Analysis of the poem "Memories in Tsarskoe Selo" (1814). We will carry you free and clean

“Memories in Tsarskoe Selo” (1814) is one of the most famous poems by Alexander Sergeevich Pushkin. He wrote it at the age of 15. The poem is known not only for its content, but also for the fact that it earned the praise of the famous poet of that time, Gabriel Derzhavin, who recognized the talent of the young poet.

The poem "Memoirs in Tsarskoe Selo" (1814) bears the features of both and elegy at once. His lyrical hero lists the monuments of Tsarskoye Selo that float before his gaze. This is a monument erected in memory of the successful victory of the Russian fleet over the Turkish army in 1770, a monument that appeared after the success of Rumyantsev’s armada again over the Turks. This time near the town of Cahul in the same 1770. In the text of the poem, the author recalls the glorious and great commanders of those times, their successes and the poets who sang their praises.

In the poem “Memories in Tsarskoe Selo” (1814), the hero thinks about the new century, which began quite recently. And many events have already happened in it that shocked Russia: the invasion of Napoleon’s troops, the burning of Moscow, the conquest of Paris.

At the end of his work, the poet seems to turn to the poet of modern times Zhukovsky, whom he calls the skald of Russia. He calls on everyone around him to praise the future successes of the Russian people.

Analysis of the poem “Memoirs in Tsarskoe Selo” (1814) is always aimed at the high role of the poet in society, which the author notes. Pushkin directly states that every era requires not only commanders and brave soldiers, but also poets who will inspire heroes to their exploits.

Creating a Poem

Pushkin wrote the poem “Memories in Tsarskoe Selo” (1814) in the fall of 1814. He did this out of necessity - his own work was required to be read at an exam at the Tsarskoye Selo Lyceum, where the poet studied.

An open public exam was held during the transition from junior to senior year. A famous poet of that time confirmed his participation in the exam. Having learned about this, the literature teacher of the lyceum students, Galich, suggested that Pushkin, who had already published his lyrics several times, write some worthy poem for this event.

Shortly before the exam, a rehearsal took place. This demand was put forward by the government’s Minister of Education, Alexey Razumovsky. He himself was present at it. It was then that Pushkin presented his work for the first time. "Memoirs in Tsarskoe Selo" (1814) made a great impression on everyone.

Pushkin Exam

The exam itself at the Tsarskoye Selo Lyceum took place at the very beginning of 1815. Derzhavin arrived feeling unwell. He was old and the exam took too long. He became animated only when Russian literature was being assessed.

Lyceum students read by heart and analyzed poems by Derzhavin himself. He listened attentively and with pleasure.

Pushkin later wrote that he read the poem “Memoirs in Tsarskoe Selo” (1814) while being a few steps from Derzhavin. As soon as he finished reading, he immediately ran away, not remembering where. Derzhavin was delighted, he demanded that the poet be brought to him to hug him. He immediately declared that this poet could replace him.

Fate of the text

After the exam, Derzhavin asked Pushkin to send him the handwritten text of the poem. The second copy ended up with his uncle Vasily Lvovich. This is how the text became famous and popular.

In 1815, the poem was published in the magazine "Russian Museum, or Journal of European News." In 1819, while working on the first collection of his poems, which was never published, Pushkin revised the text. From it he removed references to Alexander I as the savior of Europe.

It was possible to include it in the collection only in 1825. It was sent to the censor, and as a result it did not appear in the published book. It is believed that the censor noticed that Pushkin removed the stanza dedicated to the emperor. And the text was well known in its original form. This fact could not go unnoticed.

By the way, in 1829 the poet created another poem under the same title. It begins with the words “Confused by memories...”. These two texts should not be confused.

The meaning of the poem in Pushkin’s works

This poem played a role in the poet's fate big role. The fact that Derzhavin, who died a year later, publicly named Pushkin as his successor made a great impression on his contemporaries. And when Pushkin’s genius was revealed in all its glory, the event began to be considered symbolic. It was seen as the passing of the creative baton from the 18th to the 19th centuries.

Derzhavin himself had a great influence on Pushkin. The poet repeatedly addressed him in his works.

For example, in “Eugene Onegin” the phrase “Old Derzhavin noticed us / And, going to the grave, blessed us” soon became popular.

Analysis of the poem

Where should the analysis begin? “Memories in Tsarskoe Selo” (1814) is a work in which the poet moves from the successful years of the 18th century, when the country was led by Empress Catherine II, to the very recent past. He talks in detail about the events of the war against the French, noting the main ones: the burning of Moscow and the Battle of Borodino. Describes the victorious march of the Russian army across Europe to the very heart of Europe.

The poet compares the victory over Napoleon with deliverance from the “scourge of the universe.” The address at the end of the poem to Zhukovsky made a particularly strong impression on him.

Text Features

What else can be included in the analysis? “Memoirs in Tsarskoe Selo” (1814) by Pushkin is a poem that contains obvious elements for which the 18th century was so famous. For example, among other texts by Pushkin, it is distinguished by the solemn syllable in which it is written.

At the same time, Pushkin does not at all shy away from using archaisms. So, describing what happened during the war against Napoleon, he mentions the ringing of swords and chain mail. But it is obvious that neither one nor the other was used in the 19th century. But Pushkin deliberately uses these very images to give his text more sublimity and solemnity. In reality, the so-called music of battles of that time was artillery.

At the same time, Alexander Sergeevich Pushkin in his poem is guided not only by examples of classicism. Obvious romantic and sentimental features are also clearly visible in the text.

The most striking example is the description of the landscape at the very beginning of the poem, which sets the mood for the entire text.

At the same time, it is worth recognizing the obvious fact that the poem itself is clearly imitative in nature. In it, Pushkin collects the best that the older generation of poets produced at that time, the most significant representative of which was Derzhavin. Based on their works, Pushkin forms his own, unlike anything else, individual and unique style.

This is precisely what Derzhavin, who was present at Pushkin’s exam, noticed and appreciated so highly.

Analysis of Akhmatova's poems

There is a small cozy town in the vicinity of St. Petersburg, once called Tsarskoe Selo. The literary fate of one of the outstanding poets of the “Silver” Age, Anna Akhmatova, was naturally intertwined with this Pushkin town, with its parks and ponds, with the whole atmosphere of history and art.

The girl Anya Gorenko was transported to Tsarskoe Selo at the age of one and lived there until she was sixteen years old. I wrote my first poems in a student notebook. She was eleven then. Later, she came to this town more than once.

The literary debut of the future poetess took place in 1907 - her poem was published in the Parisian magazine Sirius. Akhmatova began publishing regularly in 1911.

At that time there was huge amount schools and movements. They all argued, even fought with each other in public debates and on the pages of magazines; bookstore shelves were full of covers of new collections of poetry. Poets appearing in print for the first time tried to outdo their rivals with aesthetic sophistication of speech. Their poetry was deliberately sophisticated. Against this colorful and contradictory background, Anna Akhmatova’s poetry immediately took a special place with its balance of tone and clarity of mental expression. It was felt that the young poet had his own voice, his own intonation inherent in this voice.

Anna Akhmatova's lyrics entered pre-revolutionary poetry with a fresh stream of sincere feeling. Akhmatova, faithful to Pushkin’s precepts from the very beginning creative path I strived for simple and precise images.

In 1912, her first collection of poems entitled “Evening” was published. All the works in this collection are magnificent, but two of them were closer to my soul: “A dark-skinned youth wandered through the alleys...” and “She clenched her hands under a dark veil...”. I think that an open and inquisitive reader will appreciate my choice.

The first collection was a great success, but Akhmatova’s true fame came from her second collection, “The Rosary,” published in 1914, the main themes of which were the “eternal” themes of love, death, separation and meetings, which received special heightened emotional expressiveness in Akhmatova’s lyrics. A feature of the second collection is the famous Akhmatova “diary”, turning into philosophical reflections, the “dramatic” style, manifested in the fact that emotions are dramatized in the external plot and dialogues, and “material” symbolism. The most complex shades of psychological experiences and conflicts are conveyed through the everyday and everyday, and there is a noticeable tendency towards simplicity. colloquial speech. From this book, the poem “I learned to live simply, wisely...” was closer in spirit to me.

Anna Akhmatova began working before the revolution, among that part of the Russian intelligentsia who not only did not immediately accept the Great October Socialist Revolution, but also found themselves on the other side of the barricade. Fate had prepared for her to bear on her shoulders both the burden of glory and the weight of despair. During this difficult time, she admitted:

And I go - trouble follows me,

Not straight and not oblique,

And to nowhere and never,

Like trains falling off a slope.

Throughout her more than half-century journey, Anna Akhmatova always had two reliable staves. This is an unshakable faith in one’s people and one’s own courage.

In the whirlwind year of 1917, when the usual ideas about the life and purpose of the poet in Akhmatova’s circle were broken, she was left with her Russia, ruined and bloody, hungry and cold, but still dear. This is exactly what Akhmatova speaks about in her response poem, or rather a rebuke, to those who tried to lure her into their evil camp:

He said: "Come here,

Leave Russia forever.

I will wash the blood from your hands,

I will take the black shame out of my heart,

I'll cover it with a new name

The pain of defeat and resentment."

But indifferent and calm

I covered my ears with my hands,

So that with this speech unworthy

The mournful spirit was not defiled.

This poem, written in 1917, is truly a masterpiece. It is included in the collection “Plantain”. Next I will consider it in more detail.

But, if we consider Akhmatova’s work in chronological order, then before the collection “Plantain”, the third book of poems was published - “The White Flock” (1917), it reflected the emergence of new trends in Anna Andreevna’s work, caused by changes in the socio-political situation in Russia. World War, national disasters, the approach of a revolution, the breath of which was already clearly felt in the atmosphere of Soviet life, exacerbated Akhmatova’s sense of involvement in the destinies of the country, people, and history. The thematic range of her lyrics is expanding, and the motives of the tragic premonition of the bitter fate of an entire generation of Russian people are strengthened:

We thought: we are beggars, we have nothing,

And how they began to lose one after another,

So that became every day

We started composing songs

About the great generosity of God

Yes about our former wealth.

And a desperate desire to prevent and change the inexorable course of events:

So that a cloud over dark Russia

Became a cloud in the glory of the rays.

Poems written after the 1917 revolution, contrary to previous collections, become a kind of “chronicle” of the terrible events that happened both to the country and personally to the poetess, who had to “survive the death at the hands of the regime of one and a second husband, the fate of her son, forty years of silence and persecution." The one I chose, entitled “I had a voice,” also applies to such poems. He called comfortingly...” In this work, Anna Akhmatova declared her rejection of October, but at the same time she spoke about the impossibility of leaving her homeland in the days of great trials.

Fifteen pre-war years were the most terrible in Akhmatova’s life. But it was still published. The collection “Anno Domini” (1922) was created. Subjected to cruel and unfair criticism in 1946, Akhmatova was excommunicated from literature for a long time, and only in the second half of the 50s did her books begin to return to the reader.

The work of late Akhmatova is a requiem for her era. There are almost no poems about love, but there is “A Wreath for the Dead” - a cycle of poems dedicated to the memory of Bulgakov, Mandelstam, Pasternak, Zoshchenko, Marina Tsvetaeva. Reply to difficult years trials experienced by the people during the Great Patriotic War, becomes the cycle of poems “Wind of War”, included in the collection called “The Seventh Book”. In this cycle, the poem “Courage” tells us a lot.

Akhmatova’s response to the horrors of the Great Terror was Requiem, created from 1935 to 1940, but published only in the 80s. The autobiographical nature of “Requiem” is obvious, but the drama of a woman who lost her husband and son (“Husband in the grave, son in prison - pray for me ...”) is a reflection of the tragedy of the entire people:

It was when I smiled

Only the dead are calmly happy,

And dangled like an unnecessary pendant

Leningrad is near its prisons...

...The death stars stood above us,

And innocent Rus' writhed

Under bloody boots

And under the tires of black Marus.

The grief of Akhmatova’s mother merges with the grief of all mothers and is embodied in universal human grief. Mother of God. The poetess had every right tell the bitter and proud truth about yourself:

No, and not under an alien sky,

And not under the protection of alien wings, -

I was then with my people,

Where my people, unfortunately, were.

The “Khrushchev Thaw” somewhat softened the position of the poetess, but by that time she had received worldwide recognition (in 1964 she was awarded the Etna-Taormina international literary prize in Italy, and in 1965 she was awarded an honorary doctorate from Oxford University), Akhmatova was not awarded any ranks or awards in her homeland. But the poetess did not humiliate herself with accusations against the era that ruined her fate: “I did not stop writing poetry. For me, they represent my connection with time, with new life 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.”

The lake shores were sad,

And we cherish the century

A barely audible rustle of footsteps.

Pine needles are thick and prickly

Covering low stumps...

Here was his cocked hat

And the disheveled volume Guys.

This poem was written in 1911 in Tsarskoe Selo about Pushkin the lyceum student. There are only eight lines in it, but even from them the image of the young poet emerges unusually vividly. How well the word “cherish” was chosen. We do not “hear”, we do not “remember”, but rather we cherish, that is, we lovingly preserve in our memory. Alleys, lake, pine trees are living signs of Tsarskoye Selo Park. Pushkin’s deep thought is expressed by two small details: he threw away the half-read book, and it lies on the ground next to the lyceum cocked hat. It should be added that the line “The barely audible rustle of steps”, by selecting the sounds themselves, perfectly conveys the rustling sound - perhaps from fallen autumn leaves.

In general, remembering Akhmatova, the image of Pushkin steadily appears before us. The genius of Pushkin, his humanistic philosophy, discoveries made in the field of Russian verse had a huge influence on the literature of the nineteenth century, which went down in history as the “golden age” of Russian poetry. But also the best poets " silver age"were formed under the influence of his Muse, they were all attentive readers of Pushkin, many contributed to the study of his poetry.

In the life and poetry of Akhmatova, Pushkin, whose poems she called golden, occupied a special place. According to Emma Gerstein (literary critic), who knew the poetess closely, this poem reflected the peculiarities of Anna Andreevna’s perception of Pushkin: a combination of a specific sense of his personality (“here lay his cocked hat”) and universal worship of the national genius (“and for a century we cherish the barely audible rustle of steps” ).

She clasped her hands under a dark veil...

“Why are you pale today?”

- Because I am tartly sad

Got him drunk.

How can I forget? He came out staggering

The mouth twisted painfully...

I ran away without touching the railing,

I ran after him to the gate.

Gasping for breath, I shouted: “It’s a joke.

Everything that was. If you leave, I’ll die.”

Smiled calmly and creepily

And he told me: “Don’t stand in the wind.”

This poem, which is truly a masterpiece of Akhmatova’s work, evokes a complex range of feelings in me and I want to read it again and again. Of course, all her poems are beautiful, but this is my favorite.

In Anna Andreevna’s artistic system, a skillfully chosen detail, a sign of the external environment, is always filled with great psychological content. Through a person’s external behavior and his gesture, Akhmatova reveals the mental state of her hero.

One of the clearest examples is this short poem. It was written in 1911 in Kyiv.

Here we are talking about a quarrel between lovers. The poem is divided into two unequal parts. The first part (first stanza) is a dramatic beginning, introduction to action (question: “Why are you pale today?”). Everything that follows is an answer, in the form of a passionate, ever-accelerating story, which, having reached highest point(“If you leave, I’ll die”), is abruptly interrupted by a deliberately everyday, offensively prosaic remark: “Don’t stand in the wind.”

The confused state of the heroes of this little drama is conveyed not by a lengthy explanation, but by the expressive details of their behavior: “came out staggering,” “mouth twisted,” “ran away without touching the railing” (conveys the speed of desperate running), “screamed, gasping,” “smiled.” calm down" and so on.

The drama of the situations is concisely and precisely expressed in contrast to the ardent impulse of the soul of a deliberately everyday, insultingly calm answer.

To depict all this in prose would probably take a whole page. And the poet managed with only twelve lines, conveying in them the full depth of the characters’ experiences.

Let us note in passing: the strength of poetry is brevity, the greatest economy. expressive means. To say a lot about a little is one of the testaments of true art. And Akhmatova learned this from our classics, primarily from Pushkin, Baratynsky, Tyutchev, as well as from her contemporary, fellow Tsarskoe Selo resident Innokenty Annensky, a great master of natural speech information and aphoristic verse.

Returning to the poem we read, we can notice another feature of it. It is full of movement, in which events continuously follow one another. These twelve short lines can easily even turn into a movie script if you break them down into frames. It would go something like this. Introduction: question and short answer. Part 1 He. 1. Came out staggering. 2. His bitter smile ( close-up). Part 2. She. 1. Runs up the stairs, “without touching the railing.” 2. He catches up with him at the gate. 3. Her despair. 4. Her last cry. Part 3. He. 1. Smile (calm). 2. A sharp and offensive answer.

The result is an expressive psychological film study in which the internal drama is conveyed through purely visual images.

This excellent poem deserves the highest appreciation from the reader.

I learned to live simply and wisely,

Look at the sky and pray to God,

And wander for a long time before evening,

To tire out unnecessary anxiety.

When the burdocks rustle in the ravine

And the bunch of yellow-red rowan will fade,

I write funny poems

About life that is perishable, perishable and beautiful.

I'm coming back. Licks my palm

Fluffy cat, purrs sweetly,

And the fire burns bright

On the turret of the lake sawmill.

Only occasionally the silence cuts through

The cry of a stork flying onto the roof.

And if you knock on my door,

I don't think I'll even hear it.

The poem was written in 1912. It is a masterpiece of the poetess's lyrics.

Her lyrical heroine is not surrounded by everyday life and momentary anxieties, but an existential, eternal woman. She does not coincide with the personality of the author, she is only a kind of mask, representing one or another facet of a woman’s soul, a woman’s destiny. Naturally, Akhmatova did not experience all those situations that are present in her poetry; simply, thanks to her special gift, she was able to embody in poetry all the incarnations of a Russian woman. Contemporaries repeatedly identified Akhmatova the person with her lyrical heroine.

In the period from 1911 to 1917, the theme of nature became more and more persistent in Anna Andreevna’s lyrics, which was partly due to the fact that she spent this period of her life on her husband’s Slepnevskoye estate. Russian nature is described in Akhmatova’s lyrics with amazing tenderness and love: “burdocks rustle in the ravine,” “a bunch of yellow-red rowan,” “only occasionally the cry of a stork that has flown to the roof cuts through the silence.” During this period, the lyrical heroine comes closer to the world around her, which becomes closer, understandable, dear, infinitely beautiful and harmonious - the world to which her soul strives.

Anna Andreevna believed in God and was faithful to him. Therefore, this poem talks about a woman who found comfort in the Lord. If you read the work carefully, you can see some advice: how to endure the vicissitudes of fate. You can even derive a formula: nature, faith and solitude.

Anna Andreevna Akhmatova is one of the wonderful poets of our time. Her exceptional lyrical talent not only subtly conveyed a person’s mental states, but also sensitively responded to major events in people’s life.

We have aged a hundred years, and this

Then it happened at one o'clock:

The short summer has already ended,

The body of the plowed plains was smoking.

Suddenly the quiet road became colorful,

The cry flew, ringing silver...

Covering my face, I begged God

Before the first battle, kill me.

From memory, like an extra burden from now on.

The shadows of songs and passions have disappeared,

The Almighty ordered her - desolate

Become a terrible book of thunderous news.

This poem was written in 1916 in Slepnev. It was an alarming time: the centuries-old foundations of the Russian Empire were shaking, people were dying in a brutal war, and the time of enormous social upheaval was approaching. The rear, high-ranking and bureaucratic Petersburg continued his normal life, trying to forget about what was happening on western borders states.

The fanfare of official patriotism sounded loudly in the poetry of that time. “War Loan” posters hung at every step, and newspapers shouted in large headlines about “war to a victorious end.”

Anna Akhmatova, who is already accustomed to being considered a poet of chamber experiences, also thought about the fate that befell the people. The poem “In Memory of July 19, 1914” was written about the first day of the imperialist war. Its lines are significant in that they show the horror of the threat looming over the country: the roads of the homeland are littered with crowds of conscripts driven to the front and that they are accompanied by the crying and groaning of orphaned villages. The poet feels these moments of national disaster as a turning point in his personal destiny: from now on, the old songs and the old passions seem to be “an extra burden of the soul” and a shadow of true life.

Of course, the lyrics of love experiences continue to live in Akhmatova’s poems, but now they are combined with the theme of awakened anxiety, which remains throughout the years that bring the country closer to the threshold of great social changes and catastrophes. And this anxiety was born from a feeling of true patriotism, which, deepening and expanding, becomes one of the main motives of Akhmatova’s work.

He said: "Come here,

Leave your land deaf and sinful,

Leave Russia forever.

I will wash the blood from your hands,

I will take the black shame out of my heart,

I'll cover it with a new name

The pain of defeat and resentment."

But indifferent and calm

I covered my ears with my hands,

So that with this speech unworthy

The mournful spirit was not defiled.

In the whirlwind year of 1917, when the usual ideas about the life and purpose of the poet in Akhmatova’s circle were broken, she was left with her Russia, ruined and bloody, hungry and cold, but still dear. This is exactly what Akhmatova talks about in her response poem, or rather a rebuke, to those who tried to lure her into their evil camp.

The theme of the Motherland, which appeared in the lyrics of these years, acquires a special interpretation, combining journalisticism and autobiography. The poetess is characterized by a contrasting vision of the Motherland; the creation of just such an image is facilitated by the introduction of biblical motifs and an innovative interpretation of traditional motifs of Russian poetry of the nineteenth century.

It was not immediately that Anna Akhmatova could understand the greatness and social changes brought by the October Revolution. But her characteristic love for the Motherland was never separated from her thoughts about the fate of the people. She firmly knew that in these historical days she had to be on her native land, next to her people, and not seek salvation abroad, as many from her former circle did. Akhmatova does not condemn those who left, but clearly defines her choice: for her, emigration is impossible. Her love for her Motherland is not a subject of analysis or reflection. There will be a Motherland - there will be life, children, poetry. Without her, there is nothing. The enormous pain for the suffering of Russia was very accurately expressed in this masterpiece.

We know what's on the scales now

And what is happening now.

The hour of courage has struck on our watch,

And courage will not leave us,

It's not scary to lie down dead under bullets,

It's not bitter to be homeless, -

And we will save you, Russian speech,

Great Russian word.

We will carry you free and clean,

We will give it to our grandchildren and save us from captivity

This work was written on February 23, 1942 in Tashkent. In those days, she, like all Leningraders, made whatever contribution she could to strengthening the defense: she sewed sandbags that lined barricades and monuments in squares. Few knew about this work of Akhmatova. But with the speed of lightning, her poem “Courage” spread across the endless front of the Great Patriotic War. These proud and confident words were repeatedly heard during the war years in concert halls, from the stage, at front-line performances of professional readers and army amateur performances.

Akhmatova refused evacuation for a long time. Even sick, exhausted by dystrophy, she did not want to leave the “granite city of glory and misfortune.” Only obeying persistent concern for her, Akhmatova is finally evacuated by plane to Tashkent. But even there, under the sky of Central Asia, she mentally returned to the heroic people suffering the troubles of the enemy encirclement. The feeling of the Motherland, which she first saw from an airplane for a long time air route, was for her like a new stage in the creative comprehension of life. The tone of her poems takes on a special solemnity and persuasiveness. The circle of observations and reflections expands immensely. This was already complete maturity of the spirit and what can be called the wisdom of life experience.

Akhmatova of this time in high degree a sense of patriotism is inherent. The actions in her poems take place as if against the backdrop of large historical events modernity, although, as before, the poems remain a sincere confession of the soul.

“The dark-skinned youth wandered through the alleys...” 10

“I clenched my hands under a dark veil...” 13

“I learned to live simply and wisely...” 17

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“In Tsarskoe Selo” by A. Akhmatov

Horses are led along the alley.
The waves of combed manes are long.
Oh, captivating city of mysteries,
I'm sad, having loved you.

It’s strange to remember: my soul was yearning,
She was suffocating in her death delirium.

And now I've become a toy,
Like my pink cockatoo friend.

The chest is not compressed in anticipation of pain,
If you want, look into the eyes.
I just don’t like the hour before sunset,
The wind from the sea and the word “go away.”

...And there is my marble double,
Prostrate under the old maple tree,
He gave his face to the lake waters,
He listens to green rustling sounds.

And the light rains wash
His dried wound...
Cold, white, wait,
I, too, will become marble.

The dark-skinned youth wandered through the alleys,
The lake shores were sad,
And we cherish the century
A barely audible rustle of footsteps.

Pine needles are thick and prickly
Covering low stumps...
Here was his cocked hat
And the disheveled volume Guys.

Analysis of Akhmatova’s poem “In Tsarskoe Selo”

Three poetic works made up a short cycle in 1911. Its title indicates the main theme - the memory of the beloved city in which the author spent his childhood and adolescence.
Distant memories of the hippodrome and well-groomed horses, mentioned by Akhmatova and in prose, determine the figurative structure of the opening “horses are led along the alley...” In the literary text, a series is built, formed by the signs of childhood: the neatly combed “horses” are joined by a “pink friend,” a parrot and the lexeme “ toy”, characterizing the subject of speech.

The lyrical heroine confesses her love for the “city of mysteries,” while simultaneously hinting at the personal drama she experienced. High feeling is inseparable from sadness. Melancholy emotions also come in two forms: at first they were unbearably heavy, like “death delirium,” and then were replaced by a calm, familiar feeling of mental burden. This is how the theme of duality arises, which is developed in the following poems of the triptych.

Researchers have said a lot about the image of Pushkin, a cross-cutting image of Akhmatova’s poetics. The beginning of a broad topic is laid by the analyzed cycle, where the classic appears both in the role of a great poet and as a person, one of our ancestors.

The principle of ambivalence is the basis for the famous image of the “marble double” statue of the heroine from the second text of the cycle. Mentions of the coldness of the white statue frame the text, occurring in the beginning and ending. In the central episode, the statue is personified: it can feel the rustling of leaves, peer into the surface of the lake, and there is a “gore wound” on its body.

The desperate and at first glance paradoxical desire to become a statue, expressed by the emotional cry of the finale, returns the reader to the theme of love - tragic, forever separated by time.

In the third work, the image of the classic is embodied in a brooding dark-skinned young man. The links connecting the almost legendary past and present are the components of the artistic space: alleys, lake shores, low stumps under pine trees, densely covered with pine needles. The essence of the lyrical situation is based on a remarkable illusion: clearly outlining a hundred-year gap between two time plans, the author emphasizes the immutability of nature included in the artistic space of the text. The original technique creates the feeling that the lyrical “I” and the reader reverently follow the brilliant youth leisurely strolling through the park. Bright material details that have become characteristic feature Akhmatova's mastery, enhance the effect of presence.

Help with the analysis of Akhmatova’s poem “Pushkin”

Who knows what fame is!
At what price did he buy the right?
Opportunity or grace
Over everything so wise and crafty
Joking, mysteriously silent
And call the leg a leg.

Zinaida Zhenchevskaya Supreme Intelligence (182790) 4 years ago

This poem was written in 1911 in Tsarskoe Selo about Pushkin the lyceum student. There are only eight lines in it, but even from them the image of the young poet emerges unusually vividly. How well the word “cherish” was chosen. We do not “hear”, we do not “remember”, but rather we cherish, that is, we lovingly preserve in our memory. Alleys, lake, pine trees are living signs of Tsarskoye Selo Park. Pushkin’s deep thought is expressed by two small details: he threw away the half-read book, and it lies on the ground next to the lyceum cocked hat. It should be added that the line “The barely audible rustling of steps”, by selecting the sounds themselves, perfectly conveys the rustling - perhaps from fallen autumn leaves.
In general, remembering Akhmatova, the image of Pushkin steadily appears before us. The genius of Pushkin, his humanistic philosophy, discoveries made in the field of Russian verse had a huge impact on the literature of the nineteenth century, which went down in history as the “golden age” of Russian poetry. But the best poets of the “Silver Age” were also formed under the influence of his Muse, all of them were attentive readers of Pushkin, many contributed to the study of his poetry.
In the life and poetry of Akhmatova, Pushkin, whose poems she called golden, occupied a special place. According to Emma Gerstein (literary critic), who knew the poetess closely. This poem reflected the peculiarities of Anna Andreevna’s perception of Pushkin: a combination of a specific sense of his personality (“here lay his cocked hat”) and universal worship of the national genius (“and for a century we cherish the barely audible rustle of steps”).
Akhmatova learned from Pushkin the brevity, simplicity and authenticity of the poetic word, and everything connected with it is dear to the poetess. It is not for nothing that this poem was written first in my collection, because it was from the works of Pushkin that the initial streams of her creative genius flow were fed.

Anna Pro (882) 4 years ago

The theme of St. Petersburg in the works of A.A. Akhmatova

The majestic city on the Neva has always inspired Russian poets and writers: Pushkin, Gogol, Dostoevsky. The spirit of the city, the soul and fate of St. Petersburg - all this is refracted in Russian poetry. But it was the 20th century that became a special philosophical space for the poetic word of St. Petersburg. This city itself becomes a poetic category.
For Akhmatova, as before her for Pushkin and Dostoevsky, her hometown is another dimension, a living organism that determines the lives of all the people living in it.

In “Poems about Petersburg” of 1913, the poetess writes about the city of Petra in a completely different way than all the poets and writers before her. For the lyrical heroine, St. Petersburg is an integral part of her soul. And “The Horse of Great Peter” - such a Pushkin symbol of St. Petersburg - suddenly becomes the center of the universe, attracting the destinies of the city’s residents.

The theme of the merging of the city with its inhabitants continues in the poem “Petrograd” (1919) from the Anno Domini cycle. Here we're talking about that even in the terrible hour of war it is not possible to part with St. Petersburg. The city for its inhabitants is more important than freedom: “... loving your city, / And not winged freedom. / We have preserved for ourselves / His palaces, fire and water.”
Anticipating the events of the Leningrad blockade, Akhmatova writes about devotion to St. Petersburg, about her reluctance to leave her hometown even on pain of death:

Another time is approaching,

But to us the sacred city of Peter

It will be an involuntary monument.

The poem “Leningrad in March 1941” is filled with a painful feeling of unbridled love for his native city. The whole work seems to be permeated with light:

Oh, is there anything in the world more familiar to me,

Than the spiers the shine and reflection of these waters!

The poetess’s hometown changed its name, but the streets remained the same, and the waves of the Neva did not turn back:

Walks memorized by heart

The salty taste is also not a problem.”

The next work in which the image of St. Petersburg appears is the famous poem “Requiem”. The entire figurative structure of Akhmatova’s poem is inseparable from the historical and cultural existence of St. Petersburg. “Requiem” absorbs the theme of the St. Petersburg monument, at the same time being a synthesis of the central themes of St. Petersburg history and culture: the theme of the monument (and the related theme of destroyed memory), the theme of confession (the confessional word of St. Petersburg) and the theme of the city of death (and the immortal city). Already at the very beginning of the poem, an image of an unreal, mystical city on the Neva, a “wild capital”, dug up like shell craters, “convict holes” is created:

... dangling like an unnecessary pendant

Leningrad is near its prisons...

The composition of the “Requiem” determines the dominant fate of St. Petersburg itself: through the path of death and crucifixion to the epilogue, as a “funeral day”, ending with the prophecy of the Monument. Time compresses into an instant and becomes eternity. The fate of the city is like a moment on this arrow of time:

And if ever in this country

They are planning to erect a monument to me

I give my triumphant consent to this...

But only with the condition - do not put it

Not near the sea, where I was born...

And here, where I stood for three hundred hours

And where they didn’t open the bolt for me...

And even from the still and bronze ages,

And the ships sail quietly along the Neva.

Continuing Pushkin's traditions, Akhmatova creates a dual image of St. Petersburg. On the one hand, before us appears the bright and majestic “Peter’s creation” (“Poems about Petersburg”, “Leningrad in March 1941”, “The City of Pushkin”), and on the other hand, a gloomy and mystical, disturbing ghost city (“Petrograd 1919", "Requiem", "Petersburg in 1913"). This inconsistency creates that unique image of St. Petersburg-Leningrad, which still delights connoisseurs of the high poetry of the great poetess Anna Akhmatova.

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The theme of St. Petersburg in the works of Akhmatova

St. Petersburg occupies a special place in the work of Anna Andreevna Akhmatova. She always called herself a St. Petersburger, and there is some mysterious correspondence between her poetry and the spirit of St. Petersburg. Her childhood and youth were spent in Tsarskoe Selo, where the spirit of Pushkin hovers, where nature and architecture are fabulously beautiful and mysterious, this is the city about which she wrote: “Oh, captivating city of mysteries, I am sad, having fallen in love with you.” The image of Pushkin appears before the reader in all of Akhmatova’s poems related to St. Petersburg and Tsarskoe Selo:

The dark-skinned youth wandered through the alleys,

The lake shores were sad,

And we cherish the century

A barely audible rustle of footsteps.

Pine needles are loud and prickly

Covering low stumps...

Here was his cocked hat

And the disheveled volume Guys.

For Akhmatova, Pushkin is not a fellow writer who has passed away, but a contemporary who has just walked along the road, left an open book, drew something in the sand with a cane, she constantly turns to him, to his spirit, to his poetry, which permeates all of St. Petersburg and Tsarskoe Selo. In the poem “Tsarskoye Selo Statue” she describes the “Girl with a Jug”, to whom Pushkin dedicated the poem “Having dropped an urn with water, the maiden broke it on a cliff...”. Akhmatova not only admires this statue, she is jealous of Pushkin:

I felt a vague fear

Praised before this girl.

Played on her shoulders

Rays of diminishing light.

And how could I forgive her

The delight of your praise, beloved...

Look, she has fun being sad

So elegantly naked.

Pushkin is a symbol of St. Petersburg, forever young, in love, alive, whose spirit is invisibly present on the streets and squares of the great city.

Another symbol of St. Petersburg, inextricably linked with it, with the tragic events in the history of the city, is Alexander Blok:

He's right - again a lantern, a pharmacy,

Neva, silence, granite...

Like a monument to the beginning of the century,

This man is standing there -

When he goes to the Pushkin House,

Saying goodbye, he waved his hand

And accepted mortal languor

Like undeserved peace.

The name of Pushkin is also present here, in the poems about Blok, because these two geniuses are connected with each other and with St. Petersburg.

Akhmatova’s Petersburg appears before us in all its majestic beauty: galleries and arches, canals and bridges, cathedrals and a monument to Peter, cast-iron fences, the black water of the Neva - everything is reflected in the chased lines of Akhmatova, who continued the tradition of Pushkin and became his successor:

Isaac again in vestment

Made of cast silver.

Freezes in menacing impatience

Horse of Great Peter.

The wind is stuffy and harsh

Smoke is sweeping away from the black pipes...

Oh! Your new capital

Akhmatova’s Petersburg is also filled with contradictions, just like Pushkin’s Petersburg: it is beautiful, but cold, tragic, in such a city only unrequited love is possible:

Oh it was a cool day

In the wonderful city of Petrov!

The sunset lay like a crimson fire,

And the shadow slowly thickened.

Let him not want my eyes,

Prophetic and unchanging.

All his life he will catch the verse,

The prayer of my haughty lips.

Akhmatova expresses her love for St. Petersburg in all her poems dedicated to it:

That's why we love strict

Watery, dark city...

I want to go to the roses, to that only garden,

Where the best in the world stands from the fences,

Where the statues remember me young,

And I remember them under the Neva water.

And I'm the only city in the world who knows

And I’ll feel it in a dream and find it.

This city was created for inspiration, for poetry:

But we wouldn’t exchange the magnificent

Granite city of glory and misfortune,

Wide rivers shining ice,

Akhmatova does not separate herself from other St. Petersburg residents who shared with their beloved city all the misfortunes and hardships that befell it. After the revolution, when part of the intelligentsia left the country, Akhmatova remained in hometown, despite the fact that it threatens her death:

Nobody wanted to help us

Because we stayed at home

Because, loving your city,

And not winged freedom,

We saved for ourselves

His palaces, fire and water.

Another time is approaching,

The wind of death is chilling my heart,

But to us the sacred city of Peter

It will be an involuntary monument.

The Leningrad blockade could not help but be reflected in the poet’s work, since Akhmatova herself was a witness and participant in military events until she was evacuated to Tashkent. The cycle of poems “Wind of War” shows the courage and resilience of the residents and defenders of Leningrad, the tragedy of what is happening, the pain for the dead:

The birds of death are at their zenith.

Who is coming to rescue Leningrad?

Don't make noise around him - he's breathing

He is still alive, he hears everything:

Like on a humid Baltic bottom

His sons groan in their sleep,

As if from the depths of it there were cries: “Bread!” –

They reach the seventh heaven...

But this firmament is merciless.

And looking out of all the windows is death.

The most bitter and touching words are dedicated to the children of besieged Leningrad:

The gaps in the garden are dug,

I can't breathe underground

Pain drills into my temple,

Can be heard through the bombing

After the blockade was lifted, Akhmatova wrote not joyful, victorious poems, but lamentations:

I won’t shake my hands

I won’t wash it away with tears,

I won't bury it in the ground.

I'll go around a mile away

Not with a glance, not with a hint,

I am not a word, not a reproach,

I bow to the ground

But this was not the only test Akhmatova shared with her beloved city. Reflected in her work and scary time repression. She drank this grief full, because her son was arrested and was in a camp only because his father was Nikolai Gumilyov, a wonderful poet who was shot by the Bolsheviks in 1921. In the poem "Requiem" Leningrad appears as a terrible, ominous city that brings death:

It was when I smiled

Only dead, glad for peace,

And dangled like an unnecessary pendant

Leningrad is near its prisons.

In the last part of the poem, Akhmatova writes about a monument that, perhaps, will one day be erected to her in St. Petersburg. Again there is a roll call with Pushkin, with his “Monument”. But she asks to erect a monument near the prison where she suffered so much:

And even from the darkened and bronze ages,

Melted snow flows like tears,

And let the prison dove drone in the distance,

And the ships sail quietly along the Neva.

Akhmatova deserves to have a monument erected to her in the city that she loved so much: she dedicated her best lines to St. Petersburg, shared all her troubles and hardships with him, she became as inseparable from his name as Pushkin and Blok. She has the right to take her place next to these great poets.

It is impossible to list all the poets of the “Golden Age” who were not influenced by the genius of Pushkin, the amazing charm of his personality, his humanistic philosophy and innovations in the field of Russian verse. The influence of his Muse also contributed to the formation best poets"Silver Age".

Anna Andreevna Akhmatova grew up and studied in Tsarskoye Selo, where the spirit of her beloved poet hovered. Pushkin's poems occupied a special place in her life. It was in Tsarskoe Selo that many of the poems in her first collection “Evening” were created. Among them is a dedication to young Pushkin:

The dark-skinned youth wandered through the alleys,

The lake shores were sad,

And we cherish the century

A barely audible rustle of footsteps.

Pine needles are thick and prickly

Covering low stumps...

Here was his cocked hat

And a disheveled volume, Guys,

Yes, Anna Akhmatova learned from her teacher, her beloved poet, the subtleties of the poetic word: brevity, simplicity... In 1916, the poem “Tsarskoe Selo Statue” was born. Pushkin also has a poem with the same title; he, obviously, like his student, stopped in admiration in front of the fountain. Bronze statue Akhmatova road:

...I felt a vague fear

Praised before this girl,

Played on her shoulders

Rays of diminishing light.

And how could I forgive her

The delight of your praise, beloved...

Look, she has fun being sad

So elegantly naked.

Anna Andreeva studied Pushkin's work with great interest. Around the mid-twenties, she began to study the life and work of the genius very carefully and diligently, with great interest. These are “Pushkin and the Nevskoye Seaside”, “The Stone Guest” of Pushkin”, additions to this article, “The Tale of Pushkin”.

“Two days later, his house became a shrine for his Motherland, and the world has never seen a more complete, more radiant victory. The whole era (not without its creaks, of course) little by little began to be called Pushkin’s. All beauties, ladies-in-waiting, salon hostesses, ladies of cavalry, members of the highest court, ministers gradually began to be called Pushkin’s contemporaries... He conquered both time and space. They say Pushkin's era, Pushkin's Petersburg. And this has nothing to do with literature, this is something completely different. In the palace halls where they danced and gossiped about the poet, his portraits hang and his books are kept, and their pale shadows are banished from there forever. They say about their magnificent palaces and mansions: Pushkin was here, or Pushkin was not here. Everything else is of no interest to anyone.”

Tsarskoye Selo became a place dear to Akhmatova’s heart forever. This is her life, this is Pushkin’s life. Many memories of Anna Akhmatova are associated with the Tsarskoye Selo park, Summer Garden, where “the statues remember her young.” Following her Tsarskoe Selo predecessor, Anna Andreevna Akhmatova erected a monument not made by hands. And, like two bells, the “golden” age and the “silver” age echo to this day:

...And there is my marble double,

Prostrate under the old maple tree,

He gave his face to the lake waters,

He listens to green rustling sounds.

And the light rains wash

His dried wound...

Cold, white, wait,

I, too, will become marble.

The structure-forming function of the “Pushkin text” in A. Akhmatova’s cycle “In Tsarskoe Selo”

Borovskaya Anna Alexandrovna,

Candidate of Philological Sciences, Associate Professor of the Department of Russian Literature of the 20th Century, Astrakhan State University.

A. Akhmatova’s appeal to the work of A. Pushkin became for her an affirmation of the inseparability of the national cultural tradition, a form of self-determination of the poetess, and had an impact on her work. For A. Akhmatova, Pushkin’s motifs become the embodiment of aesthetic and ethical principles creativity.

In this regard, with a certain degree of convention, we can use the concept of “Pushkin text”, which we use by analogy with the definition of V. Toporov (“St. Petersburg text”), introduced by him in the work “Petersburg and the “Petersburg text of Russian literature””. V. Toporov considers the “St. Petersburg text” as “not just a mirror of the city that enhances the effect, but a device with the help of which the transition is made<…>material reality into spiritual values, clearly retains traces of its extra-textual substrate and, in turn, requires from its consumer the ability to restore connections with the extra-textual, extra-textual for each node of the St. Petersburg text. The text, therefore, teaches the reader the rules of going beyond its own limits, and this connection with the extra-textual lives both the Petersburg text itself and those to whom it was revealed as a reality that is not exhausted by the thing-object level.” By “Pushkin text” in A. Akhmatova’s work we understand a certain semantic unity that determines the functioning within the boundaries of A. Akhmatova’s creative system of various images, motifs, reminiscences, allusions going back to Pushkin’s works, on the one hand, and the formation of a holistic perception of A. Akhmatova’s image. Pushkin and his work by A. Akhmatova, on the other.

The cycle “In Tsarskoe Selo” is one of the central ones in the collection “Evening” (1912). They discover the theme of A. Pushkin in Akhmatova’s work, one of the cross-cutting themes of her poetry. The poem “A dark-skinned youth wandered through the alleys...” concludes the cycle “In Tsarskoe Selo.” It is preceded by two poems: “They lead horses along the alley...” and “... And there is my marble double.” All parts of the triptych are inextricably linked with each other in that they are an emotional response to childhood memories spent in Tsarskoe Selo.

The title of A. Akhmatova’s lyrical cycle “In Tsarskoe Selo”, as a text-level unit, designates the location of the lyrical plot and represents a kind of coordinate of the artistic world. However, its semiotics is more multi-layered. The toponymic characteristic (Tsarskoe Selo) combines two time layers, at the intersection of which the symbolic content of the title is revealed. Tsarskoe Selo is not just the place where the lyrical heroine spent her youth and the tragedy of her first love played out, but also the Lyceum years of A. Pushkin, this is the Pushkin era as a whole. Thus, Tsarskoe Selo is introduced into the value system of the two poets as a symbol of the past and at the same time (for A. Akhmatova) timeless eternity. Implicit in the title is main topic cycle - the theme of memory in its cultural and personal aspects. The title “In Tsarskoe Selo” immediately connects this text to a certain cultural environment, entering which is the path to A. Pushkin. We can talk about the phenomenon of the “Tsarskoye Selo text”. Each of the realities of everyday life is perceived as significant in literary terms, and this significance turns out to be primary in comparison with its real meaning.

Thus, at the level of the title (and, consequently, the cycle as a whole), A. Akhmatova turns to the dialogic structure as a means of communication. The position of the lyrical heroine in relation to the image of A. Pushkin appears in two forms: he is simultaneously in the past and in the present. Hence, the position of the lyrical heroine is also dual: for her, A. Pushkin is something unconditionally close (“a dark-skinned youth”) and at the same time infinitely distant (“And we cherish centuries...”). In this way, a certain degree of detachment is achieved, characterizing the attitude
A. Akhmatova to A. Pushkin throughout his entire creative life.

The lyrical plot is one of the main indicators of unity, fixing the self-identification of the lyrical cycle. His functioning in A. Akhmatova’s cycle “In Tsarskoe Selo” is determined by the existential question “What is Pushkin?” A. Akhmatova’s image of A. Pushkin appears, on the one hand, as an ideal poetic and cultural perspective, on the other, as a personality in its everyday incarnation. The lyrical plot in A. Akhmatova’s cycle is closer to the prosaic (narrative), its constituent elements are relatively independent, but do not follow each other, but interact, forming a single complex design. The opening lines of the first poem:

Horses are led along the alley,

The waves of combed manes are long.

O captivating city of mysteries...

represent an exposition of the plot, designed in the form of a prologue. Researchers of A. Akhmatova’s work have repeatedly noted the presence of a dramatic element in her lyrics (dialogical structure of texts, the severity of depicted collisions, polyphony, etc.). The prologue in this case reflects the dramatic essence of the lyrical cycle. Semantically, in these lines, the main motif of the cycle is formed, organizing its lyrical plot - the motif of Tsarskoye Selo (“city of mysteries”). The metaphorical phrase breaks the vicious circle of intimate impressions set by the two previous phrases. The idyllic picture of the lyrical heroine’s childhood (emphasized use of the word “horses” with a diminutive suffix) turns into a mysterious, partly “enchanted place”, characteristic of literature XIX century. Thus, another cross-cutting motive of the entire cycle is declared - the motive of reincarnation. In the consciousness of the lyrical heroine, the boundaries of space are shifted, time and age boundaries are expanded. The perspective of the image includes the cultural and historical context, represented primarily by the romantic worldview. At the same time, Tsarskoe Selo is reflected simultaneously in the value systems of various subjects: a dreamy teenage girl and an already adult lyrical heroine.

Next line: “I am sad, having loved you...” [S. 169] is the beginning of the lyrical plot. Its antithetical structure denotes the internal opposition “sadness-love”, which formed the basis of the central conflict of the lyrical cycle: the conflict between the past and the present, characterized by a mosaic form, since it consists of peripheral collisions (the conflict in the mind of the lyrical heroine between the desire to leave, cross out the past and the impossibility of doing this, the conflict between the eternal and the momentary). In this regard, we can highlight personal and cultural-historical conflict and its resolution. From here two function in a cycle storylines: love microplot and microplot about A. Pushkin. A love conflict is simultaneously “immersed” in the past (“It’s strange to remember…”) and at the same time the present is subject to its laws (“And now I’ve become a toy…”). The beginning of a love story is immediately followed by a climax:

... the soul was yearning,

I was suffocating in my dying delirium... [WITH. 169]

demonstrating the highest tension of the love feeling of the lyrical heroine. The correlation of these lines with the previous phrase “It’s strange to remember...”, denoting immersion in a different time layer, forms a contrast that serves as an indicator of the evolution of the lyrical heroine (from reflection to complete detachment), an indicator of her detached position in relation to the surrounding reality in the present (“strange "). Lines: “And now I have become a toy, // Like my pink friend the cockatoo” [P. 169] are the denouement of a love plot, which state the fact of a change that has occurred in the consciousness of the lyrical heroine. The comparison of the lyrical heroine with a cockatoo indirectly echoes the opening lines of the poem: “They lead horses along the alley...” Thus, we have before us the process of evolution of the heroine in the form of a closed spiral. However, the resolution of the conflict situation is imaginary, so the denouement can be called false: thus, the past for the lyrical heroine has not lost its significance, the theme of memory arises in A. Akhmatova’s traditional tragic perception. Hidden antithesis in the third stanza of the first poem:

The chest is not compressed in anticipation of pain...

I just don’t like the hour before sunset,

The wind from the sea and the word “go away.” [P. 170]

exacerbate the contradictions in the consciousness of the lyrical heroine, despite its formal completeness. The result of this poem is the birth of a word. Both in the literal sense (“the word “go away”), and in the poetic sense. After all, the last two lines are a clear description of the past, selected external realities. Liberation from love experiences in this poem occurs in the word and for the word, as well as in acquiring poetic memory and understanding the passage of time.

The second poem is a kind of bond between the two storylines of the cycle. At the same time, it continues the development of the action in a micro-story about A. Pushkin: “...And there is my marble double...”. The presence of “there” correlates, on the one hand, with the title of the cycle, and on the other hand, it is directly related to the metaphor “city of mysteries.” The metamorphosis that occurred in the first poem with the lyrical heroine predetermines the appearance of the image of the marble double (and the theme of duality in general), the meaning of which in the cycle is ambiguous. The epithet “marble” emphasizes the soulless coldness of the statue, thereby symbolizing the changes that have occurred in the heroine herself. However, A. Akhmatova’s image of the statue is personified: “Listen to green rustlings...”. Thus, a double portrait of the lyrical heroine appears, which is endowed with ambivalent characteristics. Hence: “And the bright rains wash // His clotted wound...”[P. 171] . Based on this, we can conclude that there is a mirror relationship between the lyrical plot of the first and second poems. The “marble double” is associated with the monument to A. Pushkin and is the embodiment of the theme of memory. The destruction of the statue is understood in the context of the death of A. Pushkin: this and physical death poet, and an irreparable loss for the entire Russian culture:

Cold, white, wait,

I too will become marble... [WITH. 171]

can be commented as follows. Firstly, this is a textual echo of a line from the first poem: “And now I have become a toy...”. The discrepancy between temporal forms (past in the first case, future in the second) is due to the formal gradation: “toy - marble” without changing the content side (cold, lifeless). Secondly, predicting her death, the lyrical heroine in her own way comprehends the “running of time” - the main link in the concept of the cycle. The passage of time brings changes not only to the world around us, but also into the consciousness of the lyrical heroine. Thirdly, a kind of prophecy actualizes the motif of a “living monument”, symbolizing the eternal recognition of the poet by the people. But this recognition does not last forever (“The statue fell and broke”). There is an allusion to the famous poem by A. Pushkin “I erected a monument to myself not made by hands.” The true love of the people is in eternal memory. This theme is developed in the third poem. The rapprochement of the lyrical heroine and the statue predetermines the appearance in the cycle of the image of A. Pushkin - the poet whose death turned into a rebirth for all times - the culmination of the lyrical plot (“The dark-skinned youth wandered through the alleys”). Pushkin personifies the living and eternal past, thereby the past in the mind of the lyrical heroine is rehabilitated and deprived of its tragic coloring. The motif of sadness and sadness connects the first and third poems: “At the sad lake shores.” It is characteristic that the poet’s word appears in the cycle earlier than the poet himself, because the second poem is clearly allusive in relation to Pushkin’s “Having dropped an urn with water, the maiden broke it on a cliff...”. It’s not just the commonality of the theme, its interpretation is important: both have a statue that is both dead and alive (“The Virgin, above the eternal stream, sits forever sad”).

“...He gave his face to the lake waters, / Listens to green rustling sounds”). But in A. Pushkin the moment is frozen, we are talking about a living maiden, and the exclamation “miracle!” in the next line is due precisely to the fact that the moment when the living became inanimate and plunged into eternity was captured. For A. Akhmatova, this transition is no longer a miracle and a moment, but a way of existence (“...And there is my marble double...”). In addition, the time situation here is different. A. Pushkin shows the moment of transition of the living into the inanimate, into eternity, and the miracle of this transition. In A. Akhmatova, on the contrary, eternity exists initially, the double is already marble, and the moment that has sunk into eternity is extracted from it and restored. In essence, this poem is the answer to the question of what happened to the Pushkin statue in the passing of time: the statue is resurrected in the poetic word.

The interpenetration of two time plans in A. Akhmatova’s text refers to the poem “Fisherman”. A. Zholkovsky first noticed A. Akhmatova’s borrowing of the symbolism of A. Pushkin, who wrote his poem in 1830. In it he portrays M. Lomonosov as a boy, the son of a fisherman in 1730. A. Akhmatova writes a series in “In Tsarskoe Selo” in 1911, talking about Pushkin, a lyceum student in 1811: “And we cherish the century.” Moreover, subtracting another century from 1811, we get the year of M. Lomonosov’s birth. This kind of game over time is symbolic in nature. A century as a time cycle, on the one hand, indicates the cyclical and spiral nature of cultural development. On the other hand, it is recognized as a timeless category of eternity. Finally, A. Akhmatova proclaims, on the basis of a similarity with Pushkin’s pretext, the principle of a mystical, sacred connection between times and the continuity of literary generations. The game with time is carried out not only at the semantic, but also at the grammatical levels: the line-by-line alternation of past and present is replaced by the future tense in A. Pushkin’s text and is closed with the help of a ring composition by the past in A. Akhmatova’s cycle:

The dark-skinned youth wandered along the alleys...

Here was his cocked hat... [WITH. 171]

This is due, first of all, to the search for an ideal in the past. The past in A. Akhmatova’s aesthetic concept manifests itself in the present not through the entire series of listed events, but as if by chance is resurrected in small details (hence the image of the cocked hat). At the same time, history is also a kind of memory, therefore, the goal of creativity is the resurrection of the past, its cultural traditions in the present for the sake of the future.

The mirror relationship of eras gives rise to a symbolic understanding of the toponym Tsarskoye Selo, which is introduced into the value system of Pushkin and Akhmatova as a symbol of childhood, youth and the past in general. Tsarskoe Selo is located on the border of the intersection of two worlds - the “golden” age of Russian culture and the modern “silver” age of A. Akhmatova. That’s why the voice of the lyrical heroine Akhmatova sounds so tragic in the late cycle “To the City of Pushkin” (1957): “Oh woe is me! They burned you!..”

A unique literary context serves as a kind of connecting link between two historical eras: “And the disheveled volume of Guys.” The French poet is at the same time a value guide for both A. Pushkin and A. Akhmatova. In the poem “A dark-skinned youth wandered through the alleys...” we can talk about a biographical quotation, that is, the inclusion of autobiographical elements in the text. But the main thing: the reconstruction of the poet’s appearance and his living word is intertwined with the biography of another poet and with his word. This process is already embodied in the first word of the third poem - “dark.” The epithet is associated with the portrait of A. Pushkin, and with the eastern origin of A. Akhmatova herself, and at the same time with the skin color of her Muse. The last association introduces it into the world cultural context: “And cheeks scorched by fire, / People are already frightened by their dark complexion,” A. Akhmatova will say about herself in a late poem. The same thing happened with Dante, whose dark complexion was associated by his contemporaries with the flames of hell. At this point of similarity (Dante - Pushkin - Akhmatova) there is already the beginning of fate, leading to the “Requiem”, the scene of which becomes Hell, and programming the exit from this Hell. In this regard, the “disheveled volume of Guys” at the end is not accidental.

Thus, the space of the first quatrain is the space of the past. However, the realities of space in the second quatrain are not only signs of Tsarskoye Selo. All these realities have survived a number of cultural eras, and therefore they are timeless and universal. This creates a certain spatial context, common to A. Pushkin, the poet, and the statue.

Against this background, one can more fully comprehend the ending of the cycle “Here lay his cocked hat / And the disheveled volume of the Guys” [P. 171]. The word “here” includes a lot: this is the place where the heroine’s love experiences unfold, where she prophesies about the future and where the deep past is alive - A. Pushkin. Along those alleys along which horses are now being “guided,” “the dark-skinned youth wandered,” and in those places where “his soul yearned, / Gasped in his dying delirium,” “lay his cocked hat / And the disheveled volume of Guys.” Everything exists simultaneously here in Tsarskoe Selo (hence the name). Therefore, standing in this place, you can feel yourself in all three times.

The lyrical plot in A. Akhmatova’s cycle can be attributed to the “chronicle” type (G. Pospelov). Its functioning is based on the relationship between the past and the present in the life of the lyrical heroine, the past as historical memory. The movement of the plot is subject to the antithetical laws of duality: the lyrical “I” in the past and the “I” in the present, “I” and the “marble double,” “I” and the “swarthy youth.” The lyrical plot, endowed with narrative intonation, is outlined with a dotted line - only events and episodes that are significant for the lyrical consciousness are highlighted.

Analysis of the rhythmic plot unfolding in the alternation of the dolnik and anapest shows that at this level there is an interpenetration of the past and the modern metrical point of view.

The relationship between historical eras is reflected, as in a mirror, in the creative relationship of the two authors: they can be understood as a prophecy and a response to it. That is why A. Pushkin for A. Akhmatova is a kind of ideal perspective, Pushkin’s world for her is an ideal of inviolable harmonious balance.

It is characteristic that the general meaning of the cycle is not given initially, but gradually emerges as it unfolds, and not from a simple juxtaposition of poems, but from their comparison. The composition of the cycle implies the need to return to the beginning; there should be both forward and reverse reading. Only in this bidirectional movement is the fullness of meaning achieved. When reading directly, the following triad is built:

1) the human “I”, loving, suffering and liberated from love and suffering;

2) a double as a certain archetype from the world cultural context;

3) comprehension of this context through living individuality.

But if we stop here in the interpretation of the cycle, then the lyrical “I” will turn out to be superfluous and unnecessary; it will appear only as ballast, from which the poet is freed in the process of creativity, and the movement of poetic consciousness will be simplified (“I” - “double” - “Pushkin”) , it turns out that the main thing is to understand A. Pushkin. With the reverse movement, a very important semantic nuance becomes clear: A. Pushkin in the cycle is presented not only in a poetic, but also in an everyday form, and the “I” of the lyrical heroine is the same here. That is, the proportionality and mutual correspondence of two poetic individualities is revealed, not only the significance of A. Pushkin for the formation of a new poetic personality is comprehended, but also the significance of this poetic personality as an enlivening container of culture, literature, and A. Pushkin

The cycle contains, in a condensed form, the pattern of organization of A. Akhmatova’s entire work as a single book, in which the meaning of the whole is in the eternal return of already written poems, in reviving them in a new literary and cultural context.

Literature

1. Akhmatova A. A. Lyrics. - Rostov-on-Don, 1996.

2. Akhmatova A. and Russian literature of the early twentieth century: Abstracts. conf. - M., 1989. - 106 p.

3. Akhmatova readings. Vol. 2. Secrets of the craft / Ed., comp. N.V. Koroleva, S.P. Kovalenko. - M., 1992. - 281 p.

4. Babaev E. G. “... One magnificent quote”: Quotes in the works of A. Akhmatova // Russian speech. - 1993. - No. 3. - P. 3-6.

5. Zhirmunsky V. M. Creativity of A. Akhmatova. - L., 1968. - 250 p.

6. Zholkovsky A.K. Wandering dreams: Word and culture. - M., 1992. - 431 p.

7. Kikhney L.G. Poetry of A. Akhmatova: Secrets of the craft. - M., 1997. - 321 p.

8. Luknitsky P. Early Pushkin studies of A. Akhmatova // Questions of literature. - 1978. - No. 1. – pp. 185-228.

9. Musatov V.V. Lyrics by A. Akhmatova and the Pushkin tradition // Musatov V.V. Pushkin tradition in Russian poetry of the first half of the twentieth century. From Pasternak to Annensky. – M., 1992. – P.116-148.

10. Timenchik R. D. “Someone else’s word” by A. Akhmatova: About language // Russian speech. – 1989. - No. 3. – pp. 33-36.

11. Toporov V.N. Petersburg and “Petersburg text of Russian literature” // Collection of articles. articles. – M., 2004.

Against the background of “The First Return,” the title “In Tsarskoe Selo” can be interpreted as a doom to continue the “forever exhausted theme.” In this situation, the poet is very clearly aware that his personal focus on uniqueness will inevitably run into the impossibility of not repeating himself.

In this dialectic, spatial realities are preserved in the word because they were already a word and many times passed from verbal reality into life reality. Against this background, the love experiences of the first poem unfold. The essence of the experience is unhappy and painful love, the most universal situation in Akhmatova’s early and late works. This situation is quite common in turn-of-the-century poetry, so it is necessary to understand its meaning in this poetic context. Akhmatova’s peculiarity is that the language of love was the most adequate for comprehending time (I. Brodsky), because this is not just torment, but torment experienced again and again. A. Akhmatova, returning the torment, also experiences liberation from it. The main thing in the experience that is recreated here is the rejection of the hero’s lyrical irony (which allowed V.V. Vinogradov to talk about the semantic duality of the work). Perhaps this is where this happens for the first time in Akhmatova, and this is not just liberation from love, but also from the attraction of things associated with feeling.

Horses are led along the alley.
The waves of combed manes are long.
Oh, captivating city of mysteries,
I'm sad, having loved you.

It’s strange to remember: my soul was yearning,
She was suffocating in her death delirium.
And now I've become a toy,
Like my pink cockatoo friend.

The chest is not compressed in anticipation of pain,
If you want, look into the eyes.
I just don’t like the hour before sunset,
Wind from the sea and the word "go away."

Thingfulness, “toy-ness” has another important semantic connotation. The theme of toys is closely related to destruction: the lyrical heroine finds herself on the verge of destruction.

The result of this poem is the birth of a word. Both in the literal sense (“the word “go away”), and in the poetic sense. After all, the last two lines are a clear description of the past, selected external realities. Liberation from love experiences in this poem occurs in the word and for the word, as well as for the acquisition of poetic memory , understanding the passage of time.

The theme of memory gives rise to the theme of duality - throughout the entire cycle. The heroes of all three poems of the cycle can be considered as doubles.

In the second poem, the theme of duality is already clearly heard. Here is its beginning for all of Akhmatova’s poetry, and the appearance of this theme is dictated by a special view of time. As we comprehend the passage of time, we become increasingly aware of the changes that it makes not only to the world around us, but also to the personality of the poet himself. This is how a split arises: the “I” in the past and the “I” in the present are connected, like a portrait and an original. In fact, the theme of the portrait is a hypostasis of the theme of duality, and Akhmatova’s relationship between the portrait and the original is determined by the passage of time.

...And there is my marble double,
Prostrate under the old maple tree,
He gave his face to the lake waters,
He listens to green rustling sounds.
And the light rains wash
His clotted wound...
Cold, white, wait,
I, too, will become marble.

This portrait is a mirror in which you can see the future, a fortune-telling portrait, a prophecy portrait that comes true as inevitably as the passage of time is inevitable. Hence the inevitability of what is said in “Epic Motives”:

As if in a mirror, I looked anxiously
On a gray canvas, and with every week
The resemblance became more and more bitter and strange
Mine with my image is new.

In general, Akhmatova’s portrait continues to live and change without the original (“As a man dies, / His portraits change”).

In the cycle “In Tsarskoe Selo” the double is marble, that is, a statue. In the poem there is a counter-movement between the heroine and the double: the statue “listens to the green rustling”, and a person can become a statue. (“...I, too, will become marble”).

It is interesting that the revival of the statue accompanies its dying and destruction (the statue fell). The lyrical heroine also speaks about her impending death. These two processes do not occur separately, but simultaneously; the main law of the passage of time is the consubstantiality of death and rebirth.

The rapprochement of the lyrical heroine (she is also a poet) and the statue prepares the appearance of Pushkin in the third poem - a personality whose death turned into a rebirth for all times. It is characteristic that the poet’s word appears in the cycle earlier than the poet himself, because the second poem is clearly allusive in relation to Pushkin’s “Having dropped an urn with water, the maiden broke it on a cliff...”. The point is not only the commonality of the theme, its interpretation is important: both have a statue that is both dead and alive (“The Virgin, above the eternal stream, sits forever sadly”).

"...He gave his face to the lake waters, / Hears the green rustlings"). But in Pushkin the moment is frozen, we are talking about a living maiden, and the exclamation “miracle!” in the next line is due precisely to the fact that the moment when the living became inanimate and plunged into eternity was captured. For Akhmatova, this transition is no longer a miracle and a moment, but a way of existence (“...And there is my marble double...”). In addition, the time situation here is different. Pushkin shows the moment of transition of the living into the inanimate, into eternity, and the miracle of this transition. In Akhmatova, on the contrary, eternity exists initially, the double is already marble, and the moment that has sunk into eternity is extracted from it and restored. In essence, this poem is the answer to the question of what happened to the Pushkin statue in the passing of time: the statue is resurrected in the poetic word.

Therefore, the “marble double” is, first of all, the embodiment of memory, that is, a monument. Monuments in Akhmatova’s work are a fairly common occurrence, and they appear, as a rule, on the brink of life and death, in the unity of the destinies of the poet and time, at the most painful moments of the temporal rift (early and late cycles"Three Poems", Fifth of the "Northern Elegies", "Requiem").

In the context of the cycle, the meaning of the poem is determined by its middle position, its mediating function between the poet’s “I” and Pushkin. So the entire spatial complex of this poem is repeated in the third (“...He gave his face to the lake waters” - “...At the sad lake shores...”; “Listen to the green rustling”; “...The needles of the pine trees are thick and prickly.. ").

The living past is the hero of the third poem. Pushkin here is the pinnacle personification of the past, he embodied it in words. The image of Pushkin in this poem is double. On the one hand, he is removed in time and space (“And we cherish the century / The barely audible rustle of steps”). On the other hand, it is as close as possible through material and everyday details (“Here lay his cocked hat...”). That is, Pushkin for Akhmatova is truly an ideal perspective, something unconditionally close and at the same time infinitely distant, constantly being embodied, but completely unrealizable. With the appearance of Pushkin, time moves backward, from the future to the past. At the same time, the dead poet is spoken of as if he were alive: “...The barely audible rustle of footsteps” is heard a century later.

Thus, the space of the first quatrain is the space of the past. However, the realities of space in the second quatrain are not only signs of Tsarskoye Selo. All these realities have survived a number of cultural eras, and therefore they are timeless and universal. This creates a certain spatial context that is common to Pushkin, the poet, and the statue.

Against this background, one can more fully comprehend the ending of the cycle: “Here lay his cocked hat / And the disheveled volume of Guys.” The word “here” includes a lot: this is the place where the heroine’s love experiences unfold, where she prophesies about the future and where the deep past is alive - Pushkin. Along those alleys along which horses are now being “guided” - “the dark-skinned youth wandered”, and in those places where “the soul yearned / Gasped in its dying delirium” - “... lay his cocked hat / And the disheveled volume of the Guys” . Everything exists simultaneously here in Tsarskoe Selo (hence the name). Therefore, standing in this place, you can feel yourself in all three times.

As has already been said, it is Pushkin’s word, recreated in the second poem, that contributes to the appearance of a living Pushkin in the third. A poet who appears following his word - this situation will be repeated quite often in Akhmatova (Blok’s cycle, “Poem without a Hero”, etc.), reflecting the primacy of the word in relation to reality, its magical power over it.

But the main thing: the reconstruction of the poet’s appearance and his living word is intertwined with the biography of another poet and with his word. This process is already embodied in the first word of the third poem - “dark.” The epithet is associated with the portrait of Pushkin, and with the eastern origin of Akhmatova herself, and at the same time with the skin color of her Muse. The last association introduces it into the world cultural context: “And cheeks scorched by fire, / People are already confused by their dark complexion,” Akhmatova will say about herself in a later poem. The same thing happened with Dante, whose dark complexion was associated by his contemporaries with the flames of hell. At this point of similarity (Dante - Pushkin - Akhmatova) there is already the beginning of fate, leading to the "Requiem", the scene of which becomes Hell, and programming the exit from this Hell. In this regard, the “disheveled volume of Guys” at the end is not accidental.

Just as Pushkin and Dante were significant for Akhmatova, so Dante, Guys, was dear to Pushkin. And Akhmatova builds this line of predestination from the very beginning, because she “knows the beginnings and ends.”