Anna. Andreyevna. Akhmatova was born on June 11, 1889, the 23rd day of the Russian calendar, in Odessa, southern Ukraine, and moved north with her family to Tsarskoye Village when she was one year old. The poet wrote in "My Little Biography":
The first memories I had in my mind were of the Yellow Village: the lush, unartificially unfurnished, spectacular parks, the grazing fields that the nanny used to take me to, the mottled pony racing in between, the old station, and other scenery – all of which I later wrote into the poem "Ode to the Royal Village".
Every summer, I go to the seashore of Streretsky Bay near Sevastopol, where I make friends with the sea. The strongest impression I have over the years is the old city of Khersonnes, where we live on the outskirts of the city.
This is Akhmatova's hometown, and the place where the poet's life was first immersed in poetry!
The poet first wrote poetry at the age of 11, and in 1912 the poet began to publish his works. But her father, a retired naval mechanical engineer, was relatively conservative and did not allow Akhmatova to publish under her original surname Gorenko. Thus, the poet took the surname "Akhmatova", the maternal great-grandmother of Tatar origin, as a pen name.
Akmes is a modernist literary school that emerged in the Russian literary scene after the decline of symbolism, represented by Gumilyov, Gorodetsky, Akhmatova, Mandelstam, Kuzmin, Narbut, Sadovsky, etc. They rallied around the magazine Apollo (1909 1917) to form the "Poets' Workshop" group.
Acmeism, derived from the Greek, means "the higher level of things", "flowers", "flourishing periods" or Adamism, meaning a courageous, firm, and clear view of life.
In any case, this school pursues a more balanced and accurate understanding of the relationship between subject and object than symbolism. This passage sums up the nature of Acmeism, which openly advocates the creative principle of "art for art's sake", rejects criticism of the existing society, and advocates the gradual "perfection" of man through the enlightenment of man's will and instinct.
At the same time, they attempted to innovate aesthetics and Russian symbolist poetics, pursuing sculptural artistic images and prophetic poetic language, opposing obsession with the mysterious "afterlife", opposing the keen use of metaphors and symbolism, advocating "returning" to the human world, "returning" to the material world, and giving poetic language a clear meaning.
In addition to her own poetic claims, Akhmatova's belonging to the Akme school also stems from her marriage to Gumilev, a representative of the Akme school. In 1910, also on the 25th day of the fourth month of the Russian calendar, she married Gumilev and went to Paris for honey together.
Month. During her time in Paris, Akhmatova had this to say about the Parisian poetry scene:
The French poetry scene is in a state of inactivity, and people buy poetry books only because the front or back of the poems are printed with some small floral ornaments painted by some famous painters. Then I realized that painting in Paris overcame French poetry.
Perhaps most people in China still have a long story about the late writer Wang Xiaobo.
But for Russia, the ** era refers to an era of literature from the end of the 19th century to the beginning of the 20th century, and another very good literary period after the praised ** era. Although different scholars have slightly different views on the definition of time intervals, the more generally accepted time period is 1890 to 1921.
And the Acme school has also become the representative of poetry in the literary period of the ** era.
During this period, Akmatova's first collection of poems, The Twilight, the second Rosary, and the poet's White Clouds were published in September 1917.
This was followed by the publication of Plantain in 1921.
The Great Purge (Russian: o b aa ctka, English: greatest purge), or translated as "Great Purge", or "Great Purge", is now known in Russia as "o o teppop" (English: great terror, that is, "the period of terror"), or "Yezhov period" (e ob ha), refers to a political repression campaign that broke out in 1934 under Soviet leader Joseph Stalin, during which 1.3 million people were sentenced, 68 of them20,000 people were shot dead.
During this period, Akhmatova and Gumilyov's son Lev were imprisoned twice for being implicated by his father**. And all this stems from the fact that as early as 1921, Gumilyov was executed for the "Tagantsev Incident"** on charges of "participating in a counter-revolutionary conspiracy" (he was rehabilitated 60 years later). Because Lev refused to admit his father's "crime", he was also sentenced to life imprisonment on trumped-up.
In 1946, after being severely criticized by Zhdanov's report "On Star and Leningrad Magazines", Akhmatova's poetry works were labeled as "decadent" and "pornographic", and she was also considered "a ** and nun who combines lewdness and prayer", so she was expelled from the Soviet Writers' Association.
It is not difficult to imagine the deep sadness and fear that these cruel facts brought to the poet again and again.
In the midst of this turmoil, sensitive poets were not without choice, for many had a keen sense of the crisis even before 1917 and chose to leave Russia. Pessimism about the revolution and the country's prospects permeated the poets, and the contemporaneous poetess Tsvetaeva chose to leave temporarily in 1922.
But Akhmatova categorically refused the opportunity to take refuge abroad, and she decided to stay, choosing to face the common fate of all Russians. Even the fire that is burning here is destined to "destroy the remnants of youth".
In the face of the crushing of the giant wheel of the times, personal choice is a matter of life and death, and we cannot lightly judge morality and merit.
When all suffering has not been erased, but it has long since become a thing of the past, when Akhmatova recalls her past lightly, when Akhmatova's poetry begins to return, people are more sure that her poetry fully embodies the traditions of beauty, freshness, conciseness and harmony of classical Russian poetry.
In "My Little Biography", the poet Akhmatova writes:
I didn't stop writing poetry, for me, poetry was my link to the times and the new life of the people. When I was writing poetry, I won back to my ears the melody that resounded in the heroic history of the motherland, I lived in this heroic era, and I felt blessed to have encountered many incomparable prosperous times!
Evening light.
The evening light is golden and distant, and the crispness of April is so warm.
You've been years late, but I'm glad you're here.
Please come and sit beside me and look at it with your happy eyes: this blue workbook one by one.
It was full of poems from my youth.
I beg your pardon for the misfortune of my life and I rarely rejoice in the sunshine.
Please forgive me, forgive me, there are so many things I have accepted for you.