And Nna Akhmatova wrote about herself that she was born in the same year as Charlie Chaplin, Tolstoy’s “Kreutzer Sonata” and the Eiffel Tower. She witnessed the change of eras - she survived two world wars, a revolution and the siege of Leningrad. Akhmatova wrote her first poem at the age of 11 - from then until the end of her life she did not stop writing poetry.
Literary name - Anna Akhmatova
Anna Akhmatova was born in 1889 near Odessa into the family of a hereditary nobleman, retired naval mechanical engineer Andrei Gorenko. The father was afraid that his daughter’s poetic hobbies would disgrace his family name, so at a young age the future poetess took a creative pseudonym - Akhmatova.
“They named me Anna in honor of my grandmother Anna Egorovna Motovilova. Her mother was a Chingizid, the Tatar princess Akhmatova, whose surname, not realizing that I was going to be a Russian poet, I made my literary name.”
Anna Akhmatova
Anna Akhmatova spent her childhood in Tsarskoe Selo. As the poetess recalled, she learned to read from Leo Tolstoy’s “ABC,” and began speaking French while listening to the teacher teach her older sisters. The young poetess wrote her first poem at the age of 11.
Anna Akhmatova in childhood. Photo: maskball.ru
Anna Akhmatova. Photos: maskball.ru
Gorenko family: Inna Erasmovna and children Victor, Andrey, Anna, Iya. Photo: maskball.ru
Akhmatova studied at the Tsarskoye Selo Women's Gymnasium “at first it’s bad, then it’s much better, but always reluctantly”. In 1905 she was home schooled. The family lived in Yevpatoria - Anna Akhmatova’s mother separated from her husband and went to the southern coast to treat tuberculosis that had worsened in children. In the following years, the girl moved to relatives in Kyiv - there she graduated from the Fundukleevsky gymnasium, and then enrolled in the law department of the Higher Women's Courses.
In Kyiv, Anna began to correspond with Nikolai Gumilyov, who courted her back in Tsarskoe Selo. At this time, the poet was in France and published the Parisian Russian weekly Sirius. In 1907, Akhmatova’s first published poem, “On His Hand There Are Many Shining Rings...”, appeared on the pages of Sirius. In April 1910, Anna Akhmatova and Nikolai Gumilev got married - near Kiev, in the village of Nikolskaya Slobodka.
As Akhmatova wrote, “No other generation has had such a fate”. In the 30s, Nikolai Punin was arrested, Lev Gumilyov was arrested twice. In 1938, he was sentenced to five years in forced labor camps. About the feelings of the wives and mothers of “enemies of the people” - victims of repressions of the 1930s - Akhmatova later wrote one of her famous works - the autobiographical poem “Requiem”.
In 1939, the poetess was accepted into the Union of Soviet Writers. Before the war, Akhmatova’s sixth collection, “From Six Books,” was published. “The Patriotic War of 1941 found me in Leningrad”, - the poetess wrote in her memoirs. Akhmatova was evacuated first to Moscow, then to Tashkent - there she spoke in hospitals, read poetry to wounded soldiers and “greedily caught news about Leningrad, about the front.” The poetess was able to return to the Northern capital only in 1944.
“The terrible ghost pretending to be my city amazed me so much that I described this meeting of mine with him in prose... Prose has always seemed to me both a mystery and a temptation. From the very beginning I knew everything about poetry - I never knew anything about prose.”
Anna Akhmatova
"Decadent" and Nobel Prize nominee
In 1946, a special Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks was issued “On the magazines “Zvezda” and “Leningrad” - for “providing a literary platform” for “unprincipled, ideologically harmful works.” It concerned two Soviet writers - Anna Akhmatova and Mikhail Zoshchenko. They were both expelled from the Writers' Union.
Kuzma Petrov-Vodkin. Portrait of A.A. Akhmatova. 1922. State Russian Museum
Natalia Tretyakova. Akhmatova and Modigliani at an unfinished portrait
Rinat Kuramshin. Portrait of Anna Akhmatova
“Zoshchenko portrays Soviet orders and Soviet people in an ugly caricature, slanderously presenting Soviet people as primitive, uncultured, stupid, with philistine tastes and morals. Zoshchenko’s maliciously hooligan portrayal of our reality is accompanied by anti-Soviet attacks.
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Akhmatova is a typical representative of empty, unprincipled poetry, alien to our people. Her poems, imbued with the spirit of pessimism and decadence, expressing the tastes of the old salon poetry, frozen in the positions of bourgeois-aristocratic aesthetics and decadence, “art for art’s sake,” which does not want to keep pace with its people, harm the education of our youth and cannot be tolerated in Soviet literature".Excerpt from the Resolution of the Organizing Bureau of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad”
Lev Gumilyov, who after serving his sentence volunteered to go to the front and reached Berlin, was again arrested and sentenced to ten years in forced labor camps. Throughout his years of imprisonment, Akhmatova tried to achieve the release of her son, but Lev Gumilyov was released only in 1956.
In 1951, the poetess was reinstated in the Writers' Union. Having never had her own home, in 1955 Akhmatova received a country house in the village of Komarovo from the Literary Fund.
“I didn’t stop writing poetry. For me, they represent my connection with time, with the new life of my people. When I wrote them, I lived by the rhythms that sounded in the heroic history of my country. I am happy that I lived during these years and saw events that had no equal.”
Anna Akhmatova
In 1962, the poetess completed work on “Poem without a Hero,” which she wrote over 22 years. As the poet and memoirist Anatoly Naiman noted, “Poem without a Hero” was written by the late Akhmatova about the early Akhmatova - she recalled and reflected on the era she found.
In the 1960s, Akhmatova's work received wide recognition - the poetess became a Nobel Prize nominee and received the Etna-Taormina literary prize in Italy. Oxford University awarded Akhmatova an honorary doctorate of literature. In May 1964, an evening dedicated to the 75th anniversary of the poetess was held at the Mayakovsky Museum in Moscow. The following year, the last lifetime collection of poems and poems, “The Running of Time,” was published.
The illness forced Anna Akhmatova to move to a cardiological sanatorium near Moscow in February 1966. She passed away in March. The poetess was buried in the St. Nicholas Naval Cathedral in Leningrad and buried at the Komarovskoye cemetery.
Slavic professor Nikita Struve
What is the creative fate of the main collections of poems by A. Akhmatova?
The first book of poems by Anna Akhmatova, “Evening,” was published in March 1912 in the publication of the “Workshop of Poets” with a circulation of 300 copies. The preface to it was written by the poet M.A. Kuzmin. Frontispiece by artist E.E. Lansere, screensavers by A.Ya. Beloborodova. The book includes 46 poems, written mainly in 1910-1911, 14 of them were published in magazines in 1911. The creative history of Akhmatova’s preparation of her first collection of poetry can be restored in general terms thanks to her later autobiographical notes, as well as by studying the few surviving autographs of the poems included in the book “Evening”.
In the 1950s Akhmatova recalled that she began writing poetry at age 11; she wrote them “with rather long breaks” during her years of study at the Tsarskoye Selo gymnasium (1900-1905), at the Kyiv Fundukleevskaya gymnasium (1906-1907) and at the Kyiv Higher Women's Courses (1908-1910). However, until the winter of 1910/11. the quality of the poems, in her words, “was so deplorable that even the madly in love Gumilyov was not able to praise them.” “Then,” recalls Akhmatova, “the following happened: I read the proof of “The Cypress Casket” (by I.F. Annensky) (when I came to St. Petersburg at the beginning of 1910) and understood something about poetry.” “When on March 25, 1911, Gumilyov returned from Adis Ababa and I read to him what later became called “Evening,” he immediately said: “You are a poet, you need to make a book.”
The composition of Akhmatova's first collection of poems was the result of a very strict selection. From her youth, she, then still Anna Gorenko (the pseudonym Anna Akhmatova first appears in 1910), wrote down the texts of the poems she composed in special notebooks, “for an unknown purpose, putting numbers above them.” “As a curiosity, I can report,” she wrote half a century later, “that, judging by the surviving manuscript, “Song of the Last Meeting” is my two hundredth poem.” These notebooks have not reached us. At the end of the 1940s. Akhmatova burned them. However, before destruction, she tore out several sheets of paper from different notebooks and kept them in her archive. Judging by the numbers of the surviving texts, from December 1910 to September 1911 (from “The Gray-Eyed King” to “The Song of the Last Meeting”) she wrote about 80 poems: no more than 35 of them are included in “Evening”.
The book “Evening” was met with favorable reviews in the press (reviews by V.Ya. Bryusov, S.M. Gorodetsky, G.I. Chulkov, etc.) and sold out very quickly. However, subsequently Akhmatova never completely republished the poems from this book. Selected “Poems” from the book “Evening” were included as a separate section in her next book, “The Rosary” (1914). In her last lifetime collection, “The Running of Time” (1965), Akhmatova included 24 poems from the original composition of the book “Evening.” At the same time, in “The Running of Time,” the book “Evening” opens with seven poems that were not in the 1912 edition. Their creative history is quite complex. None of them were known until the mid-1940s. In workbooks 1956-1960. contains rough autographs of some of these poems with the author's dates "1909" and "1910". Apparently, many decades later, Akhmatova recalled her early, previously unpublished poems and, recording them in workbooks, continued to work on them, changing individual words and entire lines. She published some of these “remembered” poems in magazines in the post-war years, included them in her collections of 1958 and 1961, and then in “The Running of Time.” As can be seen from the plans for publications preserved in the workbooks of 1959-1961, Akhmatova intended to combine these poems into a separate section or cycle “Foreshadowing. From the first (Kyiv) notebook" preceding "Evening", however, in the collection "The Running of Time" this plan was not realized, and these verses open the book "Evening".
The second book of poems, “The Rosary,” which appeared two years after “Evening,” brought Akhmatova all-Russian fame and determined her place in the forefront of modern Russian poetry. The first edition of “The Rosary” was published in the spring of 1914 by the Hyperborey publishing house with a considerable circulation of 1000 copies for that time; until 1923, “The Rosary” was reprinted 8 more times with some changes in the composition and arrangement of the poems. Poems from “The Rosary” were reprinted many times in lifetime and posthumous editions of Akhmatova’s selected works. Many of them have been translated into foreign languages and have firmly entered the golden fund of world lyric poetry. Of the numerous (mostly approving) press reviews, Akhmatova considered the most profound and insightful article by the critic and poet N.V. Nedobrovo (Russian Thought. 1915. No. 7), who saw in the poetry of “The Rosary” “a lyrical soul that is rather hard than too soft, rather cruel than tearful, and clearly dominant rather than oppressed.”
The third book of Akhmatova’s poems, “The White Flock,” was published in September 1917 by the Hyperborey publishing house with a circulation of 2,000 copies. It includes 83 poems and the poem “By the Sea.” Most of the poems were previously published in magazines and almanacs. In 1918-1923 3 more editions of “The White Flock” were published, slightly different from the first edition in the composition and arrangement of poems. Due to the conditions of war and revolutionary times, relatively few responses to the book appeared in the press, but its reader success was no less than that of “The Rosary.” Attentive readers and later critics noted the strengthening of the classical, Pushkin principle in the poetry of the White Flock, Akhmatova’s desire to rise above the fleeting and everyday, to approach deep psychological and ethical generalizations. The range of her love lyrics expanded: along with poems about unrequited and lost love, especially characteristic of “Evening” and “Rosary”, jubilant lines about all-conquering, healing love, filling life with meaning and light were heard. Akhmatova’s poems revealed the themes of the Motherland and war, memory and conscience in a new way. The poet O.E. felt this earlier and more deeply than others. Mandelstam. In an article from 1916, which remained unpublished at that time, he wrote that “a different time has come for Akhmatova... Currently, her poetry is close to becoming one of the symbols of the greatness of Russia.”
Akhmatova’s fourth book of poems, “The Plantain,” was published in April 1921. in the publishing house "Petropolis" with a circulation of 1000 copies, cover by M.V. Dobuzhinsky. The book contains 38 poems. "The Plantain" was reprinted twice in 1922 and 1923. as a separate section in Akhmatova’s next book of poems, “Anno Domini”.
In November 1921, the Petropolis publishing house published the fifth book of Akhmatova’s poems, “Anno Domini MSMXXI” (“In the Summer of the Lord 1921”). The book consisted of three sections. The first, entitled the same as the rest of the book, included poems written in 1921; the second, “The Voice of Memory,” also contained earlier poems; the third was a reprint of the book "Plantain". A year later, a second, expanded edition of the book was published under the title “Anno Domini” (as the book of the 3rd collection of Akhmatova’s poems, published jointly by the Petropolis and Alkonost publishing houses). Due to the typographical difficulties then experienced by Soviet Russia, this book, as and many others, published in Berlin. The second edition was supplemented by a first section entitled “New Poems”; the three subsequent sections were reprinted from the first edition without changes. When preparing the collection “The Running of Time,” Akhmatova additionally included in the book “Anno Domini” a number of poems from different times that had not previously been published.
The sixth book of Akhmatova’s poems was being prepared for publication on the eve of the Great Patriotic War and was supposed to include poems written in the 17 years that had passed since the publication of the book “Anno Domini”. These years were difficult in Akhmatova’s life and work. After the creative upsurge of 1921-1922, a long decline began. In 12 years (1923-1934) she wrote no more than 20 poems. During this period, almost no new or old poems appeared in print. During these years, Akhmatova studied the works of Pushkin, the architecture of St. Petersburg, and translations. A new creative upsurge began in the mid-1930s. In 1940, a collection of selected poems by Akhmatova, “From Six Books,” was published. In it, the sixth book was called “Willow” and opened with a poem of the same name.
Akhmatova began preparing the seventh book of poems during the Great Patriotic War, while in evacuation in Tashkent. According to the original plan, the book was to be called “Odd.” Later, one of the sections of the “Seventh Book” received this name. In the early 60s. Akhmatova intended to title the new book “The Running of Time,” but later she gave this title to a collection of selected poems, published in 1965 and including poems from all seven books. The “Seventh Book” made up the last section in it. Several plans for the “Seventh Book” from the 50s and early 60s have been preserved in Akhmatova’s archive. with different arrangements of poems and cycles included in it. The composition and complex structure of The Seventh Book took shape in its final form in The Running of Time.
1. In 1965, Akhmatova’s last lifetime collection of poems, “The Running of Time,” was published, which aroused the delight of many admirers.
2. "Percussion Instruments" by E. Denisov
3. The poem “I don’t regret, I don’t call, I don’t cry...” was written by S.A. Yesenin in 1921. Its genre is elegy, the poem belongs to philosophical lyrics. Compositionally, it is built on the basis of antithesis. The youth of the lyrical hero is contrasted with mature age, the age of “autumn”. This theme of the transience of life unfolds in the poem gradually, gaining momentum in each stanza. At first, the lyrical hero notes how fleeting time is, he seems to be recording his age: I don’t regret, I don’t call, I don’t cry, Everything will pass like smoke from white apple trees. Withered in gold, I will no longer be young. Then he turns to the “heart,” to the “vagrant spirit,” noting the cooling of feelings, the stinginess of desires. In the voice of the lyrical hero one can hear mental fatigue and melancholy notes. His feelings are emphasized by multiple negations (triple negation in the first stanza and two negations further). The appeal to one’s “lost freshness” and to life is the culmination in the poem in developing the theme of the transience of time: Oh, my lost freshness, Riot of eyes and flood of feelings! Have I now become stingier in my desires, my life? or did I dream about you? As if I rode on a pink horse in the echoing early spring. This image of a pink horse symbolizes the poet’s youth, her dreams and ideals, the tenderness of her soul. At the same time, the lyrical hero here is aware of the signs of the illusory nature of life in general. The last stanza completes the development of the motif and is a kind of denouement, coloring the entire work with a completely different intonation: All of us, all of us in this world are perishable, Copper quietly pours from the maple leaves... May you be blessed forever, That has come to flourish and die. There is no longer denial here, but there is affirmation, affirmation of the rationality of life, time and nature. Thus, antitheticalness is present in every stanza of the poem. In addition, two natural images (“white apple trees smoke” and maple “copper leaves”) create a ring composition in Yesenin.
1. It is known that A.A. Akhmatova is a pseudonym. What is the real name of the poetess?
A.Anna Versilova
B.Anna Snegina
IN.Anna Suvorina
G.
Anna Gorenko
2. Which famous poet was A. Akhmatova’s husband?
A. Blok
M. Sholokhov
N. Gumilev
O. Mandelstam
3. What was the name of the first published collection of poems by A. Akhmatova?
Beads
Evening
Plantain
Anno Domini
4. In line with what literary direction did the poetic skill of A. A. Akhmatova develop (in her youth)?
futurism
acmeism
imagism
symbolism
5.
Indicate the first published collection of poems by A.A. Akhmatova.
"Lyrical Pantheon"
"Beads"
"Evening"
"White Flock"
6. Indicate what is the main theme of Akhmatova’s early works.
Love
building a new society
Tocritique of bourgeois morality
nature
7. Which collection included A.A. Akhmatova’s poem “Song of the Last Meeting”:
"Evening",
"Beads",
"Plantain",
"White Flock"
8.
Lyrics by A.A. Akhmatova is distinguished by deep psychologism. What poetic devices help the author convey the inner state of the characters?
My chest was so helplessly cold,
But my steps were light.
I put it on my right hand
Glove from the left hand.
It seemed like there were a lot of steps,
And I knew - there are only three of them!
symbol
portrait
household item
scenery
9. Lyrical heroine of A. Akhmatova:
A woman surrounded by everyday life and the cares of her heart.
Revolutionary fighter.
A woman immersed in feelings, intimate experiences of personal destiny .
10. In what years was the poem by A.A. created? Akhmatova's "Requiem"?
1917-1930
1935-1940
1959-1961
1938-1958
11. How many poems were included in the poem "Requiem"?
15
12. The theme of the monument is heard in the poem “Requiem”. Who wants to “install” a monument to A. A. Akhmatov?
victorious people
people's suffering
to myself
new government
13. Indicate which biblical name appears in the Requiem.
Magdalene
Joseph
Job
Shulamith
14. Indicate the last lifetime collection of poems by A.A. Akhmatova.
"Anno Domini"
"Plantain"
"Running of Time"
"Cane".
15. In the poem “I had a voice” (1917) A. Akhmatova spoke:
As a passionate civic poet who expressed the voice of the intelligentsia who made a choice and remained with their native country .
As a poet who understood and accepted the revolution.
16. A. Akhmatova has a collection of poems “Anno Domini”, which translated means “Summer of the Lord”. Which Russian writer has a work with the same title?
N. Gumileva
I. Shmeleva
A. Blok
A. Tvardovsky
17. What poem did A. Akhmatova write for 22 years?
"Requiem"
«
A poem without a hero"
"Running of Time"
Anna Andreevna Akhmatova
(surname at birth - Gorenko; June 11, 1889, Odessa, Russian Empire - March 5, 1966, Domodedovo, Moscow region, RSFSR, USSR) - one of the largest Russian poets of the 20th century, writer, literary critic, literary critic, translator.
The poet's fate was tragic. Although she herself was not imprisoned or exiled, three people close to her were subjected to repression (her husband in 1910-1918, N.S. Gumilyov, was shot in 1921; Nikolai Punin, her life partner in the 1930s, was arrested three times , died in a camp in 1953; only son Lev Gumilyov spent more than 10 years in prison in the 1930s-1940s and in the 1940s-1950s). The grief of the widow and mother of imprisoned “enemies of the people” is reflected in one of Akhmatova’s most famous works, the poem “Requiem.”
Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was subjected to silence, censorship and persecution; many of her works were not published not only during the author’s lifetime, but also for more than two decades after her death. Even during her lifetime, her name was surrounded by fame among wide circles of poetry admirers both in the USSR and in emigration.
Biography
Akhmatova was adjacent to Acmeism (collections “Evening”, 1912, “Rosary”, 1914). Loyalty to the moral foundations of existence, the psychology of female feelings, comprehension of the national tragedies of the 20th century, coupled with personal experiences, attraction to the classical style of poetic language in the collection “The Running of Time. Poems. 1909-1965". Autobiographical cycle of poems “Requiem” (1935-1940; published 1987) about the victims of repression of the 1930s. In “Poem without a Hero” (published in full 1976) there is a recreation of the “Silver Age” era. Articles about the Russian poet Alexander Sergeevich Pushkin.
Family. Childhood. Studies. Anna Akhmatova born June 23, 1889, in Bolshoy Fontan, near Odessa. Her ancestors on her mother’s side, according to family legend, went back to the Tatar Khan Akhmat. His father was a mechanical engineer in the navy and occasionally dabbled in journalism. As a child, Akhmatova lived in Tsarskoe Selo, where in 1903 she met Nikolai Stepanovich Gumilyov and became a regular recipient of his poems. In 1905, after her parents’ divorce, she moved to Evpatoria. In 1906-1907, Anna Andreevna studied at the Fundukleevskaya gymnasium in Kyiv, in 1908-1910 - at the law department of the Kyiv Higher Women's Courses. Then she attended N.P. Raev’s women’s historical and literary courses in St. Petersburg (early 1910s).
Gumilev. In the spring of 1910, after several refusals, Anna Akhmatova agreed to become Gumilyov’s wife (in 1910-1916 she lived with him in Tsarskoye Selo); On her honeymoon she made her first trip abroad, to Paris (she visited there again in the spring of 1911), met Amedeo Modigliani, who made pencil portrait sketches of her. In the spring of 1912, the Gumilevs traveled around Italy; their son Lev was born in September. In 1918, having divorced Gumilev (the marriage actually broke up in 1914), Akhmatova married Assyriologist and poet Vladimir Kazimirovich Shileiko (real name Voldemar). 
Anna Akhmatova's first publications. First collections. Writing poetry from the age of 11 and publishing from the age of 18 (the first publication was in the Sirius magazine published by Gumilyov in Paris, 1907), Akhmatova first announced her experiments to an authoritative audience in the summer of 1910. Defending spiritual independence from the very beginning of her family life, Anna made an attempt to get published without Gumilyov’s help - in the fall of 1910 she sent poems to V. Ya. Bryusov’s “Russian Thought”, asking whether she should study poetry, then gave poems to the magazines “Gaudeamus”, “General Journal”, “Apollo”, which, in contrast from Bryusov, they were published. Upon Gumilyov’s return from his African trip, Akhmatova reads to him everything he had written over the winter and for the first time received full approval for her literary experiments. From that time on, she became a professional writer. Her collection “Evening,” released a year later, gained very early success. In the same 1912, participants had recently 
The so-called “Workshop of Poets” (Akhmatova was elected its secretary) announced the emergence of the poetic school of Acmeism.
Under the sign of growing metropolitan fame, Akhmatova’s life passed in 1913: Anna spoke to a crowded audience at the Higher Women’s Courses, her portraits were painted by artists, and poets addressed her with poetic messages. New, more or less long-lasting intimate attachments of Akhmatova arose - to the poet and critic N.V. Nedobrovo, to the composer A.S. Lurie and others. In 1914, Anna Akhmatova’s second collection, “The Rosary” (reprinted about 10 times), brought her All-Russian fame, which gave rise to numerous imitations, which established the concept of “Akhmatov’s line” in the literary consciousness. In the summer of 1914, Akhmatova wrote the poem “Near the Sea,” which goes back to her childhood experiences during summer trips to Chersonesus near Sevastopol.
"White Flock". With the outbreak of World War I, Anna Akhmatova sharply limited her public life. At this time she suffered from tuberculosis, a disease that did not let her go for a long time. In-depth reading of the classics (A.S. Pushkin, Evgeniy Abramovich Baratynsky, Jean Racine, etc.) affects her poetic manner, the acutely paradoxical style of quick psychological sketches gives way to neoclassical solemn intonations. Insightful criticism discerns in her collection “The White Flock” (1917) a growing “sense of personal life as a national, historical life.” Inspiring an atmosphere of “mystery” and an aura of autobiographical context in her early poems, Anna Andrevna introduced free “self-expression” as a stylistic principle into high poetry. The apparent fragmentation, disorganization, spontaneity of lyrical experience is more and more clearly subordinated to a strong integrating principle, which gave Vladimir Vladimirovich Mayakovsky a reason to note: “Akhmatova’s poems are monolithic and will withstand the pressure of any voice without cracking.”
Post-revolutionary years. The first post-revolutionary years in the life of Anna Akhmatova were marked by hardships and complete separation from the literary environment, but in the fall of 1921, after the death of Blok and the execution of Gumilyov, she, having parted with Shileiko, returned to active work - participated in literary evenings, in the work of writers' organizations, and published in periodicals . In the same year, two of her collections were published - “Plantain” and “Anno Domini. MCMXXI". In 1922, for a decade and a half, Akhmatova united her fate with art critic Nikolai Nik 
Olaevich Punin.
Years of silence. "Requiem". In 1924, Akhmatova’s new poems were published for the last time before a multi-year break, after which an unspoken ban was imposed on her name. Only translations appeared in print, as well as an article about Pushkin’s “The Tale of the Golden Cockerel.” In 1935, her son L. Gumilyov and Punin were arrested, but after Akhmatova’s written appeal to Stalin they were released. In 1937, the NKVD prepared materials to accuse her of counter-revolutionary activities; in 1938, Anna Andreevna’s son was arrested again. The experiences of these painful years, expressed in poetry, made up the “Requiem” cycle, which the poetess did not dare to record on paper for two decades. In 1939, after a semi-interested remark from Stalin, publishing authorities offered Anna a number of publications. Her collection “From Six Books” was published, which included, along with old poems that had passed strict censorship selection, new works that arose after many years of silence. Soon, however, the collection was subjected to ideological criticism and removed from libraries.
War. Evacuation. In the first months of the Great Patriotic War, Anna Akhmatova wrote poster poems. By order of the authorities, she was evacuated from Leningrad before the first winter of the siege; she spent two and a half years in Tashkent. She wrote many poems and worked on “Poem without a Hero” (1940-1965), a baroque-complicated epic about the St. Petersburg 1910s.
Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946. In 1945-1946, Anna Andreevna incurred the wrath of Stalin, who learned about the visit of the English historian Isaiah Berlin to her. The Kremlin authorities made her, along with Mikhail Mikhailovich Zoshchenko, the main object of party criticism; the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, “On the magazines “Zvezda” and “Leningrad” (1946), directed against them, tightened the ideological dictate and control over the Soviet intelligentsia, misled by the emancipating spirit national unity during the war. There was a publication ban again; an exception was made in 1950, when Akhmatova imitated loyal feelings in her poems written for Stalin's anniversary in a desperate attempt to soften the fate of her son, who was once again imprisoned.
last years of life. In the last decade of A. Akhmatova’s life, her poems gradually, overcoming the resistance of party bureaucrats and the timidity of editors, came to a new generation of readers. In 1965, the final collection “The Running of Time” was published. In her dying days, she was allowed to accept the Italian Etna-Taormina Literary Prize (1964) and an honorary doctorate from Oxford University (1965). 
Creative activity
One of the most talented poets of the Silver Age, Anna Akhmatova, lived a long life, full of both bright moments and tragic events. She was married three times, but did not experience happiness in any marriage. She witnessed two world wars, during each of which she experienced an unprecedented creative surge. She had a difficult relationship with her son, who became a political repressant, and until the end of the poetess’s life he believed that she chose creativity over love for him.
Anna Andreeva Gorenko was born on June 11, 1889 in Odessa. Her father, Andrei Antonovich Gorenko, was a retired captain of the second rank, who, after finishing his naval service, received the rank of collegiate assessor. The poetess's mother, Inna Stogova, was an intelligent, well-read woman who made friends with representatives of the creative elite of Odessa. However, Akhmatova will have no childhood memories of the “pearl by the sea” - when she was one year old, the Gorenko family moved to Tsarskoye Selo near St. Petersburg. Since childhood, Anna was taught 
French language and social etiquette, which was familiar to any girl from an intelligent family. Anna received her education at the Tsarskoye Selo women's gymnasium, where she met her first husband Nikolai Gumilyov and wrote her first poems. Having met Anna at one of the gala evenings at the gymnasium, Gumilev was fascinated by her and since then the fragile dark-haired girl has become a constant muse of his work.
First verse Akhmatova composed it at the age of 11 and after that she began to actively improve in the art of versification. The poetess’s father considered this activity frivolous, so he forbade her to sign her creations with the surname Gorenko. Then Anna took her great-grandmother’s maiden name - Akhmatova. However, very soon her father completely ceased to influence her work - her parents divorced, and Anna and her mother moved first to Yevpatoria, then to Kyiv, where from 1908 to 1910 the poetess studied at the Kyiv Women's Gymnasium. In 1910, Akhmatova married her longtime admirer Gumilyov. Nikolai Stepanovich, who was already a fairly well-known personality in poetic circles, contributed to the publication of his wife’s poetic works. Akhmatova’s first poems began to be published in various publications in 1911, and in 1912 her first full-fledged poetry collection, “Evening,” was published. In 1912, Anna gave birth to a son, Lev, and in 1914 fame came to her - the collection “Rosary Beads” received good reviews from critics, Akhmatova began to be considered a fashionable poetess. By that time, Gumilyov’s patronage ceases to be necessary, and discord sets in between the spouses. In 1918, Akhmatova divorced Gumilev and married the poet and scientist Vladimir Shileiko. However, this marriage was short-lived - in 1922, the poetess divorced him, so that six months later she would marry art critic Nikolai Punin. Paradox: Punin will subsequently be arrested almost at the same time as Akhmatova’s son, Lev, but Punin will be released, and Lev will go to prison. Akhmatova’s first husband, Nikolai Gumilev, would already be dead by that time: he would be shot in August 1921. 
Latest published collection Anna Andreevna dates back to 1924. After this, her poetry came to the attention of the NKVD as “provocative and anti-communist.” The poetess is having a hard time with the inability to publish, she writes a lot “on the table”, the motives of her poetry change from romantic to social. After the arrest of her husband and son, Akhmatova begins work on the poem “Requiem”. The “fuel” for creative frenzy was soul-exhausting worries about loved ones. The poetess understood perfectly well that under the current government this creation would never see the light of day, and in order to somehow remind readers of herself, Akhmatova writes a number of “sterile” poems from the point of view of ideology, which, together with censored old poems, make up the collection “Out of Six books", published in 1940.
Akhmatova spent the entire Second World War in the rear, in Tashkent. Almost immediately after the fall of Berlin, the poetess returned to Moscow. However, there she was no longer considered a “fashionable” poetess: in 1946, her work was criticized at a meeting of the Writers’ Union, and Akhmatova was soon expelled from the Union of Writers. Soon another blow falls on Anna Andreevna: the second arrest of Lev Gumilyov. For the second time, the poetess’s son was sentenced to ten years in the camps. All this time, Akhmatova tried to get him out, wrote requests to the Politburo, but no one listened to them. Lev Gumilyov himself, knowing nothing about his mother’s efforts, decided that she had not made enough efforts to 
help him, so after his release he moved away from her.
In 1951, Akhmatova was reinstated in the Union of Soviet Writers and she gradually returned to active creative work. In 1964, she was awarded the prestigious Italian literary prize "Etna-Torina" and she is allowed to receive it because the times of total repression have passed, and Akhmatova is no longer considered an anti-communist poet. In 1958 the collection “Poems” was published, in 1965 - “The Running of Time”. Then, in 1965, a year before her death, Akhmatova received a doctorate from Oxford University. Anna Andreevna Akhmatova died on March 5, 1966 in Domodedovo near Moscow.
Akhmatova's main achievements
1912 - collection of poems “Evening”
1914-1923 - a series of poetry collections “Rosary”, consisting of 9 editions.
1917 - collection “White Flock”.
1922 - collection “Anno Domini MCMXXI”.
1935-1940 - writing the poem “Requiem”; first publication - 1963, Tel Aviv.
1940 - collection “From Six Books”.
1961 - collection of selected poems, 1909-1960.
1965 - the last lifetime collection, “The Running of Time.”
Interesting facts from the life of Akhmatova
Throughout her life, Akhmatova kept a diary, excerpts from which were published in 1973. On the eve of her death, going to bed, the poetess wrote that she was sorry that her Bible was not here, in the cardiological sanatorium. Apparently, Anna Andreevna had a presentiment that the thread of her earthly life was about to break.
In Akhmatova’s “Poem without a Hero” there are the lines: “clear voice: I am ready for death.” These words sounded in life: they were spoken by Akhmatova’s friend and comrade-in-arms in the Silver Age, Osip Mandelstam, when he and the poetess were walking along Tverskoy Boulevard.
After the arrest of Lev Gumilyov, Akhmatova, along with hundreds of other mothers, went to the notorious Kresty prison. One day, one of the women, exhausted by anticipation, seeing the poetess and recognizing her, asked, “Can you describe this?” Akhmatova answered in the affirmative and it was after this incident that she began working on Requiem.
Before her death, Akhmatova nevertheless became close to her son Lev, who for many years harbored an undeserved grudge against her. After the death of the poetess, Lev Nikolaevich took part in the construction of the monument together with his students (Lev Gumilev was a doctor at Leningrad University). There was not enough material, and the gray-haired doctor, together with the students, wandered the streets in search of stones.