“was reflected in one of Akhmatova’s most significant works - the poem “Requiem”.

Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and persecution (including the 1946 resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, which was not repealed during her lifetime); many works were not published in her homeland not only during the author’s lifetime, but and for more than two decades after her death. At the same time, Akhmatova’s name, even during her lifetime, was surrounded by fame among poetry admirers both in the USSR and in exile.

Biography

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

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

Remembering her childhood, the poetess wrote:

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

She published her first poems in 1911 (“New Life”, “Gaudeamus”, “Apollo”, “Russian Thought”). In her youth she joined the Acmeists (collections “Evening”, 1912, “Rosary”, 1914). Characteristic features of Akhmatova’s work include fidelity to the moral foundations of existence, a subtle understanding of the psychology of feeling, comprehension of the national tragedies of the 20th century, coupled with personal experiences, and an affinity for the classical style of poetic language.

Addresses

Odessa

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

Sevastopol

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

St. Petersburg - Petrograd - Leningrad

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

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

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

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

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

Moscow

Coming to Moscow in 1938-1966, Anna Akhmatova stayed with the writer Viktor Ardov, whose apartment was located at Bolshaya Ordynka, 17, building 1. Here she lived and worked for a long time, and here in June 1941 her only meeting took place with Marina Tsvetaeva.

Tashkent

Komarovo

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

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

Petersburg

In St. Petersburg, monuments to Akhmatova were erected in the courtyard of the philological faculty of the state university and in the garden in front of the school on Vosstaniya Street.

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

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

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

Muzej Akhmatovoj Fontannyj Dom.jpg

Anna Akhmatova Museum in the Fountain House (entrance
from Liteiny Prospekt)

Muzej Akhmatovoj v Fontanogom Dome.jpg

Anna Akhmatova Museum in the Fountain House

Sad Fontannogo Doma 01.jpg

Garden of the Fountain House

Sad Fontannogo Doma 02.jpg

Garden of the Fountain House

Dver Punina Fontannyj Dom.jpg

Door of apartment No. 44
in the Fountain House,
where N. Punin and
A. Akhmatova

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The informers' bench in the garden of the Fountain House. Architect V. B. Bukhaev. 2006

Moscow

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

Bezhetsk

Tashkent

Cinema

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

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

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

Other

The Akhmatova crater on Venus and the double-deck passenger ship Project 305 “Danube”, built in 1959 in Hungary (formerly “Vladimir Monomakh”), are named after Anna Akhmatova.

Bibliography

Lifetime editions

Major posthumous publications

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

Musical works

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

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Literature

• Eikhenbaum, B.. Pg., 1923
• Vinogradov, V. V. About the poetry of Anna Akhmatova (stylistic sketches). - L., 1925.
• Ozerov, L. Melodica. Plastic. Thought // Literary Russia. - 1964. - August 21.
• Pavlovsky, A. Anna Akhmatova. Essay on creativity. - L., 1966.
• Tarasenkov, A. N. Russian poets of the 20th century. 1900-1955. Bibliography. - M., 1966.
• Dobin, E. S. Poetry of Anna Akhmatova. - L., 1968.
• Eikhenbaum, B. Articles about poetry. - L., 1969.
• Zhirmunsky, V. M. The work of Anna Akhmatova. - L., 1973.
• Chukovskaya, L. K. Notes about Anna Akhmatova. in 3 volumes - Paris: YMCA-Press, 1976.
• About Anna Akhmatova: Poems, essays, memoirs, letters. L.: Lenizdat, 1990. - 576 pp., ill. ISBN 5-289-00618-4
• Memories of Anna Akhmatova. - M., Sov. writer, 1991. - 720 pp., 100,000 copies. ISBN 5-265-01227-3
• Babaev E. G.// Secrets of the craft. Akhmatov readings. Vol. 2. - M.: Heritage, 1992. - P. 198-228. - ISBN 5-201-13180-8.

• Losievsky, I. Ya. Anna of All Rus': Biography of Anna Akhmatova. - Kharkov: Eye, 1996.
• Kazak V. Lexicon of Russian literature of the 20th century = Lexikon der russischen Literatur ab 1917 / [trans. with German]. - M. : RIC "Culture", 1996. - XVIII, 491, p. - 5000 copies. - ISBN 5-8334-0019-8.
• Zholkovsky, A. K.// Star. - . - No. 9. - P. 211-227.
• Kikhney, L. G. Poetry of Anna Akhmatova. Secrets of the craft. - M.: “Dialogue MSU”, 1997. - 145 p. ISBN 5-89209-092-2
• Katz, B., Timenchik, R .
• Cultural monuments. New discoveries. 1979. - L., 1980 (yearbook).
• Goncharova, N.“Veils of Libels” by Anna Akhmatova. - M.-St. Petersburg: Summer Garden; Russian State Library, 2000. - 680 p.
• Trotsyk, O. A. The Bible in the artistic world of Anna Akhmatova. - Poltava: POIPPO, 2001.
• Timenchik, R. D. Anna Akhmatova in the 1960s. - M.: Aquarius Publishers; Toronto: University of Toronto (Toronto Slavic Library. Volume 2), 2005. - 784 p.
• Mandelstam, N. About Akhmatova. - M.: New publishing house, 2007.

Anna Akhmatova is a world-famous poet, Nobel Prize laureate, translator, critic and literary critic. She bathed in glory and greatness, and knew the bitterness of loss and persecution. It was not published for many years, and the name was banned. The Silver Age nurtured freedom in her, Stalin sentenced her to disgrace.

Strong in spirit, she survived poverty, persecution, and the hardships of an ordinary person, standing in prison lines for many months. Her "Requiem" became an epic monument to a time of repression, women's resilience and faith in justice. The bitter fate affected her health: she suffered several heart attacks. By a strange coincidence, she died on the anniversary of Stalin’s birth, in 1966.

Her gracefulness and unusual profile with a hump inspired many artists. Modigliani himself painted hundreds of portraits of her, but she treasured only one, which he gave to her in 1911 in Paris.

After her death, Anna Akhmatova’s archive was sold to government agencies for 11.6 thousand rubles.

Purpose

Akhmatova did not hide her noble origins, she was even proud of them. The third child in the family of a hereditary nobleman and military naval officer from Odessa, Andrei Antonovich Gorenko, she was weak and sickly.

At the age of 37, he married for the second time to 30-year-old Inna Erasmovna Stogova.

Over eleven years, the couple had six children. We moved to Tsarskoye Selo in 1890, when Anya was one year old.

She began to read and communicate well in French early. At the gymnasium, by her own admission, she studied well, but not willingly. Her father often took her with him to Petrograd; he was an avid theatergoer, and they did not miss premiere performances. And the family spent the summer in their own house in Sevastopol. Tuberculosis was a hereditary curse; three of Gorenko’s daughters subsequently died from it - the last after the revolution in 1922. Anna herself also suffered from consumption in her youth, but was able to recover.

At the age of 25, Anna dedicated the poem “By the Sea” to her life in Crimea; this theme will not leave the poetess’s work even after.

Writing has been characteristic of Anya Gorenko since childhood. She kept a diary for as long as she could remember until her last days. She composed her first poem at the turn of time - at the age of 11. But her parents did not approve of her hobby; she received praise for her flexibility. Tall and fragile, Anya easily turned her body into a ring and could, without getting up from her chair, grab a handkerchief from the floor with her teeth. She was destined for a ballet career, but she categorically refused.

She took the pseudonym that made her famous because of her father, who forbade the use of his last name. She liked Akhmatova - the surname of her great-grandmother, which somehow reminded her of the Crimean conqueror Khan Akhmat.

From the age of 17, she began signing her poems, which were periodically published in various magazines under a pseudonym. The parents separated: the father successfully squandered the dowry and left the family in a difficult situation.

The mother and children left for Kyiv. Here, in her last year of study at the gymnasium, Anna writes a lot, and these poems of hers will be published in the book “Evening”. The debut of the 23-year-old poetess was successful.

Her husband, Nikolai Gumilyov, helped her in many ways. They got married when she turned 21.

He sought her for several years; he was already an accomplished poet, three years older than Anna: a military beauty, a historian, passionate about travel and dreams.

He takes his beloved to Paris, and after returning they are preparing to move to Petrograd. She will come to Kyiv, where she has relatives.

A year later, in the northern capital, the literary society became acquainted with the new movement and its creators - the Acmeists. Gumilev, Akhmatova, Mandelstam, Severyanin and others consider themselves to be members of the community. The Silver Age was rich in poetic talent, evenings were held, poems were discussed, poems were read and published.

Anna was abroad several times in the two years after her marriage. There she met the young Italian Amedeo Modigliani. They talked a lot, he drew her. At that time he was an unknown artist; fame came to him much later. He liked Anna for her unusual appearance. He spent two years transferring her image to paper. Several of his drawings have survived, which after his early death became recognized masterpieces. Already in her declining years, Akhmatova said that the main asset of her legacy was “Modi’s drawing.”

In 1912, Gumilyov became a university student in Petrograd and immersed himself in the study of French poetry. His collection “Alien Sky” is published. Anna is expecting her first child.

The couple travels to Tsarskoe Selo, where a son is born in the fall.

Gumilyov's parents were really looking forward to the boy: he turned out to be the only heir. It is not surprising that Gumilyov’s mother invited the family to live in her wooden two-story house. The family would live in this house in Tsarskoye Selo until 1916. Gumilev only made short visits, Anna went to Petrograd for a short time, to a sanatorium for treatment for tuberculosis and for her father’s funeral. It is known that friends came to visit them at this house: Struve, Yesenin, Klyuev and others. Anna was friends with Blok and Pasternak, who were also among her admirers. From a wild girl with skin burned from the sun, she turned into a mannered society lady.

Lev Nikolaevich will be raised by his grandmother until he is 17 years old. With little Leva, she will go to live in the Tver region in the village of Slepnevo, where the Gumilevs’ estate was located. Anna and Nikolai visit them and help them financially.

Their marriage is bursting at the seams: they rarely see each other, but often write to each other. He has affairs abroad, and Anna finds out about it.

She herself has many fans. Among them is Nikolai Nedobrovo. He introduced Anna to his friend Boris Anrep. This connection will destroy their friendship and give rise to the love of the poetess and the artist.

They rarely saw each other, and in 1916, their lover left Russia. She will dedicate more than thirty poems to him: a year later they will be published in the collection “White Flock” and five years later in “Plantain”. Their meeting will take place half a century later in Paris, where Akhmatova will arrive at the invitation of Oxford University: for her research into Pushkin’s work, she was awarded an honorary degree of Doctor of Literature.

Eight years later, the star couple divorced. We would have liked to do it earlier, but it turned out to be difficult to do this in pre-revolutionary Russia.

Almost immediately after the divorce, she will agree to become the wife of Vladimir Shileiko, which will greatly surprise her friends. After all, she was no longer that enthusiastic and gentle Russian Sappho, as she was called. The changes in the country filled her with fear and sadness.

And Gumilev marries another Anna, the daughter of the poet Engelhardt. She would quickly become a widow - in 1921, Gumilyov would be shot on charges of conspiracy against Soviet power, along with 96 other suspects. He was only 35 years old. She learns about the arrest of her ex-husband at the funeral of Alexander Blok. On the 106th anniversary of his birth, Nikolai Gumilev will be completely rehabilitated.

Anna Andreevna, having lost her first husband, leaves her second. The orientalist scholar Shileiko was extremely jealous, they lived from hand to mouth, poetry was not written or published. The book “Plantain,” consisting mainly of past poems, was published several months before Gumilyov’s execution.

In 1922, she was able to release the fifth collection in her creative life -

"Anno Domini" The author proposed seven new poems, as well as those relating to different years. Therefore, it was easy for readers to compare its rhythm, images, and excitement. Critics wrote about the “different quality” of her poems, anxiety, but not brokenness.

She could have left the country; her friends from France persistently invited her to their place, but Akhmatova refused. Her life in dilapidated Petrograd did not promise anything good, she knew about it. But she could not imagine that years of oblivion and persecution awaited her ahead - an unspoken ban would be placed on her publications.

Repression and "Requiem"

A communal apartment on Fontanka in Leningrad would become her home from October 1922. Here Akhmatova will live for 16 years. As biographers say - unlucky.

She did not register their marriage with her third husband: art historian, critic and a little poet Nikolai Punin. He was married, and the strangest thing is that in this communal apartment, divided into two by a partition, his wife was in charge of the entire household. By coincidence, also Anna.

The couple had a one-year-old daughter, Irina, who would later become very close friends with Akhmatova and become one of the poetess’s heirs.

They knew each other for ten years: Nikolai Punin came to the Gumilev couple along with other poets. But he was criticized by his namesake and harbored a grudge. But he was glad that Akhmatova left her husband; he idolized her. Punin persistently courted Akhmatova, came to her at the sanatorium when she was once again treating her tuberculosis, and persuaded her to move in with him.

Anna Andreevna agreed, but found herself in even more cramped conditions, although she was used to living and writing on the sofa. By nature, she did not know how to manage or maintain a house. Punin’s wife worked as a doctor, and at that difficult time she always had a constant income, which is what they lived on. Punin worked at the Russian Museum, sympathized with the Soviet regime, but did not want to join the party.

She helped him in his research; he used her translations of scientific articles from French, English and Italian.

In the summer of 28, her 16-year-old son came to her. Due to the disgrace of his parents, the guy was not accepted to study. Punin had to intervene, and with difficulty he was placed in school. Then he entered the history department at the university.

Akhmatova made more than once attempts to break off her complicated relationship with Punin, who did not allow her to write poetry (after all, he was better), was jealous of her, cared little, and took advantage of her works. But he persuaded her, little Irina whined, accustomed to Anna, so she stayed. Sometimes she went to Moscow.

I began researching Pushkin’s work. The articles were published after Stalin's death. Critics wrote that no one had ever done such a deep analysis of the works of the great poet before. For example, she sorted out “The Tale of the Golden Cockerel”: she showed the techniques that were used by the author to turn an oriental story into a Russian fairy tale.

When Akhmatova turned 45, Mandelstam was arrested. She was just visiting them. A wave of arrests swept the country after the murder of Kirov.

Nikolai Punin and student Gumilyov failed to avoid arrest. But soon they were released, but not for long.

The relationship completely went wrong: Punin blamed everyone in the household, including Anna, for his troubles. And she worked for her son, who in the spring of 1938 was accused of conspiracy. The death verdict was replaced by a five-year exile in Norilsk.

Anna Akhmatova moves to another room in the same communal apartment. She can no longer bear to be in the same space with Punin.

Soon Irina gets married, the couple has a daughter, who is also named Anna. She will become Akhmatova's second heir, considering them her family.

Her son will devote more than fifteen years to the camps. Convict Nikolai Punin will die in Vorkuta. But even after this she will not move from the communal apartment, will remain with his family, and will write the legendary “Requiem”.

During the war years, Leningrad residents were evacuated to Tashkent. Anna will also leave with them. Her son will volunteer for the army.

After the war, Akhmatova will engage in translations in order to somehow support herself. In five years, she will translate more than a hundred authors from seventy languages ​​of the world. My son will graduate from the history department as an external student in 1948 and defend his dissertation. And next year he will be arrested again. The charges are the same: conspiracy against Soviet power. This time they gave me ten years of exile. He will celebrate his fortieth birthday due to heart pain in a hospital bed, the consequences of torture affected him. He will be recognized as disabled, he will be very scared and even write a will. During his exile, he will be hospitalized several times and undergo two operations. He will correspond with his mother. She will work for him: she will write a letter to Stalin, even compose a correct poem in his glory, which will immediately be published by the Pravda newspaper. But nothing will help.

Lev Nikolaevich will be released in 1956 and rehabilitated.

By this time, his mother had been given back the opportunity to publish, membership in the Writers' Union, and was given a house in Komarov.

Her son helped her with translations for some time, which made it possible to at least somehow exist until the fall of 1961. Then they finally quarreled and didn’t communicate anymore. They gave him a room and he left. Akhmatova had a second heart attack, but her son did not visit her. What caused the conflict remains unknown; there are several versions, but none by Akhmatova.

She will publish another of her epic works, “Poem without a Hero.” By her own admission, she wrote it for two decades.

She will again be in the center of literary bohemia, meet the aspiring poet Brodsky and others.

Two years before her death, she will again travel abroad: she will go to Italy, where she will be enthusiastically received and given an award. The next year - to England, where she was honored as a Doctor of Literature. In Paris, she met with her acquaintances, friends and former lovers. They remembered the past, and Anna Andreevna said that back in 1924, she was walking through her beloved city and suddenly thought that she would definitely meet Mayakovsky. At this time he should be in another capital, but his plans changed, he walked towards her and thought about her.

Such coincidences often happened to her; she could foresee some moments. Her last unfinished poem is about death.

Anna Akhmatova was buried in Komarovo. The last orders were given by the son. He did not allow official filming, but amateur footage was still filmed. They were included in a documentary film dedicated to the poetess.

Lev Gumilyov marries artist Natalya Simanovskaya three years after the death of his mother. She is 46 years old, he is 55. They will live together for twenty-four years in harmony, but they will not have children. Doctor of Historical Sciences Lev Nikolaevich will leave behind scientific works and a good memory among scientists.

Born near Odessa (Bolshoi Fontan). Daughter of mechanical engineer Andrei Antonovich Gorenko and Inna Erasmovna, nee Stogova. As a poetic pseudonym, Anna Andreevna took the surname of her great-grandmother Tatar Akhmatova.

In 1890, the Gorenko family moved to Tsarskoye Selo near St. Petersburg, where Anna lived until she was 16 years old. She studied at the Tsarskoye Selo gymnasium, in one of the classes of which her future husband Nikolai Gumilyov studied. In 1905, the family moved to Evpatoria, and then to Kyiv, where Anna graduated from the gymnasium course at the Fundukleevskaya gymnasium.

Akhmatova's first poem was published in Paris in 1907 in the magazine Sirius, published in Russian. In 1912, her first book of poems, “Evening,” was published. By this time she was already signing with the pseudonym Akhmatova.

In the 1910s Akhmatova’s work was closely connected with the poetic group of Acmeists, which took shape in the fall of 1912. The founders of Acmeism were Sergei Gorodetsky and Nikolai Gumilyov, who in 1910 became Akhmatova’s husband.

Thanks to her bright appearance, talent, and sharp mind, Anna Andreevna attracted the attention of poets who dedicated poems to her, artists who painted her portraits (N. Altman, K. Petrov-Vodkin, Yu. Annenkov, M. Saryan, etc.) . Composers created music based on her works (S. Prokofiev, A. Lurie, A. Vertinsky, etc.).

In 1910 she visited Paris, where she met the artist A. Modigliani, who painted several of her portraits.

Along with great fame, she had to experience many personal tragedies: in 1921, her husband Gumilyov was shot, in the spring of 1924, a decree of the Central Committee of the All-Union Communist Party of Bolsheviks was issued, which actually prohibited Akhmatova from publishing. In the 1930s repression fell on almost all of her friends and like-minded people. They also affected the people closest to her: first, her son Lev Gumilev was arrested and exiled, then her second husband, art critic Nikolai Nikolaevich Punin.

In the last years of her life, living in Leningrad, Akhmatova worked a lot and intensively: in addition to poetic works, she was engaged in translations, wrote memoirs, essays, and prepared a book about A.S. Pushkin. In recognition of the poet's great services to world culture, she was awarded the international poetry prize "Etna Taormina" in 1964, and her scientific works were awarded the honorary degree of Doctor of Literature by Oxford University.

Akhmatova died in a sanatorium in the Moscow region. She was buried in the village of Komarovo near Leningrad.

Akhmatova Anna Andreevna (1889-1966) - Russian and Soviet poetess, literary critic and translator, occupies one of the significant places in Russian literature of the twentieth century. In 1965 she was nominated for the Nobel Literary Prize.

Early childhood

Anna was born on June 23, 1889 near the city of Odessa; at that time the family lived in the Bolshoi Fontan area. Her real name is Gorenko. In total, six children were born in the family, Anya was the third. Father - Andrei Gorenko - was a nobleman by birth, served in the navy, mechanical engineer, captain of the 2nd rank. When Anya was born, he was already retired. The girl’s mother, Stogova Inna Erasmovna, was a distant relative of Russia’s first poetess, Anna Bunina. Her maternal roots went deep to the legendary Horde Khan Akhmat, which is where Anna took her creative pseudonym.

The year after Anya was born, the Gorenko family left for Tsarskoye Selo. Here, in a small region of the Pushkin era, she spent her childhood. Exploring the world around her, from an early age the girl saw everything that the great Pushkin described in his poems - waterfalls, green magnificent parks, a pasture and a hippodrome with small colorful horses, an old train station and the wonderful nature of Tsarskoye Selo.

Every year for the summer she was taken to Sevastopol, where she spent all her days with the sea; she adored this Black Sea freedom. She could swim during a storm, jumped from a boat into the open sea, wandered along the shore barefoot and without a hat, sunbathed until her skin began to peel off, which incredibly shocked the local young ladies. For this she was nicknamed the “wild girl.”

Studies

Anya learned to read using the alphabet of Leo Tolstoy. At the age of five, listening to a teacher teach French to older children, she learned to speak it.

Anna Akhmatova began her studies in Tsarskoye Selo at the Mariinsky Gymnasium in 1900. In elementary school, she studied poorly, then improved her performance, but she was always reluctant to study. She studied here for 5 years. In 1905, Anna's parents divorced, the children suffered from tuberculosis, and their mother took them to Evpatoria. Anya remembered this city as foreign, dirty and rude. She studied at a local educational institution for a year, after which she continued her studies in Kyiv, where she went with her mother. In 1907 she completed her studies at the gymnasium.

In 1908, Anna began to study further at the Kyiv Higher Women's Courses, choosing the legal department. But Akhmatova did not turn out to be a lawyer. The positive side of these courses for Akhmatova was that she learned Latin, thanks to which she subsequently mastered the Italian language and could read Dante in the original.

The beginning of the poetic path

Literature was everything to her. Anna composed her first poem at the age of 11. While studying in Tsarskoe Selo, she met the poet Nikolai Gumilyov, who had a significant influence on her choice of her future. Despite the fact that Anna's father was skeptical about her passion for poetry, the girl did not stop writing poetry. In 1907, Nikolai helped in the publication of the first poem, “There are many shining rings on his hand...” The poem was published in the Sirius magazine published in Paris.

In 1910, Akhmatova became Gumilyov's wife. They got married in a church near Dnepropetrovsk and went on their honeymoon to Paris. From there we returned to St. Petersburg. At first, the newlyweds lived with Gumilyov’s mother. Only a couple of years later, in 1912, they moved to a small one-room apartment on Tuchkov Lane. The small cozy family nest was affectionately called “cloud” by Gumilyov and Akhmatova.

Nikolai helped Anna in publishing her poetic works. She did not sign her poems with either her maiden name Gorenko or her husband’s name Gumilev; she took the pseudonym Akhmatova, under which the greatest Russian poetess of the Silver Age became known throughout the world.

In 1911, Anna's poems began to appear in newspapers and literary magazines. And in 1912, her first collection of poems entitled “Evening” was published. Of the 46 poems included in the collection, half are dedicated to partings and death. Before this, Anna’s two sisters died from tuberculosis, and for some reason she was firmly convinced that she would soon suffer the same fate. Every morning she woke up with a feeling of imminent death. And only many years later, when she is over sixty, will she say:

“Who knew that I was planned for so long.”

The birth of his son Lev in the same year, 1912, pushed thoughts of death into the background.

Recognition and glory

Two years later, in 1914, after the release of a new collection of poems called “The Rosary,” recognition and fame came to Akhmatova, and critics warmly accepted her work. Now it has become fashionable to read her collections. Her poems were admired not only by “schoolgirls in love”, but also by Tsvetaeva and Pasternak, who entered the world of literature.

Akhmatova’s talent was publicly recognized, and Gumilyov’s help no longer had such significant significance for her; they increasingly disagreed about poetry, and there were many disputes. Contradictions in creativity could not but affect family happiness, discord began, and as a result, Anna and Nikolai divorced in 1918.

After the divorce, Anna quickly tied herself into a second marriage with the scientist and poet Vladimir Shileiko.

The pain of the tragedy of the First World War ran like a thin thread through the poems of Akhmatova’s next collection, “The White Flock,” which was published in 1917.

After the revolution, Anna remained in her homeland, “in her sinful and remote land,” and did not go abroad. She continued to write poetry and released new collections "Plantain" and "Anno Domini MCMXXI".

In 1921, she separated from her second husband, and in August of the same year, her first husband Nikolai Gumilyov was arrested and then shot.

Years of repression and war

Anna's third husband in 1922 was art critic Nikolai Punin. She stopped publishing completely. Akhmatova worked hard for the publication of her two-volume collection, but its publication never took place. She began a detailed study of the life and creative path of A.S. Pushkin, and she was also incredibly interested in the architecture of the old city of St. Petersburg.

In the tragic years of 1930-1940 for the whole country, Anna, like many of her compatriots, survived the arrest of her husband and son. She spent a lot of time under the “Crosses,” and one woman recognized her as the famous poetess. The grief-stricken wife and mother asked Akhmatova if she could describe all this horror and tragedy. To which Anna gave a positive answer and began work on the poem “Requiem”.

Then there was a war that found Anna in Leningrad. Doctors insisted on her evacuation for health reasons. Through Moscow, Chistopol and Kazan, she finally reached Tashkent, where she stayed until the spring of 1944 and published a new collection of poems.

Post-war years

In 1946, Anna Akhmatova's poetry was sharply criticized by the Soviet government and she was expelled from the Union of Soviet Writers.

In 1949, her son Lev Gumilyov was arrested again and sentenced to 10 years in a forced labor camp. The mother tried in any way to help her son, knocked on the doorsteps of political figures, sent petitions to the Politburo, but everything was to no avail. When Leo was released, he believed that his mother had not done enough to help him, and their relationship would remain strained. Only before her death will Akhmatova be able to establish contact with her son.

In 1951, at the request of Alexander Fadeev, Anna Akhmatova was reinstated in the Writers' Union, she was even given a small country house from the literary fund. The dacha was located in the writer's village of Komarovo. Her poems began to be published again in the Soviet Union and abroad.

The outcome of life and departure from it

In Rome in 1964, Anna Akhmatova was awarded the Etna-Taormina Prize for her creativity and contribution to world poetry. The following year, 1965, she was awarded an honorary Doctor of Letters degree at Oxford University, and at the same time her last collection of poems, The Passage of Time, was published.

In November 1965, Anna had her fourth heart attack. She went to a cardiological sanatorium in Domodedovo. On March 5, 1966, doctors and nurses came to her room to do an examination and a cardiogram, but in their presence the poetess died.

There is a Komarovskoe cemetery near Leningrad, where an outstanding poetess is buried. Her son Lev, a doctor at Leningrad University, together with his students collected stones throughout the city and laid a wall on his mother’s grave. He made this monument himself, as a symbol of the Wall of Crosses, under which his mother stood in line for days with parcels.

Anna Akhmatova kept a diary all her life and just before her death she wrote:

“I regret not having a Bible nearby.”

Celebrity biography - Anna Akhmatova

Anna Akhmatova (Anna Gorenko) is a Russian and Soviet poetess.

Childhood

Anna was born into a large family on June 23, 1889. She will take the creative pseudonym “Akhmatova” in memory of the legends about her Horde roots.

Anna spent her childhood in Tsarskoye Selo near St. Petersburg, and every summer the family went to Sevastopol. At the age of five, the girl learned to speak French, but studying at the Mariinsky Gymnasium, where Anna entered in 1900, was difficult for her.

Akhmatova's parents divorced when she was sixteen years old. Mom, Inna Erasmovna, takes the children to Evpatoria. The family did not stay there long, and Anna finished her studies in Kyiv. In 1908, Anna began to become interested in jurisprudence and decided to study further at the Higher Women's Courses. The result of her studies was knowledge of Latin, which later allowed her to learn Italian.

Children's photographs of Anna Akhmatova

The beginning of a creative journey

Akhmatova’s passion for literature and poetry began in childhood. She composed her first poem at the age of 11.

Anna's works were first published in 1911 in newspapers and magazines, and a year later her first collection of poems, “Evening,” was published. The poems were written under the influence of the loss of two sisters who died of tuberculosis. Her husband Nikolai Gumilyov helps publish poetry.

Young poetess Anna Akhmatova

Career

In 1914, the collection “Rosary Beads” was published, which made the poetess famous. It is becoming fashionable to read Akhmatova’s poems; young Tsvetaeva and Pasternak admire them.

Anna continues to write, new collections “White Flock” and “Plantain” appear. The poems reflected Akhmatova’s experiences of the First World War, revolution, and civil war. In 1917, Anna fell ill with tuberculosis and took a long time to recover.

Beginning in the twenties, Anna's poems began to be criticized and censored as inappropriate for the era. In 1923, her poems ceased to be published.

The thirties of the twentieth century became a difficult test for Akhmatova - her husband Nikolai Punin and son Lev were arrested. Anna spends a long time near the Kresty prison. During these years, she wrote the poem “Requiem”, dedicated to the victims of repression.

In 1939, the poetess was accepted into the Union of Soviet Writers.
During the Great Patriotic War, Akhmatova was evacuated from Leningrad to Tashkent. There she creates poems with military themes. After the blockade is lifted, he returns to his hometown. During the move, many of the poetess’s works were lost.

In 1946, Akhmatova was removed from the Writers' Union after sharp criticism of her work in a resolution of the organizing bureau of the Central Committee of the All-Union Communist Party of Bolsheviks. At the same time as Anna, Zoshchenko is also criticized. Akhmatova was reinstated in the Writers' Union in 1951 at the instigation of Alexander Fadeev.

The poet reads a lot and writes articles. The time in which she worked left its mark on her work.

In 1964, Akhmatova was awarded the Etna-Taormina Prize in Rome for her contribution to world poetry.
The memory of the Russian poetess was immortalized in St. Petersburg, Moscow, Odessa, and Tashkent. There are streets named after her, monuments, memorial plaques. During the life of the poetess, her portraits were painted.

Portraits of Akhmatova: artists Nathan Altman and Olga Kardovskaya (1914)

Personal life

Akhmatova was married three times. Anna met her first husband Nikolai Gumilyov in 1903. They got married in 1910 and divorced in 1918. The marriage to her second husband, Vladimir Shileiko, lasted 3 years; the poetess’s last husband, Nikolai Punin, spent a long time in prison.

Lev Gumilyov spent almost 14 years in prisons and camps; in 1956 he was rehabilitated and found not guilty on all counts.

Among the interesting facts, one can note her friendship with the famous actress Faina Ranevskaya. On March 5, 1966, Akhmatova died in a sanatorium in the Moscow region, in Domodedovo. She was buried near Leningrad at the Komarovskoye cemetery.

Anna Akhmatova's grave