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Akhmatova Anna - A Collection of Poems
Akhmatova Anna - A Collection of Poems
Akhmatova Anna - A Collection of Poems
BY
ANNA AKHMATOVA
(Born 1889, Died 1966)
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In the Evening
1913
The garden's music ranged to me
With dole that's beyond expression.
The frozen oysters smelled with freshness
And sharpness of the northern sea.
Muse
1924
When, in the night, I wait for her, impatient,
Life seems to me, as hanging by a thread.
What just means liberty, or youth, or approbation,
When compared with the gentle piper's tread?
Music 1958
Something of hea Music vens ever burns in it,
I like to watch its wondrous facets' growth.
It speaks with me in fate's non-seldom fits,
When others fear to approach close.
Reading 'Hamlet'
1
© Copyright, 1996
Translated by Tanya Karshtedt, June 1996,
Edited by Dmitry Karshtedt, July 1996.
Requiem
1935-1940
Not under foreign skies protection
Or saving wings of alien birth –
I was then there – with whole my nation –
There, where my nation, alas! was.
1961
INSTEAD OF A PREFACE
DEDICATION
PROLOGUE
THE SENTENCE
TO DEATH
10
CRUCIFIXION
Don’t weep for me, Mother,
seeing me in a grave.
II
EPILOGUE
II
Let them pray for me, like for them I had prayed,
Before my remembrance day, quiet and sad.
Akhmatova, Anna
(än´n khmä´t v ) , pseud. of Anna Andreyevna Gorenko ( ndrā´ vn gôryĕng´kô) , 1888—1966, Russian poet of the
Acmeist school. Her brief lyrics, simply and musically written in the tradition of Pushkin, attained great popularity. Her themes
were personal, emotional, and often ironic. Among her most popular volumes are Chiotki [the rosary] (1914) and Iva [the
willow tree] (1940). She was married to the Acmeist poet Gumilev until
1918. Akhmatova remained silent for two decades. She began publishing
again at the outbreak of World War II, after which her writings regained
popularity. A courageous critic of Stalinism with a large underground following, she was harshly denounced by the Soviet
regime in 1946 and 1957 for "bourgeois decadence."
Bibliography
See her Selected Poems (tr. 1969), Poems of Akhmatova (tr. 1973), and The Complete Poems of Anna Akhmatova (1990, in
Russian and English translation); biography by R. Reeder (1995); study by S. N. Driver (1972).
Akhmatova, Anna,
pseudonym of ANNA ANDREYEVNA GORENKO (b. June 11 [June 23, New Style],
1889, Bolshoy Fontan, near Odessa, Ukraine, Russian Empire--d. March 5, 1966,
Domodedovo, near Moscow), Russian poet recognized at her death as the greatest
woman poet in Russian literature.
Akhmatova began writing verse at the age of 11 and at 21 became a member of the
Acmeist group of poets, whose leader, Nikolay Gumilyov, she married in 1910 but
divorced in 1918. The Acmeists, through their periodical Apollon ("Apollo"; 1909-17),
rejected the esoteric vagueness and affectations of Symbolism and sought to replace
them with "beautiful clarity," compactness, simplicity, and perfection of form--all
qualities in which Akhmatova excelled from the outset. Her first collections, Vecher
(1912; "Evening") and Chyotki (1914; "Rosary"), especially the latter, brought her
fame. While exemplifying the best kind of personal or even confessional poetry, they
achieve a universal appeal deriving from their artistic and emotional integrity.
Akhmatova's principal motif is love, mainly frustrated and tragic love, expressed with
an intensely feminine accent and inflection entirely her own.
Later in her life she added to her main theme some civic, patriotic, and religious motifs
but without sacrifice of personal intensity or artistic conscience. Her artistry and
increasing control of her medium were particularly prominent in her next collections:
Belaya staya (1917; "The White Flock"), Podorozhnik (1921; "Plantain"), and Anno
Domini MCMXXI (1922). This amplification of her range, however, did not prevent
official Soviet critics from proclaiming her "bourgeois and aristocratic," condemning
her poetry for its narrow preoccupation with love and God, and characterizing her as
half nun and half harlot. The execution in 1921 of her former husband, Gumilyov, on
charges of participation in an anti-Soviet conspiracy (the Tagantsev affair) further
complicated her position. In 1923 she entered a period of almost complete poetic silence
and literary ostracism, and no volume of her poetry was published in the Soviet Union
until 1940. In that year several of her poems were published in the literary monthly
Zvezda ("The Star"), and a volume of selections from her earlier work appeared under
the title Iz shesti knig ("From Six Books"). A few months later, however, it was abruptly
withdrawn from sale and libraries. Nevertheless, in September 1941, following the
German invasion, Akhmatova was permitted to deliver an inspiring radio address to the
women of Leningrad [St. Petersburg]. Evacuated to Tashkent soon thereafter, she read
her poems to hospitalized soldiers and published a number of war-inspired lyrics; a
small volume of selected lyrics appeared in Tashkent in 1943. At the end of the war she
returned to Leningrad, where her poems began to appear in local magazines and
newspapers. She gave poetic readings, and plans were made for publication of a large
edition of her works.
In August 1946, however, she was harshly denounced by the Central Committee of the
Communist Party for her "eroticism, mysticism, and political indifference." Her poetry
was castigated as "alien to the Soviet people," and she was again described as a "harlot-
nun," this time by none other than Andrey Zhdanov, Politburo member and the director
of Stalin's program of cultural restriction. She was expelled from the Union of Soviet
Writers; an unreleased book of her poems, already in print, was destroyed; and none of
her work appeared in print for three years.
Then, in 1950, a number of her poems eulogizing Stalin and Soviet communism were
printed in several issues of the illustrated weekly magazine Ogonyok ("The Little
Light") under the title Iz tsikla "Slava miru" ("From the Cycle 'Glory to Peace' "). This
uncharacteristic capitulation to the Soviet dictator--in one of the poems Akhmatova
declares: "Where Stalin is, there is Freedom, Peace, and the grandeur of the earth"--was
motivated by Akhmatova's desire to propitiate Stalin and win the freedom of her son,
Lev Gumilyov, who had been arrested in 1949 and exiled to Siberia. The tone of these
poems (those glorifying Stalin were omitted from Soviet editions of Akhmatova's works
published after his death) is far different from the moving and universalized lyrical
cycle, Rekviem ("Requiem"), composed between 1935 and 1940 and occasioned by
Akhmatova's grief over an earlier arrest and imprisonment of her son in 1937. This
masterpiece--a poetic monument to the sufferings of the Soviet peoples during Stalin's
terror--was published in Moscow in 1989.
In the cultural "thaw" following Stalin's death, Akhmatova was slowly and ambivalently
rehabilitated, and a slim volume of her lyrics, including some of her translations, was
published in 1958. After 1958 a number of editions of her works, including some of her
brilliant essays on Pushkin, were published in the Soviet Union (1961, 1965, two in
1976, 1977); none of these, however, contains the complete corpus of her literary
productivity. Akhmatova's longest work, Poema bez geroya ("Poem Without a Hero"),
on which she worked from 1940 to 1962, was not published in the Soviet Union until
1976. This difficult and complex work is a powerful lyric summation of Akhmatova's
philosophy and her own definitive statement on the meaning of her life and poetic
achievement.
In 1964 she was awarded the Etna-Taormina prize, an international poetry prize
awarded in Italy, and in 1965 she received an honorary doctoral degree from Oxford
University. Her journeys to Sicily and England to receive these honours were her first
travel outside her homeland since 1912. Akhmatova's works were widely translated, and
her international stature continued to grow after her death. A two-volume edition of
Akhmatova's collected works was published in Moscow in 1986, and The Complete
Poems of Anna Akhmatova, also in two volumes, appeared in 1990.
BIBLIOGRAPHY.
Winter 1919
-- translated by Judith Hemschemeyer
To the Many
I -- am your voice, the warmth of your breath,
I -- am the reflection of your face,
The futile trembling of futile wings,
I am with you to he end, in any case.
September 1922
-- translated by Judith Hemschemeyer
Watery--the mignonette,
and like an apple--love,
but we have found out forever
that blood smells only of blood.
1933
--Translated by Jane Kenyon
Twenty Poems of Anna Akhmatova
Originally published (in the Russian) in the book Reed, 1924
Autumn 1917
1889
Born Anna Gorenko to father Andrei, a maritime
engineer, and to mother Inna Stogova, a former
member of the revolutionary group the People's
Will.
1903
Meets Gumilev, her future husband
1907
Graduates from Fundukleevskaya Gimnazia in
Kiev, after having attended Tsarskoe Selo for a
number of years
Her first poem appears in Sirius, Gumilev's
journal, and begins to participate in the Guild of
Poets, the group that would spawn the Acmeist
movement
1910
Marries Gumilev and they travel to Paris where
they meet the then unknown Modigliani, who
painted a drew Akhmatova a number of times
(see left)
1912
First collection Evening appears under the
pseudonym Anna Akhmatova, a name she
takes from her Tatar grandmother. This
collection highlighted the intimate, colloquial,
romantic voice that would characterize much of
her early poetry
Son Lev is born
1914
Second collection Rosary appears Gumilev
leaves her to join the Cavalry
1915
Writes "By the Very Sea"
Marries Vladimir Shileiko, who tries to stop her
writing by burning her poems
1917
Publishes The White Flock, in which her use of
fire thematics come to the fore, and her tone
becomes more severe
1921
Gumilev executed for involvement in
counterrevolutionary plot
1922
Publishes Anno Domini, in which her use of
religious themes increase
She becomes unable to publish, as a forced
silence begins because her apolitical work was
thought incompatible with the new regime
1926-1940
Lives with art critic Nikolai Punin
Works on cycle Reed, poems dedicated to
Mandelstam, Pasternak, and Dante
1928
Officially divorces Shileiko
1935-40
1940
A reprint and new cycle of poems Six Books
appears, but is quickly recalled
Begins writing "Poem without a Hero" on which
she works until her death. This would be her
most dense, complex and layered poem
1943
Evacuated to Tashkent form Leningrad, volume
Selected Verses appears there
1955(?)
Son released from prison and rehabilitated
1958
Edition with new work The Course of Time
appears under her supervision; Seventh Book,
including "Poem without a Hero" also included
1964
Italy awards her Taormina Prize for poetry
1965
Awarded honorary degree by Oxford University
1966
Dies in Domodedovo, as the grande dame of
Russian verse, a patron to young poets such as
Brodsky and Voznesensky
The poet with brother, c.
1905
Sketches of Akhmatova by
Modigliani made in 1911
Solitude
So many stones have been thrown at me,
That I'm not frightened of them anymore,
And the pit has become a solid tower,
Tall among tall towers.
I thank the builders,
May care and sadness pass them by.
From here I'll see the sunrise earlier,
Here the sun's last ray rejoices.
And into the windows of my room
The northern breezes often fly.
And from my hand a dove eats grains of wheat...
As for my unfinished page,
The Muse's tawny hand, divinely calm
And delicate, will finish it.
1915
Lying in me
Lying in me, as though it were a white
Stone in the depths of a well, is one
Memory that I cannot, will not, fight:
It is happiness, and it is pain.
White Night
I haven't locked the door,
Nor lit the candles,
You don't know, don't care,
That tired I haven't the strength
To decide to go to bed.
Seeing the fields fade in
The sunset murk of pine-needles,
And to know all is lost,
Departure
Although this land is not my own,
I will remember its inland sea
and the waters that are so cold
Crucifix
Do not cry for me, Mother, seeing me in the grave.
II
Magdalena struggled, cried and moaned.
Peter sank into the stone trance...
Only there, where Mother stood alone,
None has dared cast a single glance.
Requiem
Translation by Judith Hemschemeyer¹
1961
Instead of a Preface
In the terrible years of the Yezhov terror, I spent seventeen months in the prison lines of
Leningrad.
Once, someone “recognized” me. Then a woman with bluish lips standing behind me, who l
of course, had never heard me called by name before, woke up from the stupor to which
everyone had succumber and whispered in my ear (everyone spoke in whispers there):
“Can you describe this?”
And I answered, “Yes, I can.”
Then something that looked like a smile passed over what had once been her face.
April 1, 1957
Leningrad
Dedication
Mountians bow down to this grief,
Mighty rivers cease to flow,
But the prison gates hold firm,
And behind htem are the “prisoners’ burrows”
And mortal woe,
For someone a fresh breeze blows,
For someone the sunset luxuriates –
We wouldn’t know, we are those who everywhere
Hear only the rasp of the hateful key
And the soldiers’ heavy tread.
We rose as if for an early service,
Trudged through the savaged capital
And met there, more lifeless than the dead;
The sun is lower and the Neva mistier,
But hope keeps singing from afar.
The verdict . . . And her tears gush forth,
Already she is cut off from the rest,
As if they painfully wrenched life from her heart,
As if they brutally knocked her flat,
But she goes on . . . Staggering . . . Alone . . .
Where now are my chance firneds
Of those two diabolical years?
What do they imagine is in Siberia’s storms,
What appears to them dimly in the circle of the moon?
I am sending my farewell greeting to them.
March 1940
Prologue
I
They led you away at dawn,
I followed you, like a mourner,
In the dark front room the children were crying,
By the icon shelf the candle was dying.
On your lips was the icon’s chill.
The deathly sweat on your brow . . . Unforgettable! –
I will be like the wives of the Streltsyi[i]
Howling under the Kremlin towers.
1935
II
III
1940
IV
1939
VI
1939
VII
The Sentence
And the stone word fell
On my still-living breast.
Never mind, I was ready,
I will manage somehow.
VIII
To Death
IX
May 4, 1940
Fountain House
X
Crucifixion
I am in the grave.”
1
A choir of angels sang the praises of that
momentous hour,
And the heavens dissolved in fire.
To his Father He said: “Why hast Thou forsaken me!”
And to his Mother: “Oh, do not weep for Me…”
1940
Fountain House
1943
Tashkent
Epilogue I
Epilogue II
March 1940
Willow
In 1940
Stanza 5
So again we triumph!
Again we do not come!
Our speeches silent,
Our words, dumb.
Our eyes that have not met
Again, are lost;
And only tears forget
The grip of frost.
A wild-rose bush near Moscow
Knows something of
This pain that will be called
Immortal love.
1956
¹
i
ii