LESSON SUMMARY
The theme of the court of time and historical memory in the poem by A.A. Akhmatova "Requiem"
The purpose of the lesson
Personal result - to realize the tragedy of the country in the era Stalinist repressions, the need to preserve the memory of the terrible years in the history of the country, the value of a democratic society.
The meta-subject result is to be able to analyze textual information, independently formulate and solve cognitive tasks based on information analysis, and establish logical connections.
The subject result is to know the history of the creation of A. Akhmatova's poem "Requiem", genre and compositional features works related to the features of the narrative, to see the connection of the poem with the works of oral folk art, to correlate the assessment of critics with their own assessment, to build a detailed coherent statement.
Purpose of the stage:
Creating a working environment in the lesson, the formulation of the topic and purpose.
Teacher activity
The topic of the lesson.
Good afternoon. Continuing to study the work of A.A. Akhmatova, today we are getting acquainted with another of her works - the poem "Requiem". So, the theme of the lesson is The theme of the judgment of time and historical memory in the poem by A.A. Akhmatova "Requiem". Try to formulate the purpose of the lesson.
Student activities
Formulation of the purpose of the lesson based on the announced topic.
Possible student responses
Since the poem is called "Requiem", the concepts of "judgment of time", "historical memory" are indicated in the topic, it is necessary on the example artistic text show the great importance of moral guidelines for a person, especially in tragic years
2. Verification homework(find out the meaning of the word "requiem" and determine the role of the toponym Fountain House in the life of Akhmatova)
Purpose of the stage:
Checking homework allows you to create problem situation in the classroom, which helps to increase the motivation of students, increase interest in the personality of A. Akhmatova, in the events described in the poem.
Teacher activity
A story about the history of the creation and publication of the poem "Requiem". Student task: Why is the poem's final title "Requiem"? It is important that students are able to understand the broad historical, social significant aspect Akhmatova's poems.
She worked on the lyrical cycle "Requiem", which Akhmatova would later call a poem, in 1934-40. and in the early 60s. "Requiem" was memorized by people whom Akhmatova trusted, and there were no more than ten of them. Manuscripts, as a rule, were burned, and only in 1962 Akhmatova handed over the poem to the editors of Novy Mir. By this time, the poem was already widely circulated among readers in samizdat lists (in some lists, the poem had a competing name - "Fountain House"). One of the lists went abroad and was first published as a separate book in 1963 in Munich.
With the publication of Requiem, Akhmatova's work acquires a new historical, literary and social meaning.
Explain why in the final version the poem is called "Requiem" (not "Requiem", not "Fountain House")?
Student activities
The activity of students is based on doing homework - working with a dictionary, with reference literature.
Possible student responses
Requiem is a Catholic service for the dead, as well as a mourning piece of music. Akhmatova often calls the poem in Latin - " Requiem".
Latin text: "Requiem aeternam dona eis, Domine" ("Give them eternal rest, Lord!")
Fountain House - this was the name of the estate of Count Sheremetev (to distinguish it from others in St. Petersburg), this is the place of residence of Akhmatova in Leningrad. Now it is the house-museum of Akhmatova. The Fountain House was perceived by contemporaries not as the real habitat of Akhmatova, but as an image directly related to her poetry. This concept is not so much geographical as poetic. It was probably used as a symbol of creativity for the poetess. The Requiem was written here.
The Latin title of the poem could evoke literary and musical associations (Mozart's Requiem, Pushkin's Mozart and Salieri).
Obviously, in the name "Fountain House" there would be a lot of personal, and therefore unclear to the reader. There is a lot of detachment in the Latin version. The Russian version, without violating broad cultural associations, contains a generalization, a symbol of Death and Memory.
The epigraph to the poem was completed in 1961. Thus, the content of the poem cannot be reduced to a personal tragedy; it is a "folk" poem, a historical one.
Teacher activity
If the class could not find information at home, it is proposed to work with a dictionary in the class - to determine the meaning of the word "requiem", to recall the material of previous lessons about the life of Akhmatova, which indicated her place of residence in Leningrad - the Fountain House.
3. Learning new things educational material.
Purpose of the stage:
Development of poetic text analysis skills.
Student activities
The study of Akhmatova's poem is proposed for students to carry out in groups.
Consider in which chapters the problem of historical memory and the judgment of time is most acute (in the chapters written on behalf of the mother, on behalf of the historian, on behalf of the poet). Think about why the author needed such polyphony. What literary traditions does Akhmatova continue in her poem. Solve the problem: is it really, according to A.I. Solzhenitsyn “It was a tragedy of the people, but in your case it is only a tragedy of mother and son”?
At this stage of the lesson, while working with the text, the reader's competence of students is formed (the ability to choose material that corresponds to the tasks, analyze, highlight the main thing). In addition, working in groups, students communicate with each other, process information, convey it to each member of the group (the formation of students' communicative competence).
For more successful completion of the task, students are encouraged to record the results of observations in a notebook.
Each group is asked to answer questions.
1 group
Whose traditions does A. Akhmatova continue when she speaks about the role of the poet in the life of society?
What is the name of the place and time in these chapters? Why indirectly?
What general cultural images appear in these chapters? What is the role of these images?
The angry voice of the poet - a suffering citizen of his country - is heard in six chapters of the poem. Akhmatova, continuing the Pushkin tradition (the role of the poet is “to burn the hearts of people with the verb”), already in the epigraph declares her position - “I was then with my people, where my people, unfortunately, were.” Akhmatova does not name the exact place and time in the epigraph - “I was Then with my people there where my people, unfortunately, were." “Then” - “in the terrible years of Yezhovshchina”, “there” - in the camp, behind barbed wire, in exile, in prison - means together; does not say "at home" - creates an image through the negation of "not under an alien firmament."
“Instead of a preface” is a kind of testament to the poet, an order to “write”. Testament - because everyone standing in this line is desperate, they live in their own world of fear. And only a poet, sharing the fate of the people, can loudly declare what is happening. This part of the poem ideologically echoes Pushkin's lines: “Then the woman standing behind me asked me in my ear:
- Can you describe it?
And I said
- Can." Truthfully reflecting the realities of life, even in a situation where people are afraid to talk about it - this is the task of the poet.
This voice, describing the events as if “from the side”, will sound in chapter 10, which is a poetic metaphor: the poet, having seen it as if from the side, conveys the whole tragedy that happens to the Mother. Each of the mothers who lost their son is like the Mother of God, and there are no words that can convey her condition, her feeling of guilt, her impotence at the sight of the suffering and death of her son. The poetic parallel continues: if Jesus died, atoning for all the sins of mankind, then why does the son die, whose sins he must atone? Are not their executioners? The Mother of God has been mourning for every innocently dying child for many centuries, and any mother who loses her son is close to her in the degree of her pain.
And in the “Epilogue” (in its 1st part), the mother again concedes to the poet the right to narrate: “And I pray not for myself alone, but for everyone who stood there with me in the bitter cold, and in the July heat under the red, blinded wall ." it is difficult to change something - all that remains is to pray.
Second group
What is the genre feature of the chapters written from the perspective of the mother?
What lexical feature of the chapters can you note?
What literary associations can you name?
Possible variant group response:
The mother's voice is heard in seven chapters (1,2, 5-9). This story about the past, about his fate, about the fate of his son is monotonous, like a prayer, reminiscent of a lamentation or crying: “I will howl like archery wives under the Kremlin towers” (written in accordance with the traditions of folklore genres: an abundance of repetitions is a confirmation of this: “quiet” - “quiet”, “yellow month” - “yellow month”, “enters” - “enters”, “this woman” - “this woman”; the appearance of images of a river, a month). The verdict of fate is already realized: madness and death are perceived as the highest happiness and salvation from the horror of life. Natural forces predict the same outcome.
Each chapter of the mother's monologue becomes more and more tragic. Particularly striking is the laconism of the ninth: death does not come, memory is alive. She becomes the main enemy: "We must kill the memory to the end." And neither the poet nor the historian comes to the rescue - the grief of the mother is very personal, she suffers alone.
Third group
How is the era described by the historian represented? What chapters?
What realities underline the authenticity of the described events?
Possible group response
Historical realities are dissolved in many chapters. When does everything happen? "In the terrible years of Yezhovshchina". Where? "Where my people, unfortunately, were" - in Russia, in Leningrad. The voice of the historian is directly heard in two chapters - in the "Introduction" and in the second part of the "Epilogue".
The era in which the people are destined to suffer is described quite figuratively and visibly, very harshly: "... innocent Rus writhed under bloody boots and under the tires of" black marus "". Who is the victim? All the people, "convicted regiments." Who is the executioner? It was only once named: "He threw himself at the feet of the executioner." He is alone. But there are his assistants, driving around on "black Marus". They are determined by only one detail - "the top of the cap is blue." Since they are non-humans, there is nothing more to say about them. The executioner is not named, but it is clear: he is the Master of the country.
The last chapter presents the story of the tormented soul of the people: one half of them in prisons are husbands and sons, the other half are in prison lines, these are mothers and wives. All of Russia is in this queue.
The result of observing all groups can be as follows:
There is a noticeable contradiction in the poem: the mother dreams of oblivion - this is the only way to stop suffering, the poet and historian call on memory for help - without it one cannot remain faithful to the past for the sake of the future.
4. Consolidation of educational material
Purpose of the stage:
Consolidation of the material, the formation of value-semantic competencies.
Students are invited to draw a conclusion based on the observations made, express their agreement or disagreement with the words of A.I. Solzhenitsyn. Answer motivate.
In which chapters is the problem of historical memory and the judgment of time most acute (in the chapters written on behalf of the mother, on behalf of the historian, on behalf of the poet). Why did the author need such polyphony? What literary traditions does Akhmatova continue in her poem? Solve the problem: is it really, according to A.I. Solzhenitsyn “It was a tragedy of the people, but in your case it is only a tragedy of mother and son”?
Perhaps it will be difficult for students to unequivocally answer: whose “voice” in the poem is decisive, and this fact once again proves that the poem is not about the personal tragedy of a woman, as A.I. Solzhenitsyn. A poem about the tragedy of the whole people. And it was decided in accordance with the traditions of literature (a roll call with Pushkin's poetry, with oral folk art). Memory is the determining factor.
Two thousand years ago, the people condemned the son of God to execution, betraying him. And now all the people, betraying each other, are in a hurry to execute. In fact, the executioners are the people themselves. They are silent, they endure, they suffer, they betray. The poet describes what is happening, feeling guilty for the people.
The words of the "Requiem" are addressed to all fellow citizens. To those who planted, and to those who sat. And in this sense, it is a deeply folk work. In a short poem, a bitter page in the life of the people is shown. The three voices that resound in it are intertwined with the voices of a whole generation, of the whole people. The autobiographical line only makes the pictures of the universal global more penetrating and personal.
5. Homework
Purpose of the stage:
Update students' knowledge of previously studied material, correlate the material considered in the lesson with USE assignments in Russian language and literature.
Students are invited to recall the works of Russian literature that raise the same problem as the poem by A.A. Akhmatova "Requiem", comment on this problem, explain its relevance.
Anna Andreevna Akhmatova's poem "Requiem" is based on the personal tragedy of the poetess. The result of the experienced years of Stalinist repressions was a work, the publication of which for a long time was out of the question. We suggest that you familiarize yourself with the analysis of the poem, which will be useful to students in grade 11 in preparing for a lesson in literature and the exam.
Brief analysis
Year of writing- 1938-1940.
History of creation– The history of writing the poem is closely connected with the personal tragedy of the poetess, whose husband was shot during the reaction, and her son was arrested. The work is dedicated to all those who died during the period of repression only because they dared to think differently than the current government demanded.
Subject– In her work, the poetess revealed many topics, and all of them are equivalent. This is the theme of people's memory, grief, maternal suffering, love and homeland.
Composition- The first two chapters of the poem form the prologue, and the last two - the epilogue. The 4 verses following the prologue are a generalization of maternal grief, chapters 5 and 6 are the culmination of the poem, highest point heroine's suffering. The following chapters deal with the theme of memory.
Genre- Poem.
Direction- Acmeism.
History of creation
The first drafts of "Requiem" date back to 1934. Initially, Anna Andreevna planned to write a cycle of poems dedicated to the reactionary period. One of the first victims of totalitarian arbitrariness were the closest and dearest people of the poetess - her husband, Nikolai Gumilyov, and their common son, Lev Gumilyov. The husband was shot as a counter-revolutionary, and the son was arrested only because he bore his father's "shameful" surname.
Realizing that the reigning regime is merciless in its bloodthirstiness, Akhmatova after a while changed her original plan and began writing a full-fledged poem. The most fruitful period of work was 1938-1940. The poem was completed, but for obvious reasons not published. Moreover, Akhmatova immediately burned the manuscripts of the "Requiem" after she read them to the closest people whom she trusted without limit.
In the 1960s, during the thaw period, Requiem gradually began to spread among the reading public thanks to samizdat. In 1963, one of the copies of the poem went abroad, where it was first published in Munich.
The full version of "Requiem" was officially allowed to print only in 1987, with the beginning of perestroika in the country. Subsequently, the work of Akhmatova was included in the compulsory school curriculum.
Meaning of the title of the poem deep enough: a requiem is a religious term that means holding a funeral church service for a deceased person. Akhmatova dedicated her work to all the prisoners - the victims of the regime, who were destined for death by the ruling power. This is the heartbreaking groan of all mothers, wives and daughters, seeing off their loved ones to the chopping block.
Subject
The theme of folk suffering is revealed by the poetess through the prism of her own, personal tragedy. At the same time, she draws parallels with mothers of different historical eras, who sent their innocent sons to death in the same way. Hundreds of thousands of women literally lost their minds in anticipation of a terrible sentence that would forever separate her from her loved one, and this pain is timeless.
In the poem, Akhmatova experiences not only personal grief, she is sick of her soul for her patronymic, forced to become an arena for senselessly cruel executions of her children. She identifies her homeland with a woman who is forced to look helplessly at the torment of her child.
The poem is beautifully revealed boundless love theme, stronger than which there is nothing in the world. Women are not able to help their loved ones who are in trouble, but their love and loyalty can warm you during the most difficult life trials.
The main idea of the work- memory. The author urges never to forget about the people's grief, and to remember those innocent people who became victims of the merciless machine of power. This part of history, and to erase it from the memory of future generations is a crime. To remember and never allow the repetition of a terrible tragedy is what Akhmatova teaches in her poem.
Composition
Carrying out an analysis of the work in the poem "Requiem", one should note the peculiarity of its compositional construction, indicating Akhmatova's initial intention - to create a cycle of completed individual poems. As a result, one gets the impression that the poem was written spontaneously, in fits and starts, in separate parts.
- The first two chapters ("Dedication" and "Introduction") are the prologue of the poem. Thanks to them, the reader will know what the place and time of the action of the work are.
- The next 4 verses are historical parallels between the bitter fate of mothers of all times. The lyrical heroine recalls her youth, which did not know any problems, the arrest of her son, the days of unbearable loneliness that followed him.
- In chapters 5 and 6, the mother is tormented by the premonition of the death of her son, she is frightened by the unknown. This is the climax of the poem, the apotheosis of the suffering of the heroine.
- Chapter 7 - a terrible sentence, a message about the son's exile to Siberia.
- Verse 8 - a mother in a fit of despair calls for death, she wants to sacrifice herself, but save her child from the evil fate.
- Chapter 9 - a prison date, forever imprinted in the memory of an unfortunate woman.
- Chapter 10 - in just a few lines, the poetess draws a deep parallel of the suffering of her son with the torment of the innocent crucified Christ, and compares her maternal pain with the anguish of the Virgin.
- In the epilogue, Akhmatova urges people not to forget the suffering that the people endured during those terrible years of repression.
Genre
The literary genre of the work is a poem. However, Requiem also has characteristic features epic: the presence of a prologue, the main part of the epilogue, a description of several historical eras and drawing parallels between them.
All times have their chroniclers. Well, if there are a lot of them - then the readers of their works have the opportunity to look at events from different angles. And even better, when these chroniclers (even if they don’t even have this name, but are considered poets, prose writers or playwrights) have great talent, are able to convey not only factography, but the inner layers of what is happening: philosophical, ethical, psychological, emotional and etc. Anna Akhmatova was such a poet-chronicler. Her life was not easy. The fate of the “Muse of Lamentation” fell to the revolution and Civil War, Stalinist repressions and the loss of her husband (who was shot), hunger, silence, attempts to discredit her as a poet. But she did not give up, did not run away, did not emigrate, but continued to stay with her people.
At the very beginning of her work, there was no evidence that Anna Akhmatova would ever be able to write the poem "Requiem". Nothing but great talent. It is no coincidence that she (like M. Gumilyov) was recognized as one of the leaders of acmeism, one of modernist movements “Silver Age” of Russian poetry, one of the principles of which was (according to Ogorodny) to take into art those moments that can be eternal. The perfect poetic technique that was cultivated among the acmeists, and their typical tendency to broad generalization, complemented everything in Akhmatova, who at first was limited to the theme of love and subtle psychology, traditional for poetesses.
But life made its own adjustments to the subject, did not allow to be exhausted by personal problems, especially since the causes of the tragedies of Anna Akhmatova were also the causes of the tragedies of the whole people. And the personal was intertwined with the general, and poetic talent allowed turning suffering into incomparable lines of poetry.
I was then with my people,
Where my people were in trouble, -
writes Akhmatova.
So, she was always where thousands of ordinary Soviet women were, and differed from them only in that she had the opportunity to poetically copy what she saw.
The poem "Requiem", one of the central works of the entire work of Anna Akhmatova. It was written after the poetess "spent seventeen months in a prison queue in Leningrad." The poem seems to consist of separate poems, does not have an outwardly constructed plot, but in fact its composition is quite clear, and the transition from one episode-moment even creates a certain through action. The prosaic passage “Instead of a Preface” explains where the idea came from, “Dedication” declares the author’s attitude to the topic and actually what will be discussed in the main part, but already in “Dedication” instead of the pronoun “I” there is “we”:
We don't know, we're the same everywhere
We hear only the hateful rattle of the keys
Yes, steps are heavy soldiers.
So, Anna Akhmatova tells not only about herself, her lyrical heroine- this, besides her, is also all the “involuntary girlfriends” who went through circles of hell from the arrest of loved ones to waiting for the verdict. “No, it's not me, it's someone else who is suffering”, - not only is he moving away from his own state of mind, but again a hint of generalization.
Is it possible to determine who exactly we are talking about in the lines:
This woman is sick
This woman is alone.
Husband in the grave, son in prison,
Pray for me.
Akhmatova creates a generalized portrait of all the women who shared the same fate with her.
And I'm not praying for myself alone
And about everyone who stood there with me -
she writes already in the epilogue, where a peculiar summary of the topic is summed up. The epilogue of the poem is partly also a dedication, it expresses the desire to name all the sufferers by name, but since this is impossible, Anna Akhmatova calls to give them (and not only them) honor in a different way - to remember in terrible times when
... Guiltless Rus' writhed
Under the bloody boots
And under the tires of the black Marusya. just as she swore to remember. She even asked to put a monument to herself there, “where I stood for three hundred hours”, so as not to forget about everything even after death.
Only a memory of this magnitude, only the poet's pain, which readers can feel as their own, can and will act as a fuse to prevent such tragedies in the future. We must not forget the terrible pages of history - they are able to turn around again. But in order not to forget, you need to know about their existence. And it is good that among the hundreds of official poets that glorified the Soviet system, one “mouth with which a hundred million people shouted” was found. This desperate cry is the strongest, because whoever heard it will hardly forget if he has a heart. That's what poetry is sometimes more important than history: to know about any fact is not the same as to feel it with the soul. And that is why any power based on violence tries to destroy the poets, but even killing them physically, it still turns out to be unable to silence them forever.
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Now watching: (module Akhmatova:)All times have their chroniclers. Well, if there are a lot of them - then the readers of their works have the opportunity to look at events from different angles. And even better, when these chroniclers (even if they don’t even have this name, but are considered poets, prose writers or playwrights) have great talent, are able to convey not only factography, but the inner layers of what is happening: philosophical, ethical, psychological, emotional and etc. Anna Akhmatova was such a poet-chronicler. Her life was not easy. The fate of the “Muse of Lamentation” was the revolution and the civil war, the repressions of the Stalin era and the loss of her husband (who was shot), hunger, silence, attempts to discredit her as a poet. But she did not give up, did not run away, did not emigrate, but continued to stay with her people. At the very beginning of her work, there was no evidence that Anna Akhmatova would ever be able to write the poem "Requiem". Nothing but great talent. It is no coincidence that she (like M. Gumilyov) was recognized as one of the leaders of acmeism, one of the modernist movements of the “Silver Age” of Russian poetry, one of the principles of which was (according to Ogorodny) to take into art those moments that can be eternal. The perfect poetic technique that was cultivated among the acmeists, and their typical tendency to broad generalization, complemented everything in Akhmatova, who at first was limited to the theme of love and subtle psychology, traditional for poetesses. But life made its own adjustments to the subject, did not allow to be exhausted by personal problems, especially since the causes of the tragedies of Anna Akhmatova were also the causes of the tragedies of the whole people. And the personal was intertwined with the general, and poetic talent allowed turning suffering into incomparable lines of poetry. I was then with my people, Where my people were in trouble, writes Akhmatova. So, she was always where thousands of ordinary Soviet women were, and differed from them only in that she had the opportunity to poetically copy what she saw. The poem "Requiem", one of the central works of the entire work of Anna Akhmatova. It was written after the poetess "spent seventeen months in a prison queue in Leningrad." The poem seems to consist of separate poems, does not have an outwardly constructed plot, but in fact its composition is quite clear, and the transition from one episode-moment even creates a certain through action. The prosaic passage “Instead of a Preface” explains where the idea came from, “Dedication” declares the author’s attitude to the topic and actually what will be discussed in the main part, but already in “Dedication” instead of the pronoun “I” there is “we”: We We don't know, we are the same everywhere, We only hear the hateful rattle of the keys, Yes, the steps of heavy soldiers. So, Anna Akhmatova tells not only about herself, her lyrical heroine is, besides her, also all the “involuntary friends” who went through circles of hell from the arrest of loved ones to waiting for the verdict. “No, it's not me, it's someone else who is suffering”, - not only is he moving away from his own state of mind, but again a hint of generalization. Is it possible to determine who exactly we are talking about in the lines: This woman is sick, This woman is alone. Husband in the grave, son in prison, pray for me. Akhmatova creates a generalized portrait of all the women who shared the same fate with her. And I pray not for myself alone, but for all those who stood there with me, - she writes already in the epilogue, where a peculiar summary of the topic is summed up. The epilogue of the poem is partly also a dedication, it expresses the desire to name all the sufferers by name, but since this is impossible, Anna Akhmatova calls to give them (and not only them) honor in a different way - to remember in terrible times when ... Guiltless Rus' writhed Under bloody boots And under the tires of the black Marusya. just as she swore to remember. She even asked to put a monument to herself there, “where I stood for three hundred hours”, so as not to forget about everything even after death. Only a memory of this magnitude, only the poet's pain, which readers can feel as their own, can and will act as a fuse to prevent such tragedies in the future. We must not forget the terrible pages of history - they are able to turn around again. But in order not to forget, you need to know about their existence. And it is good that among the hundreds of official poets that glorified the Soviet system, one “mouth with which a hundred million people shouted” was found. This desperate cry is the strongest, because whoever heard it will hardly forget if he has a heart. This is precisely why poetry is sometimes more important than history: to learn about a fact is not the same as to feel it with your soul. And that is why any power based on violence tries to destroy the poets, but even killing them physically, it still turns out to be unable to silence them forever.
Composition
I would like to name everyone
But the list was taken away and there is nowhere to find out.
For them I created a wide cover
Of the poor, they have overheard words.
The main creative and civic achievement of A. A. Akhmatova was the creation of her poem Requiem. The poem consists of several poems connected with each other by one theme, the theme of memory of those who found themselves in prison dungeons in the thirties, and those who courageously endured the arrests of their relatives, the death of relatives and friends, who tried to help them in difficult times.
In the preface, A. Akhmatova tells about the history of the creation of the poem. An unfamiliar woman asked her to describe all the horrors of Yezhov-schina, just like Akhmatova, who was standing in prison lines in Leningrad. And Anna Andreevna responded. And it could not be otherwise, because, as she herself says:
I was then with my people,
Where my people, unfortunately, were.
The repressions of the years fell not only on friends, but also on the Akhmatova family: the son Lev Gumilyov was arrested and exiled, and then the husband N. N. Punin, and earlier, in 1921, the first husband of Anna Andreevna N. Gumilyov was shot .
Husband in the grave, son in prison,
Pray for me...
she writes in the Requiem, and in these lines one can hear the prayer of an unfortunate woman who has lost her loved ones. Mountains bend before this grief, we read in the Dedication to the poem, and we understand that for those who heard only the key hateful rattle and the steps of heavy soldiers, there will never be bright sunlight, fresh wind.
In the Introduction, Akhmatova draws a vivid image of Leningrad, which she imagined as a dangling pendant near prisons, convict regiments that walked through the streets of the city, death stars that stood above it. The bloody boots and tires of the black marus (that was the name of the cars that came at night to arrest the townspeople) crushed innocent Rus'. And she only writhes under them.
Before us is the fate of the mother and son, whose images are correlated with the gospel symbols. Akhmatova expands the temporal and spatial framework of the plot, showing a common human tragedy. We either see a simple woman whose husband is arrested at night, or a biblical Mother, whose Son was crucified. Here before us is a simple Russian woman, in whose memory the cry of children will forever remain, the candle swollen by the goddess, the sweat of death on the face of a loved one who is taken away at dawn. She will cry for him in the same way that archery wives once cried under the walls of the Kremlin. Then suddenly we have before us the image of a woman, so similar to Akhmatova herself, who does not believe that everything is happening to her, the mocker, the favorite of all friends, the Tsarskoye Selo merry sinner. How could she ever think that she would be the 300th in line for the Crosses. And now her whole life is in these lines:
I've been crying for seventeen months
I'm calling you home
I threw myself at the feet of the executioner,
You are my son and my horror.
It is impossible to make out who is the beast, who is the man, because innocent people are arrested, and all the thoughts of the mother involuntarily turn to death.
And then the verdict of a stone word sounds, and it is necessary to kill the memory, make the soul petrified and learn to live again. And the mother again thinks about death, only now about her own. She seems to be her salvation, and it doesn’t matter what form she takes: a poisoned shell, a weight, a typhoid hell, the main thing is that she will save her from suffering and from spiritual emptiness. These sufferings are comparable only to the sufferings of the Mother of Jesus, who also lost her Son.
But Mother understands that this is only madness, because death will not allow
Neither the son's terrible eyes, Petrified suffering, nor the day when the storm came, nor the prison rendezvous, nor the sweet coolness of hands, nor the agitated shadows of lime, nor the distant light sound of the Word of last consolations.
So, you have to live. To live in order to name those who died in Stalin's dungeons, to remember, to remember always and everywhere standing in the bitter cold, and in the July heat under the blinded red wall.
There is a poem in the poem called The Crucifixion. It describes the last moments of Jesus' life, his appeal to his mother and father. There is a misunderstanding of what is happening, and the reader comes to the realization that everything that is happening is meaningless and unfair, because there is nothing worse than the death of an innocent person and the grief of a mother who has lost her son.
A. Akhmatova fulfilled her duty as a wife, mother, poet, telling in a poem about the tragic pages of our history. Biblical motives allowed her to show the scale of this tragedy, the impossibility of forgiving those who did this madness, and the impossibility of forgetting what happened, because it was about the fate of the people, about millions of lives. Thus, the poem Requiem became a monument to the innocent victims and those who suffered with them.
In the poem, A. Akhmatova showed her involvement in the fate of the country. The well-known prose writer B. Zaitsev, after reading the Requiem, said: Could it be possible to imagine ... that this fragile and thin woman would utter such a feminine, maternal cry, a cry not only about herself, but also about all suffering wives, mothers, brides, in general about all crucified? And it is impossible for a lyrical heroine to forget mothers who suddenly turned gray-haired, the howl of an old woman who lost her son, the rumble of black marus. And sounds for all those who died in terrible time repression poem Requiem as a memorial prayer. And as long as people hear her, because the whole hundred million people scream with her, the tragedy that A. Akhmatova talks about will not happen again.
