, physically or spiritually, citizens of a large country - this is how the reader perceives the poem. This is a monument to the suffering of a mother's heart. And a terrible accusation thrown at the address of the totalitarian system created by "Mustache" (the definition of the poetess). It is the duty of future generations to never forget this.