Flowers in the work of Akhmatova. "flowers" in the poetic world of Anna Akhmatova. The language of flowers makes it possible to express your intentions and feelings. Key words: Azalea

Regional state budgetary

professional educational institution

"Ryazan multidisciplinary college"

research project on the topic of:

"Flowers in the poetry of A.A. Akhmatova."

Completed by: Vasilyeva E.G.,

student 61Tgr.

Head: Lachugina L.A.,

teacher of Russian language and literature

Ryazan, 2017

Subject:

Vasilyeva Ekaterina

Project Manager:

Lachugina Ludmila Anatolyevna

OGBPOU "Ryazan multidisciplinary college"

Thisresearch on literature " “Flowers in the poetry of A.A. Akhmatova" " dedicated to the studythe poetic world of A.A. Akhmatova, the features of her poems, in which there are flowers, their symbols and meanings.

In progressresearch work on literature "Flowers in the poetry of A.A. Akhmatova" the student was hypothesized that flowers helprestore mental state lyrical hero poems by A.A. Akhmatova, convey a certain atmosphere of mood.

Practical significance research:

Content

1.Introduction………………………………………………………………….. .4-5p.

1.1. Biography of A.A. Akhmatova…………………………………………….6-9

1.2. The significance of flowers in our life and in the life of Akhmatova..................................10

Chapter 1. Lilac………………………………………………………………...11-12

a) Early lyrics

b) Late lyrics

Chapter 2. Roses…………………………………………………………………..13-14

a) Early lyrics

b) Late lyrics

Chapter 3

a) Early lyrics

b) Late lyrics

Chapter 4. Tulips……………………………………………………………….16-17

a) Early lyrics

b) Late lyrics

Chapter 5 ................................................. 18-19

a) Early lyrics

b) Late lyrics

Chapter 6 ................................................ 20

a) Early lyrics

b) Late lyrics

Chapter 7. Carnations…………………………………………………………….. 21

a) Early lyrics

b) Late lyrics

Chapter 8. Chrysanthemums…………………………………………………………….

a) Early lyrics

b) Late lyrics

Chapter 9 ...................................................23

a) Early lyrics

3.Conclusion………………………………………………………………………24

4. List of references………………………………………………………………………………………………………………………………………………25

1. Introduction.

The main reason for the appearance of my work is that it is my credit work in literature. I have read a lot of literature about A.A. Akhmatova, not a single collection of her poems. The work really fascinated me. My intention is, first of all, the following: to tell about one of the secrets of the poetic world of A.A. Akhmatova associated with the world of flowers. So, I put my main goal in this work in the first place - this is an acquaintance with the personality and biography of Anna Andreevna Akhmatova and her work, Secondly, I consider the wonderful poetic world of A.A. Akhmatova a discovery for myself, the peculiarity of her poems, in which there are flowers, their symbolism and meaning. What are they telling us?

Project objectives:

To study the biography of Anna Andreevna Akhmatova;

To study the poems of A.A. Akhmatova;

Pay attention to the poems in which there are images of flowers, understand their meaning.

Object of study: biography and work of Anna Akhmatova.

Subject of study: images of flowers in poetic world Anna Akhmatova.

Hypothesis:

Flowers help to recreate the psychological state of the lyrical hero of A.A. Akhmatova, convey a certain atmosphere of mood.

Implementation stages:

The study of literature on the research topic "Images of flowers in the poetry of A.A. Akhmatova";

Collection the right material on the topic, its reading and careful study;

Conclusion from the received data

Research methods

Theoretical - the study of literature on the topic of research

Practical - analysis of the poem by Anna Akhmatova

Practical significance:

When writing a script extracurricular activities by Anna Akhmatova

The opportunity to use this project in literature lessons

1. 1. Biography of A.A. Akhmatova.

Anna Andreevna Akhmatova (real name Gorenko) was born on June 11 (23), 1889 in the family of an engineer-captain of the 2nd rank Andrei Antonovich Gorenko and Inna Erazmovna. In one version of her autobiography, Akhmatova writes: "I was born in the same year as Charlie Chaplin, Tolstoy's Kreutzer Sonata, the Eiffel Tower, and, it seems, Eliot." This summer, Paris celebrated the centenary of the fall of the Bastille - 1889. On the night of my birth, the ancient Midsummer Night (the night of Ivan Kupala) - June 23 - was coping and coping ... They called me Anna in honor of my grandmother ... Her mother was a Genghisid, Tatar princess Akhmatova ... "Two years later The Gorenko spouses moved to Tsarskoye Selo, where Anya studied at the Mariinsky Gymnasium. Anna began writing poetry at the age of eleven. Derzhavin and Nekrasov were read in the house - in any case, it was these names that became the first poetic names for the young Akhmatova. However, even before the first poem, her father teased her as a decadent poetess. In 1903 she met Gumilyov and became a regular recipient of his poems. He writes poetry, he comes to her in the Crimea, he tries to commit suicide several times ... Anna loves another, writes "a great many helpless poems", refuses Gumilyov and tries to commit suicide herself. In 1907 Gumilyov publishes the Sirius magazine in Paris, in which for the first time signed "Anna G." Akhmatova's poem ""There are many brilliant rings on his hand" was published. In 1905, after the divorce of her parents, she moved to Evpatoria. In 1906-190. studied at the Fundukleev gymnasium in Kyiv, in 1908-1910 - at the law department of the Kyiv Higher Women's Courses. Then she attended the women's historical and literary courses of N. P. Raev in St. Petersburg. In the spring of 1910 Akhmatova agreed to become Gumilyov's wife. On her honeymoon, she made her first trip abroad, to Paris. He does not stop writing poetry, which literary Petersburg is warily accepting. In the spring of 1912 The Gumilyovs traveled around Italy, and in September their son Lev was born. Standing up from the start family life spiritual independence, she makes an attempt to publish without the help of Gumilyov, in the autumn of 1910. sends poems to "Russian Thought" to Bryusov, asking if she should be engaged in poetry, then she gives poems to the magazines "Gaudeamus", "Vesobshchiy Zhurnal", "Apollo", which, unlike Bryusov, publish them. Upon Gumilyov's return from his African trip, Akhmatova reads to him everything she had composed during the winter and for the first time received full approval of her literary experiments. Since that time, she has become a professional writer. Released a year later, her collection "Evening" found a very quick success. In the same 1912 members of the newly formed "Workshop of Poets", of which Akhmatova was elected secretary, announce the emergence of a poetic school of acmeism. Akhmatova's life in 1913 proceeds under the sign of growing metropolitan fame: she speaks to a crowded audience at the Higher Women's Courses, artists paint her portraits, poets address her with poetic messages. In 1914, the second collection of "Rosary" was published, which brought her all-Russian fame, gave rise to numerous imitations, and confirmed the concept of "Akhmatov's line" in the literary mind. In the summer of 1914 Akhmatova writes the poem "By the Sea", which goes back to childhood experiences during summer trips to Chersonese near Sevastopol. next collection" white flock"saw the light in September 1917 and was met with a rather restrained response. War, famine and devastation relegated poetry to the background. But those who knew Akhmatova closely understood the significance of her work. In March, Anna Andreevna accompanied Nikolai Gumilyov abroad, where he served in the Russian expeditionary corps. And already in the next 1918, when he returned from London, a gap occurred between the spouses. In the autumn of the same year, Akhmatova married Shileiko, a scholar and translator of cuneiform texts. With the outbreak of World War I, Akhmatova sharply limits her public life. At this time, she suffers from tuberculosis, a disease that did not let her go for a long time. An in-depth reading of the classics affects her poetic manner, the sharply paradoxical style of cursory psychological sketches gives way to neoclassical solemn intonations. Insightful criticism guesses in her collection "The White Pack" the growing "feeling personal life as a national, historical life". Inspiring in her early poems the atmosphere of "mystery", the aura of autobiographical context, Akhmatova introduces free "self-expression" as a stylistic principle into high poetry. The seeming fragmentation, dissonance, spontaneity of lyrical experience is more and more clearly subject to a strong integrating principle, which gave Mayakovsky reason to remark: "Akhmatova's poems are monolithic and will withstand the pressure of any voice without cracking." October revolution the poetess did not accept. For, as she wrote, "everything has been plundered, sold, everything has been devoured by hungry anguish." But she did not leave Russia, rejecting the "consoling" voices calling to a foreign land, where many of her contemporaries ended up. She did not go abroad even after in 1921. the Bolsheviks shot her ex-husband Nikolai Gumilyov. The beginning of the twenties was marked by a new poetic rise of Akhmatova - the release of the poetry collections "Anno Domini" and "Plantain", which secured her fame as an outstanding Russian poetess. In the same years, she was seriously engaged in the study of the life and work of Pushkin. December 1922 was marked by a new turn in Akhmatova's personal life. She moved in with art historian Nikolai Punin, who later became her third husband. From the mid-1920s, Akhmatova's new poems ceased to be printed. In 1924, Akhmatova's poems were published for the last time before a long break, after which an unspoken ban was imposed on her name. In the early 1930s, her son Lev Gumilyov was repressed, having survived three arrests during the period of repression and spent 14 years in the camps. All these years, Anna Andreevna patiently fussed about the release of her son, after Lev Gumilyov was subsequently rehabilitated. Later destinies thousands of prisoners and their unfortunate families, Akhmatova dedicated her great and bitter poem "Requiem". In 1939, after Stalin's positive remark, the publishing authorities offered Akhmatova a number of publications. Her collection "From Six Books" was published, which included, along with strict censorship selection, old poems and new works that arose after many years of silence. Soon the collection is subjected to ideological scrutiny and withdrawn from libraries. Patriotic War found Anna Akhmatova in Leningrad. At the end of September, already during the blockade, she flew first to Moscow, and then evacuated to Tashkent, where she lived until 1944. Here the poetess did not feel so lonely. In the company of people close and pleasant to her - Faina Ranevskaya, Elena Bulgakova. There she also learned about the changes in the fate of her son. Lev Nikolaevich Gumilyov asked to be sent to the front, and his request was granted. In the summer of 1944 Akhmatova returned to Leningrad. She traveled to the Leningrad front with poetry readings, her creative evening at the Leningrad House of Writers was a success. In the spring of 1945, immediately after the victory, Leningrad poets, including Akhmatova, performed in Moscow in triumph. And suddenly everything was broken. In 1945-1946, Akhmatova incurs the wrath of Stalin, who learned about the visit of the English historian Berlin to her. The Kremlin authorities make Akhmatova the main object of party criticism. The decree of the Central Committee of the All-Union Communist Party of Bolsheviks directed against her on the magazines Zvezda and Leningrad tightened the ideological dictate and control over the Soviet intelligentsia, misled by the liberating spirit of national unity during the war. And two weeks later, the Presidium of the Board of the Union of Writers of the USSR decided to expel Anna Akhmatova from the Union of Soviet Writers, thereby she practically lost her livelihood. Akhmatova was forced to earn a living by translating, although she always believed that it was unthinkable to translate other people's and write her own poems. Again there was a ban on publications. An exception was made in 1950, when Akhmatova imitated loyal feelings in her poems written for Stalin's anniversary in desperate attempt mitigate the fate of his son, once again subjected to imprisonment. In the year of Stalin's death, when the horror of repression began to recede, the poetess uttered a prophetic phrase: "Now the prisoners will return, and the two Russias will look into each other's eyes: the one that planted, and the one that was imprisoned. A new era has begun." Since 1946, many of Akhmatova's poems have been dedicated to Isaiah Berlin, an English diplomat, philologist and philosopher who visited her in 1945. at the Fountain House. Conversations with Berlin became for Akhmatova an exit into the living intellectual space of Europe, set in motion new creative forces, she mythologized their relationship, associated the beginning of their meeting with cold war". In the last decade of Akhmatova's life, her poems gradually, overcoming the resistance of party bureaucrats and the timidity of editors, come to a new generation of readers. In 1965, the final collection "The Run of Time" was published. At the end of her days, Akhmatova was allowed to accept the Italian literary prize Etna-Taormina and an honorary doctorate from Oxford University. In the autumn of 1965 Anna Andreevna suffered a fourth heart attack, and on March 5 she died in a sanatorium in Domodedovo in the presence of doctors and sisters who came to the ward to examine her and take a cardiogram. On March 7, at 22:00, the All-Union Radio broadcast a message about the death of the outstanding poetess Anna Akhmatova. She was buried at the cemetery in Komarov near Leningrad. Lev Gumilyov, when he was building a monument to his mother together with his students, collected stones for the wall wherever he could. They laid the wall themselves - this is a symbol of the wall under which his mother stood with the transfers to her son in "Crosses". Akhmatova's death in Moscow, her funeral in St. Petersburg and her funeral in the village of Komarovo caused numerous responses in Russia and abroad. Not only did the unique voice fall silent, last days bringing the secret power of harmony into the world,” N. Struve responded to the death of Akhmatova, “with him the unique Russian culture completed its circle, which existed from the first songs of Pushkin to the last songs of Akhmatova.”

1.2. The importance of flowers in our life and in the life of Akhmatova.

Flowers in the life of every person play a special role, especially for women. Like every person, we have our favorite and least favorite flowers. For us, flower women mean a lot. Some symbolize love and fidelity, others friendship, and the third can symbolize grief and sadness. Images of flowers play a huge role in Akhmatova's "poetic bouquet". With the help of flowers, Akhmatova does not need to talk about her sorrows and joys, they do it for her. Her flowers are so real that we can literally feel them, smell their wonderful fragrance and see these bright, fantastic colors.Anna Akhmatova's favorite flowers were velvet, burgundy roses. We can see this even in her poems. After all, it was not in vain that she devoted about ten, and maybe even more poems to them. "She was very fond of receiving huge bouquets of these flowers, as the devoted flowers inspired the poetess to new creations." The rose is a symbol of courage, pride, love and perfection. In one of her poems she writes:

"I don't like flowers - they remind
I have funerals, weddings and balls,
Tables set for dinner
The one that has always been my joy since childhood,
Remained until now the only legacy
Like the sounds of Mozart, like the blackness of the night.

But will a person who does not like flowers dedicate such a huge number of poems to them? What are Akhmatova's favorite flowers, and which are not? What do they mean to her, what do they want to tell us?

2. The main part. Flowers in the poetry of A.A. Akhmatova.

Chapter 1. Lilac

a) Early lyrics.

1. "Gasoline smell and lilac,

Anxious calm...

He touched my knees again

Almost without a trembling hand ... "

("Walk" 1913)

2.«I cut on lilac bushes

Those branches that have now faded;

On the ramparts of ancient fortifications

The two monks walked slowly…”

(“I began to dream less often of Glory to God,” 1912)

3. “The sky sows a fine rain

To the blooming lilac.
Outside the window the wings are blowing

White, white Spirits Day.

Come back to a friend

Because of the sea - the deadline.
All I dream of is the distant shore,
Stones, towers and sand…”

(1916)

b) Late lyrics.

1. “And then from the coming age

a stranger

Let the eyes look boldly
To make it a flying shadow

Gave a bunch of wet lilacs

At an hour, as this thunderstorm blows ... "

2. “Smoke danced squatting on the roof

And the cemetery smelled of lilacs.

And cursed by Queen Avdotya,

Dostoevsky and the demoniac,

The fog was leaving the city ... "

(“A poem without a hero Triptych” 1940-1962)

3. “It seemed to me that the song was sung

Among these empty halls.
Oh, who would have told me then

That I inherit all of this:
Felitsu, swan, bridges,
And all Chinese inventions
Palace through galleries

And lindens of wondrous beauty.
And even my own shadow
All distorted with fear
And a penitential shirt

And sepulchral lilac ... "

(Heiress "1958)

4. "With whom the bitterest is destined,

He came to me at the Fountain Palace

Late at night foggy

New Year's drink wine.

And remember the Epiphany evening,

Maple in the window, wedding candles

And the death flight poems...

But not the first branch of lilac,

Not a ring, not the sweetness of prayers -

He will bring me death ... "

(“Poem without a hero”, 1962)

With the help of lilac, Akhmatova describes her state of bitterness, loss, loss, extinction. As in the early lyrics, so in the late lilac is a symbol of death. Only in the early lyrics, lilac is a symbol of the fading of feelings, love, warmth, and in the later it is a symbol real death, loss.

Chapter 2

a) Early lyrics.

1."After wind and frost

I like to warm myself by the fire.

There, I did not follow the heart,

And it was stolen from me.

New Year's holiday lasts magnificently,

Wet stems of New Year's roses,

And in my chest you can no longer hear

The flutter of dragonflies...»

(« After wind and frost it was ... "1914)

2."How can you look at the Neva
How dare you climb bridges?

It's not for nothing that I have a sad reputation
Since the time you dreamed.
Black angels' wings are sharp,
The final judgment is coming soon
And crimson bonfires

Like roses bloom in the snow...

(“How can you look at the Neva”, 1914)

3. "Where did the cold, wet days go?

The water of the muddy channels became emerald,
And the nettles smelled like roses, but only stronger.
It was stuffy from the dawns, intolerable, demonic and scarlet,
We all remember them until the end of our days ... "

(“An unprecedented autumn built a high dome ...” 1922)

4."It's good here: both the rustle and the crunch;
Every morning the frost gets worse
A bush leans in a white flame
Icy dazzling roses ... "

(1922)

5." And in secret friendship with the high,
Like a young dark-eyed eagle
I, as if in a pre-autumn flower garden,
She entered with a light gait.
There were the last roses
And the transparent moon swayed
On gray, thick clouds ... "(1917)

6."I don't like flowers - they remind
I have funerals, weddings and balls,
Tables set for dinner
But only eternal roses are simple beauty,
The one that has always been my joy since childhood ... "

(1910)

late lyrics.

1. "I want roses, in 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.

In the fragrant silence between the regal lindens
I imagine the creaking of ship masts ... "

("Summer Garden" 1959)

3."HereThisIyou, insteadsepulchralroses,

Insteadincensesmoking

YouSoseverelylivedAndbeforeenddenounced

magnificentcontempt…»

(“In memory of Bulgakov”, 1940)

4. "I bow to Morozova,

To dance with Herod's stepdaughter,

Fly away with smoke from the fire of Dido,

To go to the fire with Jeanne again.

God! You see I'm tired

Resurrect and die and live.

Take everything, but this scarlet rose

Let me feel the freshness again ... "

("The Last Rose" 1962)

5. "And we'll go to Samarkand to die,
To the homeland of eternal roses...
Tashkent, Tashmi…”

(1942)

Roses in Akhmatova's poems, on the one hand, describe love, passion, beauty, and on the other hand, with the help of roses, Akhmatova connects roses with longing, death, sadness, this is especially noticeable in later lyrics.

Chapter 3. Poppy

early lyrics

1. "Immediately it became quiet in the house,
Flew over the last poppy,
I froze in a long slumber
And I meet the early darkness ... "

(1917)

late lyrics.

1. "Until the middle is visible to me

My poem. It's cold in her

As in a house where fragrant darkness

And the windows are locked from the heat

And where so far there is no hero,

But the poppy covered the roof with blood ... "

("Another lyrical digression" 1943)

2. "We did not breathe sleepy poppies,
And we do not know our fault.
Under what star signs
Are we born on our own mountain?
And what a hell of a brew
Did the January darkness bring us?
And what an invisible glow
Did it drive us crazy?"
(1946)

In the early lyrics, when Akhmatova talks about the poppy, one feels peace and tranquility. When she talks about the poppy in the 1917 poem, it feels like she is describing her usual state, an ordinary day. In the late lyrics of Akhmatov, one seems to want to stand up and say something loudly to the whole world, they feel tension and drama.

Chapter 4. Tulips

early lyrics.

1. "Do not like, do not want to watch.
Oh, how beautiful you are, damned!
And I can't fly
And from childhood she was winged.
My eyes were covered with fog,
Things and faces merge...
And only a red tulip
Tulip in your buttonhole.

As simple courtesy dictates,
He came up to me and smiled.

Half kind, half lazy
Touched the hand with a kiss -
And mysterious, ancient faces
Eyes looked at me ... "

("Confusion" 1913)

Late lyrics

1. "These were black tulips -
They were terrible flowers.
And the dawn was cold, foggy,
As if Death let the witnesses in.
These are black eternal tulips -
This is the smell of bitterness, separation,
It's the taste of a forgotten wound
And the torments that subsided for a while.
These were black tulips -
Quiet governors of the sum,
That swayed silently, relentlessly
Even in the middle of an icy winter.
These were black tulips -
They were scary flowers
Natives of the Great Mists
They are sown and are sown into the worlds...” (1959)

3. "Spring fogs over Asia,
And terribly bright tulips
The carpet has been woven for many hundreds of miles.
Oh, what should I do with this purity,
What to do with incorruptibility?
Oh what am I to do with these people!
I couldn't be a spectator
And somehow I always intrude
In the most forbidden zones of nature.
Healer of gentle disease,
Alien husbands truest girlfriend
And the inconsolable widow of many ... "

(“What is I wish you another”, 1942)

In the early lyrics, Akhmatova associates the image of a tulip with warmth, reverence and love. It is even possible that in the poem "Confusion", she tells us about the person she loves and who is dear to her, and she associates these "red tulips" only with him. In later lyrics, tulips are a symbol of death, bitterness, separation, something unreal, artificial.

Chapter 5

early lyrics

1." Wedding candles float

Under the veil "kissing shoulders"

The temple thunders: "Dove, come!"

Mountains of Parma violets in April -

And a date in the Maltese Chapel,

Like a curse in your chest.

Golden age vision

Or black crime

In the terrible chaos of old days?

("Poem without a Hero" 1913)

2. "The darkest days of the year

Should be bright.

I can't find words to compare

So soft are your lips.

Just don't you dare raise your eyes

Keeping my life.

They are brighter than the first violets,

And deadly for me."

Late lyrics

1. "Wild honey smells free,

Dust - a ray of sunshine,

Violet - girl's mouth,

And gold is nothing.

Mignonette smells like water

And an apple - love.

But we knew forever

That only blood smells like blood ... "

(1934)

3." I meet the third spring in the distance

From Leningrad.

Third? And it seems to me that she
Will be the last.
But I will never forget
Until the hour of death

How I was pleased with the sound of water
In the shade of a tree.

The peach blossomed and the violets smoke
Everything is more fragrant.
Who dares to tell me that here
Am I in a foreign land?!”

("Moon at its zenith" 1942-1944)

In the early lyrics, I associate the image of violets with something light spring, in love, but on the other hand, they are overshadowed by something sad and unpleasant. And in the late lyrics, she compares violets to a clean and innocent girl's mouth and wants us to feel their beautiful smoke. But the most important difference lies in the fact that in the early lyrics she describes the violets externally, and in the later Akhmatova wants us to smell them, and even what they feel like.

Chapter 6

early lyrics

1." If the moon horror splashes,

The whole city is in a poisonous solution.

With no hope of falling asleep

I see through the green haze

And not my childhood, and not the sea,

And not butterflies mating flight

Over a ridge of snow-white daffodils

In that sixteenth year ... "

(1928)

2." And white daffodils on the table

And red wine in a glass flat

I saw, as it were, in the dawn mist.

My hand dripping with wax

Trembling while taking a kiss

And the blood sang: blessed, rejoice!

(1916)

Late lyrics

1."And time away, and space away,

I saw everything through the white night:

And a narcissus in crystal on your table,

And cigars blue smoke

And that mirror, where, as in clear water,

You could reflect now.

And time away, and space away ...

But you can't help me either."

("Wake up" 1946)

What in the early lyrics, what in the late daffodils are associated with a man and love, emotional experiences. In these poems, she is carried away into her past, while she does not feel anything, she simply hopes for all that good and beautiful that awaits her ahead.

Chapter 7

early lyrics

1. "The flame goes out in the fireplace,
Tom, the cricket is crackling.
Oh! someone remembered
My white shoe
And gave me three carnations
Without looking up.
Oh sweet evidence
Where can I hide you?"

(1913)

Late lyrics

1." That night we went crazy for each other

Only ominous darkness shone on us,

Ditches muttered their own,

And Asia smelled like carnations.

And we passed through alien city,

Through the smoky song and midnight heat, -

Alone under the constellation Serpent,

Don't dare to look at each other."

(1959)

2. “I once breathed in the night,

In that night, both empty and iron,

Where in vain call and shout.

Oh, how spicy is the breath of a clove,

I once dreamed there -

It's the Eurydice whirling

The bull carries Europe on the waves.

("Osip Mendelstam" 1936-1960)

Carnations in Akhmatova's poems are something beautiful and magical. Even though carnations are flowers that we usually bring to graves, or in memory of dead people, for her, carnations are flowers that "smell spicy" and "cute clues." In these poems, she is carried away into the past and recalls her personal moments, which are unknown to us, but very important to her.

Chapter 8. Chrysanthemums

early lyrics

1." I'm speaking now with the words

That only once are born in the soul.

A bee buzzes on a white chrysanthemum,

The old sachet smells so stuffy.”

("Evening room" 1912.)

Late lyrics

1. "Carnival Midnight Roman
And it does not smell, - the chant of the Cherubim
Behind the high window is trembling.
No one knocks on my door
Only a mirror dreams of a mirror,
Silence guards silence.
But there was a topic for me
Like a crushed chrysanthemum
On the floor when the coffin is being carried.
Between remember and remember, others,
Distance as from Luga
To the country of satin bouts.

("Poem without a Hero" 1962)

In early lyrics, chrysanthemum means airiness, lightness, calmness. Especially its association with white - purity and purity. In later lyrics, the chrysanthemum is intertwined with the words coffin and death. "Crushed chrysanthemum" symbolizes the horror, confusion and mental anxiety of Akhmatova.

Chapter 9

early lyrics

1. "And on Victory Day, gentle and foggy,

When the dawn, like a glow, is red,

Widow at the nameless grave

A belated spring is troubling.

She is in no hurry to rise from her knees,

It dies on the kidney, and strokes the grass,

And he will drop the butterfly from his shoulder to the ground,

And the first dandelion will fluff.

("In memory of a friend" 1945)

2." When would you know from what rubbish

Poems grow, not knowing shame,

Like a yellow dandelion by the fence

Like burdock and quinoa."

(1940)

In Akhmatova's poems, where there are dandelions, something new, beautiful and beautiful is personified, even despite the fact that in addition to this beautiful, bright dandelion, there are graves in the poems, they still do not darken, but remain eternally bright and beautiful flowers.

3.Conclusion

One of the goals that I set for myself when writing the work is to study the life and work of A.A. Akhmatova and analyze all the poems of the poetess, in which there are images of flowers and understand Akhmatova herself - her creative and complex nature. Of course, most of the time I devoted to the search for material and its careful study. It was very interesting to search and learn the world of the poetess. I visited the library, asked my friends and acquaintances, explored her work myself - it was difficult, but an indescribably wonderful feeling. While working, I learned a lot of interesting and new things, and I think that A.A. Akhmatova became my favorite poetess. Of course, I did not take all of Akhmatova's poems, because there are so many of them that I would have spent more than a year on it to be imbued with each one. And of course, I didn’t take all the flowers, because her poems also contain: nettle, daffodil, peach, bird cherry, snowdrop, etc.

So, now, after a long and thorough study and research, I can answer the questions that I posed to myself at the beginning of my work, Akhmatova uses the images of flowers in her works in order to better know the depth of her feelings and emotions. In order to tell us about her experiences, joy or indifference, Akhmatova does not need to describe her experiences for a long time and in detail. It is enough for her to hint or veil her emotions in an object or, as in our case, in a flower. Those true connoisseurs of her soul and creativity, who are not indifferent to her, will understand her without further ado. Each flower that is in her poem is present there for a reason, it is saturated with certain feelings, whether it be sorrow or joy. In the early lyrics, the images of flowers are gentle, pure, calm, like the poetess herself, who experiences freedom, happiness and independence. In the later lyrics, there are images of flowers, heavy and complex, which acquire a gloomy character and drama, all the same happened in Akhmatova's soul. The last poems and the flowers that are selected in them are connected with the last difficult years of her life.

4. List of references.

1.A.A. Akhmatova. Poems, poems, prose - Moscow, 1998;

2.L.K. Chukovskaya. Notes about Anna Akhmatova - Time, 2003

3. V.M.Zhirmunsky. Creativity of Anna Akhmatova - L .: Science,1973

Internet resources:

Website "Ahmatova.com"

Poems of 1935 - 1948 are full of names of flowers and plants: dandelion, nettle, thistle, narcissus, peach blossom, violet, rose, wisteria, wild rose, bird cherry, mignonette, tulip, snowdrop, lilac, chrysanthemum. The basis of this period is the "Seventh Book"

If we take into account the semantics of flowers, their symbolic meaning, we can get information that deepens the meaning of the poems: bird cherry is a gratifying feeling, but through the “white mourning” we see the eternal (white) tragedy, drama; nettle, thistle - a warning; yellow dandelion - hope for the future, stimulating life (yellow); lilac - pure love; biblical narcissus - meekness, tenderness.

From the work of Akhmatova in 1949-1954, flowers almost disappear, which, as before, is connected with her biography. In the last period (1955 - 1966), roses, wild rose, heather, carnations, lilac, violet reappear in Anna Andreevna's poems. And this is no coincidence: the poetess returns to the past, memories involuntarily make her compare it with the present. This is how the theme of eternity arises:

I want roses, in 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.

In the fragrant silence between the regal lindens

I see a match of ships creaking.

And the swan, as before, swims through the ages,

Admiring the beauty of your double...

"Flowers" reveal themselves in the poetic world of Anna Akhmatova quite clearly and have repeatedly attracted the attention of researchers. First of all, the increased frequency of Akhmatova's use of the word "flowers" was noted, as well as her constant mention of flower, and not only flower, plants. In the early lyrics of Akhmatova, "flowers" are found in almost every poem. These are lilies, and violets, and daisies, and levkoy, and dahlias, etc. In itself, the multicolored love, moreover, female, poetry does not seem unusual. It can be understood as a tribute to the tradition of album lyrics of the 19th century (recall the "county young lady's album", which A. S. Pushkin good-naturedly joked about in "Eugene Onegin"), a tradition taken into account by Akhmatova quite seriously, and not only in the 1910s - "Moscow Shamrock" (1961-1963) opens with the poem "Almost in an Album".
Album culture at the beginning of the century was a living phenomenon not only among schoolgirls and pupils of women's institutes 5 . During this period, it actually merged with the elite culture: "Apollo", "World of Art" were actively decorated with vignettes with elements of floral and floral decor and other emblems traditional for girls' albums. The emblematics did not always retain the semantics assigned to it: "cedar - strength", "cypress - sorrow", "rose - love", "lily of the valley - return of happiness", etc. After all, it is not necessary to recognize the tradition - it is important to follow it. In this context, the status that the author of "A Poem Without a Hero" gives to the heroine, his contemporary of 1913 - "Institute, Cousin, Juliet" - speaks of her commitment to the "secret language" of love, very often plant-floral, symbols and emblems.
The enamored heroine of early Akhmatov's lyrics lives in the world of flower emblems and focuses on their meanings. By flowers, she fortune-tells "for love": "I know: fortune-telling, and I should pick / Delicate daisy flower." At the same time, she rhymes “daisy” with “torture”, “carnations” with “evidence” in a completely “institutional way” ... Note that the rhymes in this case are not just banal (in the evaluative, not terminological meaning of the word), but are due to appeal to the universal language - "the language of flowers

For lyrical heroine The "rosary" "red tulip" in the hero's buttonhole also "implies grief." This flower will retain its tragic meaning in Akhmatova's lyrics to the end. In a 1959 couplet, it "multiplies" and turns black: "These were black tulips, / These were black flowers."
The fact that the "flower allegories" were revealed for the lyrical heroine Akhmatova with their sorrowful meaning can be judged by the poem, under which there is a date indicating the era as a whole - the 1910s:

I don't like flowers - they remind
I have funerals, weddings and balls ...

One of the varieties of rose - eglanteria - symbolizes poetry.
In the later works of Akhmatova, the rose will indeed dominate, apparently, combining the meanings of other flowers, acting in its original image of a "blooming wild rose", which is at the same time an image of the word returned to primogeniture: "The rose hip was so fragrant, / That it even turned into a word ..." . At the moment of its "violent flowering" the meaning of the future fate will be revealed to the poet: "And I was ready to meet. / The ninth wave of my fate." The sign of fate, revealed in the "flower-word", is a sign of death. The feeling of flourishing on the eve of sunset determined the acmeistic feeling of culture.
The controversy over the word, which was rapidly developing between the symbolists and acmeists, was conducted, by the way, in the "language of flowers". According to The Secret Doctrine, "The Occult Law prescribes silence in the knowledge of certain secret and invisible things ... which cannot be expressed by 'noisy' or vowel speech." The ability to embody the secret, without pronouncing it, opened the "language of flowers".

The commitment to flower symbolism in the poetry of the early twentieth century, both symbolist and post-symbolist, has acquired the character of a trend. It can be assumed that Ch. Baudelaire's "Flowers of Evil" played a role here, under the influence of which N. Gumilyov created his "Romantic Flowers.

Almost all flowers, but especially, of course, a rose, are traditional poeticisms, and in the poetry of the early twentieth century, the meaning of "flower" - "poetry" - "poet" was established as stable. The generation of poets - the "flowers of evil", romantically in love with "rose-poetry", already at this metaphorical level was doomed and tragic. It itself knew it. Already the older symbolists objectified this knowledge in the form of a "flower". A. Payman writes about D. S. Merezhkovsky: "His whole generation seemed to him to be transitional:" Flowers deprived of roots / Flowers dipped in water ... ". Akhmatova will devote "A poem without a hero", the method of which will be compared with "the unfolding of a flower (in particular) of a rose ... which gives the reader to some extent, and, of course, completely subconscious a feeling of co-authorship, since, unfolding the rose, we find exactly the same under the plucked petal. sign. At the same time, Akhmatovsky method exploits the ambivalent content of the "flower" - death and life: "under the plucked petal" - "the same". In "Prose" Akhmatova called her poem "a grave under a mountain of flowers", and, obviously, this is not only a "knyazev" grave, as indicated there. As for Akhmatov's lyric poetry of the acmeist period, the abundance of flowers in its poetic "bouquet" opened up another way to implement the trend towards "saving visual means"(V. Nedobrovo). "Flowers" freed both the author and the heroine from the need to directly name the experience, and at this level the lyrical structure of Akhmatova's poetry approached the archaic, since from ancient times "... flowers were used to express feelings that, according to for one reason or another could not be expressed or written.<…>A notable example is Selam, the language of flowers used by in Turkish harems". It was the "spirit" of the eastern harem that "taunted" to life the "Poem without a Hero", which ultimately appeared before the reader "all in flowers, like" Spring "by Botticelli." 1917, when the "eternal roses" were reminiscent of either the pungent smell of nettles ("And the nettles smelled like roses ..."), or ice on the branches ("... bushes of icy dazzling roses"). year ("And in a secret friendship with a lofty ...". And then - "neither roses, nor the powers of the Archangel." Tashkent lyrics, which formed the first poetic context of "Poem without a Hero", are all permeated with fragrant color: "Tashkent is blooming, blooming" fields of Kashmir", etc. This context is poetically recorded in "Another Lyrical Digression":

The whole sky is in red doves,
Lattices in the windows - harem spirit…
Like a kidney, the topic swells.
I can't leave without you,
Runaway, refugee, poem.

But, it's true, I'll remember on the fly,
How Tashkent blazed in bloom
Whole in white flames
Hot, smelly, intricate,
Incredible…

And apple trees, God forgive them,
As from a crown in love shivers ...

The fact that this "spirit" stirred up the deepest layers of the author's consciousness, affecting the sphere of the unconscious, can be judged by the following lyrical confession:

These are your lynx eyes, Asia,
They saw something in me
Something teased the underlying
And born of silence
Both painful and difficult
Like the midday Termez heat,
As if all great-memory into consciousness
Hot lava flowed ...

The information contained in this "hot lava" took shape in signs, the meaning of which the heroine Akhmatova, as we already know, always knew how to read. Floral signs dominate in Tashkent lyrics. This is no coincidence. Tashkent is called by Akhmatova "the birthplace of immortal roses". The cycle of this period "Moon at its zenith" opens with the "name of a rose", which stands next to the name of the poet: "Wail this rose ..." A. Fet. The epigraph here is a line of poetry, thus, "flower - poet" and "flower - poetry" act in their semantic solidity, giving the cycle a through motif. This motif is realized sequentially in the following images: 1) poppy; 2) poplar; 3) biblical daffodils; 4) pomegranate bush; 5) peach blossom; fragrant violets; 6) flowering fence; 7) immortal roses. The flowering cycle begins with a "rose" and ends with it, because Akhmatova's "rose" is always "eternal" and "immortal".
The language of flowers in Akhmatova's poetry is the language of nature. It is through nature that the heroine comprehends the secret contained in the signs revealed to her: "Aryk in the local language, / Today launched babbles ...". And it is precisely this comprehension that determines the form of the embodiment of her own word: "And I am finishing" Odd " / Again in pre-song anguish ...". This form is the "language of flowers":

I can see to the middle
My poem. It's cold in her
As in a house where fragrant darkness
And the windows are locked from the heat
And where not yet hero,
But the poppy covered the roof with blood.

Here "poppy" is not the hero himself, but sign his presence.
In "Poem Without a Hero" "flowers" will become signs alive presence of words dead

It is important to emphasize that the chthonic semantics of the plant ("terrible festival of dead leaves", "grave needles", "crushed chrysanthemum", "snowdrop in the grave ditch") is gradually outweighed by images alive spring vegetation. Lilac plays a big role here. At first it was not there at all, later it was only "sluggish in jugs", but in the latest versions "lilac" is called three times. And of the three "lilacs" one dead("the cemetery smelled of lilacs"), and two alive("the first branch" and "a bunch of wet lilacs"). "Moisture" here contains the semantics of "living water", performing a magical function revival. The idea of the “victory” of life over death (“the word that conquered death”), which is contained in the “vegetative” imagery, is already set by the first lines of the poem: “someone small I was going to live, / I turned green, fluffed... "This is nova vita - eternal life, the sign of which are" wet stems New Year's roses".
So, all of the above convinces us that in the text of "Poem without a Hero" and in Akhmatova's late lyrics, "flowers" are signs presence. In this case, the identity formula "flower - poet/poetry - word" is active. This formula is extremely active in the immediate context of the poem - in the cycle "Wreath for the Dead". In a poem dedicated to the memory of M. Bulgakov, she realizes herself literally:

Here I am for you, instead of grave roses,
Instead of censer smoking ...

The meaning of this lyrical gesture is associated not only with a tribute to the memory of the deceased, but also with the ritual act of resurrecting him in the living word. The same function is assigned to the "lily of the valley wedge" in the poem in memory of B. Pilnyak, to the "elder branch" - to the memory of M. Tsvetaeva, to the "spicy carnations" - to the memory of O. Mandelstam, to "all flowers" - to the memory of B. Pasternak. Akhmatova's "flowers" organically fit into the logic of the form of communication with those who are "already beyond Phlegeton", into the ritual of turning the dead into the living - a perishable flower into an immortal rose. The fact that such a ritual really takes place in Akhmatov's poetic world can be judged by the poem that plays the role of a preamble in the cycle "The Wreath for the Dead":

De profundis… my generation
Little honey tasted.…

Our business was not finished
Our hours were numbered
To the desired watershed,
To the top of the great spring,
Until the wild bloom
It only took a breath...

A similar act of "calling (calling) from the abyss" is described in the poem "In Memory of a Friend":

... When the dawn, like a glow, is red,
A widow at the nameless grave.

A belated spring is troubling.
She is in no hurry to get up from her knees. ... D groan on the kidney and stroke the grass
And he will drop the butterfly from his shoulder to the ground,
And the first dandelion will fluff.

Here the actions of the "spring-widow" are shown as ritual action, the content of which is inhalation life into death. The alliteration "The dawn, like the glow, is red" in this and similar cases (cf.: "The poppy covered the roof with blood") is associated with the implementation of the function magic word. “Kidney”, “grass”, “dandelion”, “butterfly”, like “flowers” and “maple” in “A Poem without a Hero”, are those “dark souls that have flown away” (see “This is how dark souls fly away ...”) who were not destined to finish their earthly work, therefore there they did not deserve not only "light", like Bulgakov's Master, but also "peace". They doomed themselves to this, boldly exchanging "posthumous peace" for one moment, but the most "violent" harmony:

For one minute of peace
I will give peace posthumously.

In "A Poem without a Hero" the author will streamline the "violent flowering", bringing the poetic law in line with the biological one: the first in the text, as expected, is the snowdrop, then the April violets, May lilacs, autumn chrysanthemums ... Only "wet roses" bloom forever, for eternal is the Word which they incarnate. Thus, in turn, the "biological law" is filled with spiritual content.
In order to, if not fully understand, then at least feel all the “greatness of the idea” to which the “Poem without a Hero” is involved, it is necessary to take into account that the “language of flowers” is not the only one in the system of ancient non-verbal languages. “The ancient peoples also had peculiar systems of symbols, such as, for example, sign language, the language of flowers, the language of knots, etc.<…>From the language of flowers, the art of arranging bouquets was born, from the language of poses - ballet, pantomime ... ".
The "cryptoscript" of Akhmatov's poem ("This is a cryptographic script, a cryptogram..."), presumably, is oriented towards the totality of the most ancient sign complexes. Akhmatova, as you know, sought to turn the poem into a ballet, spoke about the pantomime of the poetic texture, etc. "The ancient Greeks also had the language of stones, it was from here that the symbolism and related ideas about the special properties of gems and their influence on fate people who have come down to our days, where garnet is a stone of fidelity, agate is health and longevity, opal is constancy, amethyst is hope, truthfulness, devotion; turquoise is whim, ruby is passion.
The detail emphasized by the author of the "Poem" in the portrait of his heroine is the "necklace of black agates". Without trying to guess what exactly the meaning of the stone is supposed to be here, we note the following two, in our opinion, very characteristic moments. First: in the Tashkent lyrics of Akhmatova, along with an abundance of flowers, one can observe an abundance of gems: "From mother-of-pearl and agate ...", "... and everything burns with mother-of-pearl and jasper ...", "... a month with a diamond feluca ...", etc. Second: originally the line "In a necklace of black agates" existed in the text of the "Poem" in the following versions: "With an unforgettable pomegranate flower", "In a necklace of black pomegranates". What is significant is not so much the author's choice between "agate" (longevity?) and "pomegranate" (fidelity?), but the very connection between "flower" and "stone".
In ancient myths and legends, a connection between flowers and gems was recorded: "... it is difficult to say what is the fundamental principle. It is only known that the garnet stone is named for its similarity in color and shape to pomegranate seeds ... daisy literally translated from Latin "pearl", rhodonite in translation from the Greek "rose".
Given this initial connection, we can conclude that the "flower-word" semantics does not conflict with the "word-stone" semantics, but if the second is explicated in the declarations of acmeists (O. Mandelstam "Morning of Acmeism"), then the second is realized implicitly, hidden, but, nevertheless, realized: "... the beautiful lady Theology will remain on her throne," Gumilyov writes in the article "The Legacy of Symbolism and Acmeism," "Acmeists do not want to raise literature into its diamond cold."
In esoteric systems "earth flower" is the name given to meteorites or shooting stars.<…>This is the "center" - that is, the archetypal image of the soul ... "Flower - center" goes back in its semantics to the Grail"; The connection between the "flower" ("stone") and the "star" is reflected in world artistic practice

Short description

In Anna Akhmatova's poem, along with the themes of the Motherland, the Russian land, glory, power, love, the theme of flowers can be traced. Anna Akhmatova has the ability to understand and love things in their incomprehensible connection precisely to the moments experienced. Akhmatova was a member of the modernist movement "Acmeism", which declared concrete-sensory perception outside world, the return to the word of its original, non-symbolic meaning. Her flowers are real, visible, and even give the impression that we feel their fragrances. Flowers always have a certain color, which enhances the feeling of their reality, and also gives a complete semantic picture - after all, each color has its own meaning. Akhmatova's poems are much deeper than we often perceive them, so the semantics of colors cannot be neglected.

"Flowers" reveal themselves in the poetic world of Anna Akhmatova quite clearly and have repeatedly attracted the attention of researchers 1 . First of all, the increased frequency of Akhmatova's use of the word "flowers" was noted, as well as her constant mention of flower, and not only flower, plants. V. V. Korona built a table that clearly demonstrates this pattern in the poetic system of Akhmatova 2 . But, unfortunately, the table does not allow us to judge how evenly the identified frequency is distributed over the periods of Akhmatov's creativity and whether the flower imagery has the constancy of functional features.

In the early lyrics of Akhmatova, "flowers" are found in almost every poem. These are lilies, and violets, and daisies, and levkoy, and dahlias, etc. In itself, the multicolored love, moreover, female, poetry does not seem unusual. It can be understood as a tribute to the tradition of album lyrics of the 19th century (remember the "county young lady's album", over which A. S. Pushkin good-naturedly joked in "Eugene Onegin") 3 , a tradition taken by Akhmatova quite seriously, and not only in the 1910s - "The Moscow Shamrock" (1961-1963) opens with the poem "Almost in an Album" 4 .

Album culture at the beginning of the century was a living phenomenon not only among schoolgirls and pupils of women's institutes 5 . During this period, it actually merged with the elite culture: "Apollo", "World of Art" were actively decorated with vignettes with elements of floral and floral decor and other emblems traditional for girls' albums. Emblematics did not always retain the semantics assigned to it: "cedar - strength", "cypress - sorrow", "rose - love", "lily of the valley - return of happiness", etc. 6 . After all, it is not necessary to recognize the tradition - it is important to follow it. In this context, the status that the author of "A Poem Without a Hero" gives to the heroine, his contemporary of 1913 - "Institute, Cousin, Juliet" - speaks of her commitment to the "secret language" of love, very often plant-floral, symbols and emblems.

The enamored heroine of early Akhmatov's lyrics lives in the world of flower emblems and focuses on their meanings. By flowers, she fortune-tells "for love": "I know: guessing, and I pick / Delicate daisy flower" 7 . At the same time, she rhymes “daisy” with “torture”, “carnations” with “evidence” in a completely “institutional way” ... Note that the rhymes in this case are not just banal (in the evaluative, not terminological meaning of the word), but are due to appeal to a universal language - the "language of flowers". A fragment from P. Calderon's play "The Steadfast Prince" translated by B. Pasternak can serve as confirmation of the universality of this language:

(hereinafter, without special instructions, italics mine. - M.S.).

For the lyrical heroine of the Rosary, the "red tulip" in the hero's buttonhole also "means grief." This flower will retain its tragic meaning in Akhmatova's lyrics to the end. In a 1959 couplet, it "multiplies" and turns black: "These were black tulips, / These were black flowers" 9 .

The fact that the "flower allegories" were revealed for the lyrical heroine Akhmatova with their sorrowful meaning can be judged by the poem, under which there is a date indicating the era as a whole - the 1910s:

I don't like flowers - they remind
I have funerals, weddings and balls ...

Akhmatova's heroine of the 10s could well explain the reason for her dislike for flowers with the words of the Phoenix, not worse than the latter understanding the meaning of a flower as an emblem of the short duration of beauty and life:

And yet, in the half-draft fragment from Akhmatov we quoted, the heroine makes her fateful choice, and she associates this choice with fidelity to the "flower":

But only eternal roses simple beauty,
The one that has been my joy since childhood,
Remained and now the only legacy
Like the sounds of Mozart, like the blackness of the night.

One of the varieties of rose - eglanteria - symbolizes poetry.

In the late work of Akhmatova, the rose will indeed dominate 10 , apparently combining the meanings of other colors, acting in its original image of "blooming wild rose", which is at the same time the image of the word returned to primogeniture: "The wild rose was so fragrant, / That it even turned into a word ...". At the moment of its "violent flowering" the meaning of the future fate will be revealed to the poet: "And I was ready to meet / The ninth wave of my fate." The sign of fate, revealed in the "flower-word", is a sign of death. The feeling of flourishing on the eve of sunset determined the acmeist sense of culture 11 .

The controversy over the word, which was rapidly developing between the symbolists and acmeists, was conducted, by the way, in the "language of flowers". Speaking against the "professionalism" of the Symbolists, O. Mandelstam wrote: "A rose nods at a girl - a girl at a rose. Nobody wants to be himself" 12 . S. Gorodetsky convinced of the self-sufficiency of the word, using the name "rose", which is "good in itself, with its petals, smell, color, and not with its mental similarities, with mystical love or anything else" 13 . But after all, in the language of symbols, "a rose in itself" is a "mystery", and here we are dealing not with the correspondence of meanings, but with their coincidence, confirming the formula of Mandelstam's identity A = A 14 . N. Gumilyov in the article "The Heritage of Symbolism and Acmeism", without renouncing the "secret", called the attempts of the Symbolists in this direction "unchaste" 15 . Perhaps this reproach was due precisely to the fact that, as Mandelstam subtly felt, the older poets approached the "secret" professionally, and this was their unchastity. "Lilies of the valley, buttercups, love caresses" by K. Balmont can still delight someone with the technique of sound painting, but the secret of the flower is lost from this technique. In addition, the Symbolists persistently and clearly demonstrated their technique, openly "fraternizing now with mysticism, now with theosophy, now with occultism." In contrast to this, the acmeists openly promised "to leave the beautiful lady Theology on her throne, not to reduce her to the level of literature ..." 16 . Meanwhile, as it became known now, there was a whole occult faction in acmeism 17 ! According to The Secret Doctrine, "The Occult Law prescribes silence in the knowledge of certain secret and invisible things... which cannot be expressed in 'noisy' or vowel speech" 18 . The ability to embody the secret, without pronouncing it, opened the "language of flowers":

The language of flowers is simple
Choose what you want to say
Don't be verbose.
Don't repeat Easter flowers
Do not make a bouquet so that no one can understand
And try to be gentle 19 .

So, the word - a sign - a symbol, but not in a symbolist way. This poem by Browning, in fact, poetically illustrates the aesthetic declarations of the acmeists. So, the word is a sign - a symbol, but not in the symbolist 20 , and in the primary, general cultural understanding, it turned out to be adequate to the acmeist worldview. If in symbolism the symbol is still opposed two realities - secret and obvious, then in acmeism, in accordance with the oldest esoteric tradition, the symbol "possessed the property of a fact" of a single "reality" 21 . And we must pay tribute to the acmeists - this intention associated with the word, they did not particularly "out loud" expose. The commitment to flower symbolism in the poetry of the early twentieth century, both symbolist and post-symbolist, has acquired the character of a trend. It can be assumed that Ch. Baudelaire's "Flowers of Evil" played a role here, under the influence of which N. Gumilyov created his "Romantic Flowers". Floral semantics, by definition, could not be a specific property of an individual style, therefore, "lilacs" by I. F. Annensky 22 , "roses" by V. Knyazev 23 , lilies and violets N. Gumilyov 24 can only partly be perceived as personification emblems - "flowers" in poetry perform the function mainly not of personification, but of unification of meaning. The essence of unification is that almost all flowers, but especially, of course, a rose, are traditional poeticisms, and in the semantic paradigm of poetry of the early twentieth century, the meaning of "flower" - "poetry" - "poet" was established as stable. The generation of poets - the "flowers of evil", romantically in love with "rose-poetry", already at this metaphorical level was doomed and tragic. It itself knew it. Already the older symbolists objectified this knowledge in the form of a "flower". A. Payman writes about D. S. Merezhkovsky: "His whole generation seemed to him to be transitional: "Flowers without roots, / Flowers dipped in water ..." 25 . A generation that was not destined to reach the “top of the great spring”, Akhmatova will dedicate “A Poem without a Hero”, the method of which will be compared with “unfolding a flower (in particular, a rose ... which gives the reader to some extent, and, of course, completely subconscious a sense of co-authorship, because, unfolding the rose, we find under the plucked petal exactly the same " 26 . Note that the author is important effect, designed specifically for the subconscious. The effect that can sign. At the same time, Akhmatovsky method exploits the ambivalent content of the "flower" - death and life: "under the plucked petal" - "the same". In "Prose" Akhmatova called her poem "a grave under a mountain of flowers", and, obviously, this is not only a "knyazev" grave, as indicated there 27 . As for Akhmatov's lyrics of the acmeist period, the abundance of flowers in her poetic "bouquet" opened up another way to implement the trend towards "saving visual means" (V. Nedobrovo) 28 . "Flowers" freed both the author and the heroine from the need to directly name the experience, and at this level the lyrical structure of Akhmatova's poetry approached the archaic one, since from ancient times "... flowers were used to express feelings that, for one reason or another, could not be spoken or written.<…>A notable example is Selam, the language of flowers used by in Turkish harems"exactly" the spirit 29 "Eastern harem" teased "to life" a "Poem without a Hero", which ultimately appeared before the reader "all in colors, like Botticelli's" Spring "". either the pungent smell of nettles (“And the nettles smelled like roses ...”), or the ice on the branches (“...bushes of icy dazzling roses”) reminded of the “eternal roses”. secret friendship with a lofty…"). And then - "neither roses, nor the powers of the Archangel." This context is poetically fixed in "Another Lyrical Digression":

The whole sky is in red doves,
Lattices in the windows - harem spirit…
Like a kidney, the topic swells.
I can't leave without you,
Runaway, refugee, poem.
But, it's true, I'll remember on the fly,
How Tashkent blazed in bloom
Whole in white flames
Hot, smelly, intricate,
Incredible…
And apple trees, God forgive them,
As from a crown in love shivers ...

The fact that this "spirit" stirred up the deepest layers of the author's consciousness, affecting the sphere of the unconscious, can be judged by the following lyrical confession:

These are your lynx eyes, Asia,
They saw something in me
Something teased the underlying
And born of silence
Both painful and difficult
Like the midday Termez heat,
As if all great-memory into consciousness
Hot lava flowed ...

The language of flowers in Akhmatova's poetry is the language of nature. It is through nature that the heroine comprehends the secret contained in the signs revealed to her: "Aryk in the local language, / Today launched babbles ...". And it is precisely this comprehension that determines the form of the embodiment of her own word: "And I am finishing" Odd " / Again in pre-song anguish ...". This form is the "language of flowers":

I can see to the middle
My poem. It's cold in her
As in a house where fragrant darkness
And the windows are locked from the heat
And where not yethero,
But the poppy covered the roof with blood.

Here "poppy" is not the hero himself, but sign his presence. It is absent, as it is easy to guess from the context, due to death - "blood". Moreover, for this reason, not he alone is absent, but many from the generation of "flowers devoid of roots ..." At the moment when "the fields of Kashmir are blooming", their invisible, but tangible for people with special sensitivity (and Akhmatova's heroine has such a ), presence in this world. Through the finest matter of light and smell 30 the opportunity to contact them:

As if by someone's command
Immediately became in the roomlight.
This is a ghost in every house,
White and light entered.
And their breath is clearer than words,
And their breath is doomed
In the middle of the sky burning blue
Lie on the bottom of the canal.

Thus, the "ditch babbles", at the bottom of the ditch the heroine discovers someone's "breathing" - obviously, having drunk this "dead" water, she lets the spirit of the dead into herself. The dead begin to live in it, trying to say something to the world through it. It can be assumed that such experience and forced the heroine to vow its non-incarnation:

But I warn you
That I live for the last time.
Neither a swallow, nor a maple,
Nor spring water...
I won't embarrass people
And visit other people's dreams
An unsatisfied groan.

However, first the poet will need to fulfill his duty to the dead: before dying himself, give them speak through oneself. Perhaps the formula "I am your voice, the heat of your breath ..." is addressed not so much to the living as to the dead.

In "Poem Without a Hero" "flowers" will become signs alive presence of words dead. The author informed the reader about the torments that accompanied the writing of the poem: "For 15 years, this poem, like seizures of some incurable disease, overtook me again and again ... And I could not tear myself away from it, supplementing and correcting, seems to be a finished thing." vidi 31 mo, every time the invasion of a new "swarm of ghosts" ("increase in the number of prototypes" 32 , - as Akhmatova put it) demanded new word.

It is interesting from this point of view to trace the logic of the author's modifications of the text of the work. In the four editions of the poem published today 33 there is no significant change in the original plot conflict, but the theme, as the author claims, "swells like a kidney." He calls the birth of an idea "the first sprout" 34 . The "plant" semantics of the poem in verses about her will receive additional confirmation: "And you returned to me famous, / Dark green twig entwined…". The mechanism of auto-meta-description in the text of the poem is again carried out by means of "vegetative" metaphors: "the theme is a chrysanthemum" (cf.: "the idea is a sprout", "the method is a rose"). Referring to the poem in verse, the author says:

"You grow, you bloom..."

And yet, in the literal sense, "all in flowers," the poem did not immediately appear before the reader. From edition to edition, the "flower" symbolism in the text tends to increase: 1 edition - four cases; 2 - eight; 3 - eleven; 4 - sixteen. If the main text ceases to contain so many "flowers", the author expands its space with epigraphs and notes, in which "wet stems of New Year's roses", "jasmine bush", "falling rose petals" appear in the costume of the prototype of the heroine - O. A Sudeikina... Obviously, over time, more and more souls, dear Akhmatova, "flew away", looked for the form of their incarnation and found it, weaving into the flower and plant ornament of the "Poem".

So, all of the above convinces us that in the text of "Poem without a Hero" and in Akhmatova's late lyrics, "flowers" are signs presence. In this case, the identity formula "flower - poet/poetry - word" is active. This formula is extremely active in the immediate context of the poem - in the cycle "Wreath for the Dead". In a poem dedicated to the memory of M. Bulgakov, she realizes herself literally:

Here I am for you, instead of grave roses,
Instead of censer smoking ...

De profundis… my generation
Little honey tasted ...
Our business was not finished
Our hours were numbered
To the desired watershed,
To the top of the great spring,
Until the wild bloom
It only took a breath...

A similar act of "calling (calling) from the abyss" is described in the poem "In Memory of a Friend":

... When the dawn, like a glow, is red,
Widow at the nameless grave
A belated spring is troubling.
She is in no hurry to get up from her knees ...
Breathe on the kidney and stroke the grass
And he will drop the butterfly from his shoulder to the ground,
And the first dandelion will fluff.

Here the actions of the "spring-widow" are shown as ritual action, the content of which is inhalation life into death. The alliteration "Dawn, like a glow, red" in this and similar cases (cf.: "Poppy covered the roof with BLOOD") is associated with the implementation of the function magic word . “Kidney”, “grass”, “dandelion”, “butterfly”, like “flowers” and “maple” in “A Poem without a Hero”, are those “dark souls that have flown away” (see “This is how dark souls fly away ...”) 35 who were not destined to finish their earthly work, therefore there they did not deserve not only "light", like Bulgakov's Master, but also "peace". They doomed themselves to this, boldly exchanging "posthumous peace" for one moment, but the most "violent" harmony:

For one minute of peace
I will give peace posthumously.

In order to, if not fully understand, then at least feel all the “greatness of the idea” to which the “Poem without a Hero” is involved, it is necessary to take into account that the “language of flowers” is not the only one in the system of ancient non-verbal languages. “The ancient peoples also had peculiar systems of symbols, such as, for example, sign language, the language of flowers, the language of knots, etc.<…>From the language of flowers, the art of arranging bouquets was born, from the language of poses - ballet, pantomime ... " 36 .

The "cryptoscript" of Akhmatov's poem ("This is a cryptographic script, a cryptogram..."), presumably, is oriented towards the totality of the most ancient sign complexes. Akhmatova, as you know, strove to turn the poem into a ballet, spoke about the pantomime of the poem's texture, etc. 37 . "The ancient Greeks also had the language of stones, it was from here that the symbolism and related ideas about the special properties of gems and their influence on the fate of people that have come down to us, where garnet is a stone of fidelity, agate - health and longevity, opal - constancy, amethyst - hope, truthfulness, devotion; turquoise - whim, ruby - passion " 38 .

The detail emphasized by the author of the "Poem" in the portrait of his heroine is the "necklace of black agates". Without trying to guess what exactly the meaning of the stone is supposed to be here, we note the following two, in our opinion, very characteristic moments. First: in the Tashkent lyrics of Akhmatova, along with an abundance of flowers, one can observe an abundance of gems: "From mother-of-pearl and agate ...", "... and everything burns with mother-of-pearl and jasper ...", "... a month with a diamond feluca ...", etc. Second: originally the line "In a necklace of black agates" existed in the text of the "Poem" in the following versions: "With an unforgettable pomegranate flower", "In a necklace of black pomegranates" 39 . What is significant is not so much the author's choice between "agate" (longevity?) and "pomegranate" (fidelity?), but the very connection between "flower" and "stone".

In ancient myths and legends, a connection between flowers and gems was recorded: "... it is difficult to say what is the fundamental principle. It is only known that the garnet stone is named for its similarity in color and shape to pomegranate seeds ... daisy literally translated from Latin "pearl", rhodonite in translation from Greek "rose" 40 .

Given this initial connection, we can conclude that the semantics of "flower-word" does not conflict with the semantics of "word-stone", but if the second is explicated in the declarations of acmeists (O. Mandelstam "Morning of Acmeism") 41 , then the second is realized implicitly, hidden, but, nevertheless, is realized: "... the beautiful lady Theology will remain on her throne," Gumilev writes in the article "The Legacy of Symbolism and Acmeism," "Acmeists do not want to raise literature into its diamond cold" 42 .

In esoteric systems "earth flower" is the name given to meteorites or shooting stars.<…>This is the "center" - that is, the archetypal image of the soul ... "Flower - center" goes back in its semantics to the Grail" 43 ; The connection between "flower" ("stone") and "star" is reflected in world artistic practice. As an example, we again give a fragment of Pasternak's translation of P. Calderon's play "The Steadfast Prince":

The heroine of Akhmatova's lyrics says the following about herself and her tragic generation:

We did not breathe sleepy poppies,
And we do not know our fault.
Under what star signs
Are we born on our own mountain?

The "Cinque" cycle, which includes this poem, can also be considered as a structural link in the hypertext generated by the "Poem Without a Hero". This poem became in the biography of the author word about those and for those who did not have time to say their word:

What do you want to keep as a keepsake?
my shadow? What do you want a shadow for?
Dedication to the burnt drama
From which there is no ashes,
Or suddenly out of the frame
New Year's scary portrait?
Or barely audible
The ringing of birch embers,
Or what we didn't have time
Tell about someone else's love?

Wed with "Poem": "You ran away here from a portrait, / And an empty frame to the world…"

In "A Poem without a Hero" the "starry" imagery organically fits into the flower and semi-precious pattern: "silver month", " such star" - see the author's notes: "Mars on the eve of 1913", "star chamber", lists of "sorcerers, astrologers ...". Finally, in one of the stanzas in italics, the heroine hears a voice that sends her the following message: " Your horoscope has long been ready". That the "Poem" in a certain sense really is horoscope, we can conclude if we correlate some of the signs. "Violet" and "Mars" in most traditional horoscopes - a flower-talisman and patron planet of those born under the sign of Aries. In the personal-biographical senses encrypted by Akhmatova in the "Poem", the image represented by these signs can be associated with the person of N. S. Gumilyov, whose birthday is April 3, 1886. This, perhaps too direct, decryption seems to us admissible in connection with the illustration of a special invoices Akhmatova's text, and only taking into account the meaning that the fate of Gumilyov became for Akhmatova the embodiment tragic fate the whole generation. At least, the admissibility of this kind of interpretation is prompted by a mysterious image in the poem in memory of B. Pilnyak from the cycle "The Wreath for the Dead", the functionality of which has already revealed itself in the context of the poem: " All this you alone will solve it ... ". The formula "All this" is present in the text of the "Poem", although it looks somewhat different - "About this". "- taboo naming someone or something that (or "who"), for one reason or another, cannot find itself clearly. This demonstrative pronoun is used quite insistently in the cycle dedicated to the dead: " This black tender news", " This eurydice are circling", " This our shadows are passing by, This the voice of the divine lyre", "Here This I tell you…", " This- a letter from Marina", "Let This even from another cycle…" (we skipped examples where "it" is in a less strong position - not at the beginning, but in the middle of the line). The "clear" of what "it" is seems to be contained precisely in the initiation B. Pilnyak - " All this you will solve alone ...":

When sleepless darkness bubbles around,
That sunny one lily of the valley wedge
Breaks into the darkness of the December night.
Oh if this wake up the dead
I'm sorry, I can't help it...

"Lily of the Valley" is an image that can be considered in the context of both "flower" and "star" semantics. Lily of the valley is a flower with wedge-shaped leaves, but the heroine Akhmatova, like the addressee of her poem, sees this "wedge" in the sky - the decipherer of the meaning of the author's dedication not to him alone, but to all the dead - sees in the sky. In this vision, the "December haze" is illuminated by "sunshine". It seems that the "lily of the valley" is in this case a special configuration of stars, a constellation. Indeed, there is an astral sign wedge-shaped, reminiscent of a lily of the valley flower - Y, is the sign of Aries and the vernal equinox. In universal sign systems, there is a wedge-shaped symbol that allows "reversal". This is the / circumflex introduced by Aristotle. In poetry, the circumflex "is used to mark the rise and fall of tone when reading poetry (Greek)<…>Czech uses an inverted circumflex V. This is the so-called " wedge sign" 45 . Note that the "wedge sign" in its inverted form looks like a bowl. In Akhmatova's poetry, the "chalice" is not only a sign of the poet's fate ("That, His past cup"), but also a sign of the poet himself: "I will bow over him, as over bowl... ". In the "Poem without a Hero" "chalice" is directly compared with "flower":

That, His past cup;
I will bring it to you
If you want, I'll give it as a souvenir,
Like a pure flame in clay
Ile snowdrop in the graveyard.

In the "secret writing" of the Poem, the "wedge sign" seems to be connected with an appeal to another ancient sign system- writing system - cuneiform. In the Prose of the Poem, a remark is made on this subject: “... except for things ... the Fountain House itself intervened in the matter.<…>... Some kind of ghostly gates and golden cuneiform lanterns in the Fontanka - and the Sumerian coffee house (V. K. Shileiko's room in the wing)" 46 . The name of V. K. Shileiko, a great connoisseur of cuneiform writing, is not accidental in this case. The above confession of the author of the "Poem" through biographical subtext "declassifies" one of the "secret" plans of the text of the work: "In the autumn of 1918, Shileiko prepared for publication the volume of the Assyrian-Babylonian epic. This work was the main meaning and content of his life, and" Sumerian coffee house" was filled with cuneiform tablets, which Shileiko translated "from the sheet" aloud, and Akhmatova wrote down the translation.<…>A. A. wrote under his dictation. I recorded for six hours straight. In the "World Literature" there should be a whole pile of translations of the Assyrian epic, copied by the hand of A. A. " 47 .

So, the fact that Akhmatova had certain knowledge in the field of cuneiform can be considered proven. This knowledge assumed at least the awareness that "...radical changes in the letter appeared with the invention of a method of indenting a wedge-shaped "signet". This letter was called"cuneiform".<…>Cuneiform Sample - "The Legend of Gilgamesh" 48 . The name of Gilgamesh Akhmatov will give the hero of the "Poem without a Hero": "Gilgamesh you ...". "Gilgamesh" is one of the most ancient epic tales ... Akhmatova perceived it as a kind of fundamental principle, as a starting point for world culture.<…>For Akhmatova, "Gilgamesh" forever remained associated with two dear names to her" 49 . "In 1940 she (Akhmatova. - M.S.) said to L. K. Chukovskaya: “Do you know Gilgamesh? No? It’s great. It’s even stronger than the Iliad.” Nikolai Stepanovich translated interlinearly, but V (ladimir) K (azimirovich) translated to me directly from the original - and because i can judge" 50 . Seems like it really could not only to "judge", but also to use- at least one of the hieroglyphs - loosely enough: "The most powerful ... "ankh", which "symbolizes eternal life" 51 . This sign, consonant with Akhmatova's name, consists of the same graphic elements from which Akhmatova made her famous painting, slightly shifting their location relative to each other: a. a. a. As a rule, three such signs were used as a painting at once. "In addition to aesthetic and semantic meaning, the hieroglyphs were attributed a magical meaning " breathe life"in the things that were depicted. The Egyptians believed that if their names were written down, they would exist in the afterlife" 52 . In stanzas that are not allowed in the main body of the work, the author will emphasize the "Egyptian" element in the image of his heroine: "But he told me, to my Egyptian..." 53 , perhaps thus hinting at her ability to "breathe life into things", which she already used in lyrics: cf. about the "spring-widow" - " dies on the kidney ... "(" In memory of a friend "). "Breathing life into death" requires a certain sacrifice from the one who "breathes". the collective immortality of a generation, the author of "A Poem Without a Hero" was ready to pay by refusing to personal immortality.

The triumph of the law of collective immortality is signaled in the "Poem Without a Hero" by "flowers". This function is entrusted to them quite reasonably. The rationale for this high function of the "flower" in the system of universal symbols in 1904 in the work "The Reason of Flowers" was formulated by Maurice Maeterlinck: there is no doubt about plants.<…>And the energy… that emerges from the darkness of the roots to grow stronger and blossom into a flower is an incomparable sight. All of it is expressed in one unchanging impulse, in the desire to overcome the fatal weight of depth with height, to deceive, to transgress the gloomy law ... to conquer the space in which its fate has concluded, to reach out to another kingdom ... And the fact that the plant reaches this is as amazing as if we would be able to live outside the time to which we are chained by fate. ... A flower gives a person an amazing example of rebelliousness, courage, indefatigability .... If we, in the struggle against overwhelming needs, with old age or with death, used half the energy that a small flower develops in our garden, then it is permissible to think that our fate would be very different from what it is now. 54 . This conclusion allowed the artist, "developing the possibilities of mystery" (H. L. Borges), to consider "the problem of our immortality, in principle, solved" 55 .

M.V. Serov

Notes

1. A. A. Urban in the article "A. Akhmatova. "I don't need odic rati ..." (Poetic system of Russian lyrics. L., 1973. S. 254-274) considers Akhmatova's "flowers" as an element of the Russian tradition landscape lyrics. S. F. Nasrulaeva in the book "Chronotope in Anna Akhmatova's Early Lyrics" (Makhachkala, 2000) interprets the functionality of flower imagery as a technique of reminiscence: "roses" in the "Rosary", according to the researcher, are associated with the "princely" theme in the collection (c 132). In the context of Akhmatova's floral theme, VV Korona's book "The Poetry of Anna Akhmatova. The Poetics of Auto Variations" deserves special attention (Yekaterinburg, 1999). In this, in its own way, unique study, the author, a biologist by profession, absolutely brilliantly showed that the structure of Akhmatov's poetic world is a living structure, a living organism, the mechanism of functioning of which is carried out according to biological, natural laws. A separate chapter of the book is devoted to the image of the "rose". The research method of V. V. Korona, which is based on Goethe's morphogenetic method, allowed the scientist to come close to the so-called Akhmatov "secret".
2. Crown V. V. Decree. op. pp. 202-203.
3. See about this: Smirnova N.V. A flower in Russian lyrics of the 19th century // News of the Ural state university. Humanitarian sciences. Release. 3. Yekaterinburg, 2000, pp. 113-121.

4. In this case, we are moving away from talking about the role of I. F. Anennsky in creative biography Akhmatova, although the name of Akhmatova's text ("trefoil") quite obviously refers us to the "Cypress Casket". We note here only the juxtaposition in the context of the "flower" semantics of the compositional form "shamrock" and the genre - "Almost in an album". A. S. Pushkin wrote about the traditional elements of this genre in "Eugene Onegin": "Here you will certainly find / Two hearts, a torch and flowers."
5. Russian school folklore: From evocations Queen of Spades to family stories / Comp. A. F. Belousov. M., 1998. S. 12-13. See also: Belousov A.F. Institutka // School life and folklore: Educational material according to Russian folklore. Part 2: Girl culture. Tallinn, 1992, pp. 119-159; Belousov A.F. Institutka in Russian literature // Tynyanovsky collection: Fourth Tynyanov readings. Riga, 1990. S. 77-90.
6. Foley. J. Encyclopedia of signs and symbols. M., 1997. S. 399.
7. Akhmatova Anna. Sobr. cit.: In 6 vols. M., 1998-2001. Hereinafter, the texts of Akhmatova's poems are quoted from this edition without indicating the volume and pages.
8. Calderon P. Persistent Prince / Per. B. Pasternak // Spanish Theatre. M., 1969. S. 539. For the first time, the play in Pasternak's translation was published in 1961. The text of Pasternak's translation contains, in our opinion, many reminiscences (conscious or unconscious?) from Akhmatova's poetry, for example: "In captivity they can sing / Only senseless creatures ..." (Pasternak / Calderon) - "And I'm not a prophetess at all ... But I just I don't feel like singing / To the sound of prison keys" (Akhmatova); “I need to know whose portrait / You held a white one in your hand, / Answer me, do me a favor / Or better give an answer, / Whoever he is, it doesn’t matter, / The name will not reduce shame. / Your portrait looks out of the frame, / Shaming the canvas" (Pasternak) - "You fled here from the portrait, / And the empty frame to the light / Will be waiting for you on the wall ... / There are scarlet spots on your cheeks; / You should go back to the canvas ... "(Akhmatova). In addition, in the text of Pasternak's translation, one can also find reminiscences from the work of other poets, the translator's contemporaries, for example: "... Is it really over me / Damned rock weighs / To be a bargaining chip / Someone's earthly death, / For the dead payback?" (Pasternak) - "Here it is. I am on the wine of grace / I got drunk and ready to die, / I am a coin with which the Creator / Buys the forgiveness of the gods" (N. Gumilyov), etc. Obviously, such cases of "borrowing" by Pasternak from "colleagues on the shop floor" and prompted Akhmatova to say in a different context: "He (Pasternak. - M. S.) did not think anything about other people's poems. He simply forgot them exactly after 5 minutes, but it was very charmingly affected by his genius" (Akhmatova Anna, op. cit. Vol. III, p. 235).
9. In this and similar cases, it is clear that for Akhmatova it is not so much the general cultural meaning of the flower symbol that is relevant, but the personal content, hidden from the reader and not amenable to unambiguous decipherment.
10. On the semantics of Akhmatova's "rose", see Korona V.V. Decree. op. pp. 23-79.
11. See about this: Serova M. V. On one unrecorded "manifesto" of acmeism, or Akhmatova's version // Non-calendar twentieth century: Mater. All-Russian seminar May 19-21, 2000. Veliky Novgorod, 2000. S. 72-84.
12. Mandelstam O. About the nature of the word // Mandelstam O. Word and culture. M., 1978. S. 65.
13. Gorodetsky S. Some trends in modern Russian literature // Russian literature of the twentieth century: pre-October period. L., 1991. S. 487-488.
14. Mandelstam O. Morning of acmeism // Decree. op. S. 172.
23. In this regard, it seems to us not very convincing that fragment of the generally interesting study by S. F. Naslulaeva, which speaks of "princely" roses in Akhmatova's Rosary. However, the researcher herself doubts that these are precisely "princely" roses, who writes: "... practically no borrowings, citations in" princely"We did not find the verses of the Rosary, however, in our opinion, in the poems of the 2nd section there are two key images of Knyazev's lyrics - "flowers" and "roses". We cannot categorically state this, since these images are included in the poetic Akhmatova's system and were used by her earlier when characterizing the realm of love/death" (S. F. Nasrulaeva, op. op. p. 132).
24. See the commentary by N. V. Koroleva on this: Anna Akhmatova. Decree. op. T. I. S. 691-695. Nevertheless, individual cases of "personification" of the flower image in Akhmatova's poetry take place ("daffodils" are associated with the personality of V. Nedobrovo, "violets" - N. Gumilyov). See about this: Serova M. V. About one unrecorded "manifesto" of acmeism ... S. 81-82.
25. Nyman A. History of Russian symbolism. M., 1998. S. 15.

26. Akhmatova Anna. Decree. op. T. III. S. 244.
27. Ibid. S. 217.
28. Nedobrovo N. Anna Akhmatova // Naiman A. G. Stories about Anna Akhmatova. M., 1989. S. 241.
29. Foley J. Decree. op. S. 398.
30. Maurice Maeterlinck attributed aromas mystical meaning, directly related to the mystery of the future and, in general, to the "secret": "Aromas - the jewels of the air that gives us life - adorn it for a reason. It would not be surprising if an incomprehensible luxury would correspond to something deep and essential, something, as we have already said, rather not yet come, rather than already past.It is quite possible that this feeling, the only one that is turned to the future, already perceives the most vivid manifestations of happy and desirable forms and states of matter, which are preparing we have a lot of surprises.<…>It barely guesses, and then with the help of imagination, oh those deep and harmonious vapors that surround the great phenomena of the atmosphere and light "(Maeterlinck M. Mind of Flowers. SPb., 1999. P. 88). The sensitivity of the lyrical heroine Akhmatova to the aromas of the time - the floral and perfume smells of the era - obviously explains the desire of the author of the poem "Russian Trianon ", which can be considered as a rough sketch for "A Poem without a Hero", additionally - in a specially made note - pay attention to this moment:

Ylang-ylang * the whole station smelled,
Not the last one that will burn sometime
And the very first, main - the White Hall
In it, dancing - was richly removed,
But no one was dancing in that hall.

Auth. litter: Spirits were called Ilang-Ilang (beginning of the century). Let us recall the careful attitude of the heroine of "A Poem Without a Hero" to the "broken bottle" (from under perfume?), Keeping the fragrance of the 1913 era.
31. Akhmatova Anna. Decree. op. T. III. S. 214. He read all the scriptures together,
The depth of wisdom of all book readers;
I saw the hidden, I knew the secret ...

“About the one who saw everything to the end of the world…” - this could be said about Nikolai Stepanovich.” - N. I. Popova, O. E. Rubinchik Decree op. pp. 21-22.
50. Ibid.
51. Foley J. Decree. op. S. 19.
52. Ibid. S. 22.
53. The "Egyptian" subtext in Akhmatova's poetry is associated not only with the names of N. S. Gumilyov and V. K. Shileiko, but also with the name of Modigliani: "... Modigliani raved about Egypt. He took me to the Louvre to look at the Egyptian department and assured me that everything else (tout le rest) is unworthy of attention. He painted my head in the attire of Egyptian queens and dancers and seemed completely captured by the great art of Egypt. Obviously, Egypt was his last passion "-Akhmatova Anna. Amedeo Modigliani// Akhmatova A. Sobr. cit.: V 2 t. M., 1996. T. II. S. 145.
54. Maeterlinck M. Decree. op. pp. 11-12.
55. Ibid. P. 226. Maeterlinck's "name" in "A Poem without a Hero" is guessed in the image of the "Blue Bird" ("Soft embalmer, Blue Bird..."), which became the emblem of this writer.

"Flowers" in the poetic world of Anna Akhmatova

"Here I am for you, instead of grave roses..."
Anna Akhmatova

"Flowers" reveal themselves in the poetic world of Anna Akhmatova quite clearly and have repeatedly attracted the attention of researchers1. First of all, the increased frequency of Akhmatova's use of the word "flowers" was noted, as well as her constant mention of flower, and not only flower, plants. VV Korona constructed a table that clearly demonstrates this regularity in Akhmatova's poetic system2. But, unfortunately, the table does not allow us to judge how evenly the identified frequency is distributed over the periods of Akhmatov's creativity and whether the flower imagery has the constancy of functional features.

In the early lyrics of Akhmatova, "flowers" are found in almost every poem. These are lilies, and violets, and daisies, and left-handed, and dahlias, etc. In itself, the multicolored love, and, moreover, female, poetry does not seem unusual. It can be understood as a tribute to the tradition of album lyrics of the 19th century (remember the "county young lady's album", on which A. S. Pushkin good-naturedly joked in "Eugene Onegin")3, a tradition taken into account by Akhmatova quite seriously, and not only in the 1910s years - "Moscow Shamrock" (1961-1963) opens with the poem "Almost in an Album"4.

Album culture at the beginning of the century was a living phenomenon not only among schoolgirls and pupils of women's institutes. During this period, it actually merged with the elite culture: "Apollo", "World of Art" were actively decorated with vignettes with elements of floral and floral decor and other emblems traditional for girls' albums. The emblematics did not always retain the semantics assigned to it: "cedar - strength", "cypress - sorrow", "rose - love", "lily of the valley - return of happiness", etc. 6. After all, it is not necessary to recognize the tradition - it is important to follow it. In this context, the status that the author of "A Poem Without a Hero" gives to the heroine, his contemporary of 1913 - "Institute, Cousin, Juliet" - speaks of her commitment to the "secret language" of love, very often plant-floral, symbols and emblems.

The enamored heroine of early Akhmatov's lyrics lives in the world of flower emblems and focuses on their meanings. By flowers, she fortune-tells "for love": "I know: fortune-telling, and I should pick / Delicate daisy flower"7. At the same time, she rhymes “daisy” with “torture”, “carnations” with “evidence” in a completely “institutional way” ... Note that the rhymes in this case are not just banal (in the evaluative, not terminological meaning of the word), but are due to appeal to a universal language - the "language of flowers". A fragment from P. Calderon's play "The Steadfast Prince" translated by B. Pasternak can serve as confirmation of the universality of this language:

Fernando:

And flowers are the language of emblems.
My life in hieroglyphs
Outlines my bouquet:
Carnation bloomed in the morning
And faded into lunch.

Phoenix:

What does the evidence say
The language of your will?

Fernando:

Speech of flower allegories
Implies grief8

I don't like flowers - they remind
I have funerals, weddings and balls ...

Phoenix:

I hate their beauty
...
The fact that every hour -
As I read in it -
I for the rest of the days
Subject to death and fate (p. 564).

And yet, in the half-draft fragment from Akhmatov we quoted, the heroine makes her fateful choice, and she associates this choice with fidelity to the "flower":

But only eternal roses simple beauty,
The one that has been my joy since childhood,
Remained and now the only legacy
Like the sounds of Mozart, like the blackness of the night.

One of the varieties of rose - eglanteria - symbolizes poetry.

In the later work of Akhmatova, the rose will indeed dominate10, apparently, combining the meanings of other flowers, acting in its original image of the "blooming wild rose", which is at the same time the image of the word returned to primogeniture: "The rose hip was so fragrant, / That it even turned into a word ..." . At the moment of its "violent flowering" the meaning of the future fate will be revealed to the poet: "And I was ready to meet / The ninth wave of my fate." The sign of fate, revealed in the "flower-word", is a sign of death. The feeling of flourishing on the eve of sunset determined the acmeist feeling of culture11.

The controversy over the word, which was rapidly developing between the symbolists and acmeists, was conducted, by the way, in the "language of flowers". Speaking against the "professionalism" of the Symbolists, O. Mandelstam wrote: "A rose nods at a girl - a girl at a rose. Nobody wants to be himself"12. S. Gorodetsky convinced of the self-sufficiency of the word, using the name "rose", which "is good in itself, with its petals, smell, color, and not with its mental similarities, with mystical love or anything else"13. But after all, in the language of symbols, "a rose in itself" is a "secret", and here we are dealing not with the correspondence of meanings, but with their coincidence, confirming Mandelstam's identity formula A=A14. N. Gumilyov in the article "The Heritage of Symbolism and Acmeism", without renouncing the "secret", called the attempts of the Symbolists in this direction "unchaste"15. Perhaps this reproach was due precisely to the fact that, as Mandelstam subtly felt, the older poets approached the "secret" professionally, and this was their unchastity. "Lilies of the valley, buttercups, love caresses" by K. Balmont can still delight someone with the technique of sound painting, but the secret of the flower is lost from this technique. In addition, the Symbolists persistently and clearly demonstrated their technique, openly "fraternizing now with mysticism, now with theosophy, now with occultism." In contrast to this, the acmeists openly promised "to leave the beautiful lady Theology on her throne, not to reduce her to the level of literature ..."16. Meanwhile, as it has now become known, there was a whole occult faction in acmeism! According to The Secret Doctrine, "The Occult Law prescribes silence in the knowledge of certain secret and invisible things ... which cannot be expressed by "noisy" or public speech"18. The ability to embody the secret, without pronouncing it, opened the "language of flowers":

The language of flowers is simple
Choose what you want to say
Don't be verbose.
Don't repeat Easter flowers
Do not make a bouquet so that no one can understand
And try to be gentle.

This poem by Browning, in fact, poetically illustrates the aesthetic declarations of the Acmeists.

So, the word - a sign - a symbol, but not in a symbolist way. This poem by Browning, in fact, poetically illustrates the aesthetic declarations of the acmeists. So, the word - sign - symbol, but not in the symbolist 20 , but in the primary, general cultural understanding, turned out to be adequate to the acmeist worldview. If in symbolism the symbol is still opposed two realities - secret and obvious, then in acmeism, in accordance with the most ancient esoteric tradition, the symbol "possessed the property of a fact" of a single "reality" 21 . And we must pay tribute to the acmeists - this intention associated with the word, they did not particularly "out loud" expose. The commitment to flower symbolism in the poetry of the early twentieth century, both symbolist and post-symbolist, has acquired the character of a trend. It can be assumed that Ch. Baudelaire's "Flowers of Evil" played a role here, under the influence of which N. Gumilyov created his "Romantic Flowers". Floral semantics, by definition, could not be a specific property of an individual style, therefore, "lilacs" by I. F. Annensky 22 , "roses" by V. Knyazev 23 , lilies and violets by N. Gumilyov 24 can only partly be perceived as personification emblems - "flowers" in poetry, they perform the function mainly not of personification, but of unification of meaning. The essence of unification is that almost all flowers, but especially, of course, a rose, are traditional poeticisms, and in the semantic paradigm of poetry of the early twentieth century, the meaning of "flower" - "poetry" - "poet" was established as stable. The generation of poets - the "flowers of evil", romantically in love with "rose-poetry", already at this metaphorical level was doomed and tragic. It itself knew it. Already the older symbolists objectified this knowledge in the form of a "flower". A. Payman writes about D. S. Merezhkovsky in the following way: "His entire generation seemed to him to be transitional: "Flowers deprived of roots / Flowers dipped in water..." will dedicate a "Poem without a Hero", the method of which will be compared with "the unfolding of a flower (particularly of a rose ... which gives the reader to some extent, and, of course, completely subconscious a feeling of co-authorship, since, unfolding the rose, we find exactly the same under the plucked petal. 26 sign. At the same time, Akhmatovsky method exploits the ambivalent content of the "flower" - death and life: "under the plucked petal" - "the same". In "Prose" Akhmatova called her poem "a grave under a mountain of flowers", and, obviously, this is not only a "knyazev" grave, as indicated there 27 . As for Akhmatov's lyric poetry of the acmeist period, the abundance of flowers in its poetic "bouquet" opened up another way to implement the trend towards "saving visual means" (V. Nedobrovo) 28 . "Flowers" freed both the author and the heroine from the need to directly name the experience, and at this level the lyrical structure of Akhmatova's poetry approached the archaic one, since from ancient times "... flowers were used to express feelings that, for one reason or another, could not be spoken or written.<…>A notable example is Selam, the language of flowers used by in Turkish harems". It was the "spirit of 29" of the eastern harem that "taunted" to life the "Poem without a Hero", which ultimately appeared before the reader "all in flowers, like" Spring "by Botticelli." In Tashkent, the time of "colorlessness" of Akhmatov's lyrics ended 1930s, when the "eternal roses" were reminded either by the pungent smell of nettles ("And the nettles smelled like roses ..."), or ice on the branches ("... bushes of icy dazzling roses"). Akhmatova will mark the so-called "last roses" 1917 ("And in a secret friendship with a lofty ...". And then - "neither roses, nor the powers of the Archangel." Tashkent lyrics, which formed the first poetic context of "Poem without a Hero", are all permeated with a fragrant color: "Tashkent is blooming", blooming "fields of Kashmir", etc. This context is poetically recorded in "Another Lyrical Digression":

The whole sky is in red doves,
Lattices in the windows - harem spirit…
Like a kidney, the topic swells.
I can't leave without you,
Runaway, refugee, poem.

But, it's true, I'll remember on the fly,
How Tashkent blazed in bloom
Whole in white flames
Hot, smelly, intricate,
Incredible…

And apple trees, God forgive them,
As from a crown in love shivers ...

The fact that this "spirit" stirred up the deepest layers of the author's consciousness, affecting the sphere of the unconscious, can be judged by the following lyrical confession:

I can see to the middle
My poem. It's cold in her
As in a house where fragrant darkness
And the windows are locked from the heat
And where so far there is no hero,
But the poppy covered the roof with blood.

Here the "poppy" is not the hero himself, but a sign of his presence. It is absent, as it is easy to guess from the context, due to death - "blood". Moreover, for this reason, not he alone is absent, but many from the generation of "flowers devoid of roots ..." At the moment when "the fields of Kashmir are blooming", their invisible, but tangible for people with special sensitivity (and Akhmatova's heroine has such a ), presence in this world. Through the subtlest matter of light and smell30 the possibility of communication with them opens up:

As if by someone's command
The room immediately became light.
This is a ghost in every house,
White and light entered.
And their breath is clearer than words,
And their breath is doomed
In the middle of the sky burning blue
Lie on the bottom of the canal.

Thus, the "ditch babbles", at the bottom of the ditch the heroine discovers someone's "breathing" - obviously, having drunk this "dead" water, she lets the spirit of the dead into herself. The dead begin to live in it, trying to say something to the world through it. It can be assumed that such an experience forced the heroine to take a vow. its non-incarnation:

But I warn you
That I live for the last time.
Neither a swallow, nor a maple,
Nor spring water...
I won't embarrass people
And visit other people's dreams
An unsatisfied groan.

In "Poem Without a Hero" "flowers" will become signs alive presence of words dead. The author informed the reader about the torments that accompanied the writing of the poem: "For 15 years, this poem, like seizures of some incurable disease, overtook me again and again ... And I could not tear myself away from it, supplementing and correcting, seems to be a finished thing." See 31 mo, each time the invasion of a new "swarm of ghosts" ("an increase in the number of prototypes" 32 - as Akhmatova put it) required new word.

It is interesting from this point of view to trace the logic of the author's modifications of the text of the work. In the four editions of poem 33 published today, there is no significant change in the original plot conflict, but the theme, as the author claims, "swells like a kidney." He calls the birth of an idea "the first sprout" 34 . The "plant" semantics of the poem in verses about her will receive additional confirmation: "And you returned to me famous, / Dark green twig entwined…". The mechanism of auto-meta-description in the text of the poem is again carried out by means of "vegetative" metaphors: "the theme is a chrysanthemum" (cf.: "the idea is a sprout", "the method is a rose"). Referring to the poem in verse, the author says:

"You grow, you bloom..."

Here I am for you, instead of grave roses,
Instead of censer smoking ...

De profundis… my generation
Little honey tasted ...
Our business was not finished
Our hours were numbered
To the desired watershed,
To the top of the great spring,
Until the wild bloom
It only took a breath...

A similar act of "calling (calling) from the abyss" is described in the poem "In Memory of a Friend":

... When the dawn, like a glow, is red,
Widow at the nameless grave
A belated spring is troubling.
She is in no hurry to get up from her knees ...
Breathe on the kidney and stroke the grass
And he will drop the butterfly from his shoulder to the ground,
And the first dandelion will fluff.

Here the actions of the "spring-widow" are shown as ritual action, the content of which is inhalation life into death. The alliteration "Dawn, like a glow, red" in this and similar cases (cf.: "Poppy covered the roof with BLOOD") is associated with the implementation of the function magic word. “Kidney”, “grass”, “dandelion”, “butterfly”, like “flowers” and “maple” in “A Poem without a Hero”, are those “dark souls that have flown away” (see “This is how dark souls fly away ...”) 35 who were not destined to finish their earthly work, therefore there they did not deserve not only "light", like Bulgakov's Master, but also "peace". They doomed themselves to this, boldly exchanging "posthumous peace" for one moment, but the most "violent" harmony:

For one minute of peace
I will give peace posthumously.

The "cryptoscript" of Akhmatov's poem ("This is a cryptographic script, a cryptogram..."), presumably, is oriented towards the totality of the most ancient sign complexes. Akhmatova, as you know, sought to turn the poem into a ballet, spoke of the pantomime of the poetic texture, etc. the fate of people who have survived to this day, where pomegranate is a stone of fidelity, agate is health and longevity, opal is constancy, amethyst is hope, truthfulness, devotion; turquoise is a whim, a ruby is passion.

The detail emphasized by the author of the "Poem" in the portrait of his heroine is the "necklace of black agates". Without trying to guess what exactly the meaning of the stone is supposed to be here, we note the following two, in our opinion, very characteristic moments. First: in the Tashkent lyrics of Akhmatova, along with an abundance of flowers, one can observe an abundance of gems: "From mother-of-pearl and agate ...", "... and everything burns with mother-of-pearl and jasper ...", "... a month with a diamond feluca ...", etc. Second: originally the line "In a necklace of black agates" existed in the text of the "Poem" in the following versions: "With an unforgettable pomegranate flower", "In a necklace of black pomegranates"39. What is significant is not so much the author's choice between "agate" (longevity?) and "pomegranate" (fidelity?), but the very connection between "flower" and "stone".

Given this initial connection, we can conclude that the "flower-word" semantics does not conflict with the "word-stone" semantics, but if the second is explicated in the declarations of acmeists (O. Mandelstam "Morning of Acmeism")41, then the second is realized implicitly , is hidden, but, nevertheless, is realized: "... the beautiful lady Theology will remain on her throne," Gumilev writes in the article "The Legacy of Symbolism and Acmeism," "Acmeists do not want to raise literature into its diamond cold"42.

In esoteric systems "earth flower" is the name given to meteorites or shooting stars.<…>This is the "center" - that is, the archetypal image of the soul ... "Flower - center" goes back in its semantics to the Grail "43; The connection between the "flower" ("stone") and the "star" was reflected in world artistic practice. As an example, let us again give a fragment of Pasternak's translation of P. Calderon's play "The Steadfast Prince":

Fernando:

So the flower is not good?

Phoenix:

The fact that he is similar to a star,
Those that according to the flowers of the bouquet,
As if in the course of the planet,
You will read the future44.

The heroine of Akhmatova's lyrics says the following about herself and her tragic generation:

We did not breathe sleepy poppies,
And we do not know our fault.
Under what star signs
Are we born on our own mountain?

The "Cinque" cycle, which includes this poem, can also be considered as a structural link in the hypertext generated by the "Poem Without a Hero". This poem became in the author's biography a word about those and for those who did not have time to say their word:

What do you want to keep as a keepsake?
my shadow? What do you want a shadow for?
Dedication to the burnt drama
From which there is no ashes,
Or suddenly out of the frame
New Year's scary portrait?
Or barely audible
The ringing of birch embers,
Or what we didn't have time
Tell about someone else's love?

Wed with "Poem": "You ran away here from a portrait, / And an empty frame to the world…"

In "A Poem without a Hero" the "starry" imagery organically fits into the flower and semi-precious pattern: "silver month", " such star" - see the author's notes: "Mars on the eve of 1913", "star chamber", lists of "sorcerers, astrologers ...". Finally, in one of the stanzas in italics, the heroine hears a voice that sends her the following message: " Your horoscope has long been ready". That the "Poem" in a certain sense really is horoscope, we can conclude if we correlate some of the signs. "Violet" and "Mars" in most traditional horoscopes - a flower-talisman and patron planet of those born under the sign of Aries. In the personal-biographical senses encrypted by Akhmatova in the "Poem", the image represented by these signs can be associated with the person of N. S. Gumilyov, whose birthday is April 3, 1886. This, perhaps too direct, decryption seems to us admissible in connection with the illustration of a special invoices Akhmatova's text and only taking into account the meaning that the fate of Gumilyov became for Akhmatova the embodiment of the tragic fate of an entire generation. At least, the admissibility of this kind of interpretation is prompted by a mysterious image in the poem in memory of B. Pilnyak from the cycle "The Wreath for the Dead", the functionality of which has already revealed itself in the context of the poem: " All this you alone will solve it ... ". The formula "All this" is present in the text of the "Poem", although it looks somewhat different - "About this". "- taboo naming someone or something that (or "who"), for one reason or another, cannot find itself clearly. This demonstrative pronoun is used quite insistently in the cycle dedicated to the dead: " This black tender news", " This eurydice are circling", " This our shadows are passing by, This the voice of the divine lyre", "Here This I tell you…", " This- a letter from Marina", "Let This even from another cycle…" (we skipped examples where "it" is in a less strong position - not at the beginning, but in the middle of the line). The "clear" of what "it" is seems to be contained precisely in the initiation B. Pilnyak - " All this you will solve alone ...":

When sleepless darkness bubbles around,
That sunny one lily of the valley wedge
Breaks into the darkness of the December night.

Oh, if I wake the dead with this,
I'm sorry, I can't help it...

"Lily of the Valley" is an image that can be considered in the context of both "flower" and "star" semantics. Lily of the valley is a flower with wedge-shaped leaves, but the heroine Akhmatova, like the addressee of her poem, sees this "wedge" in the sky - the decipherer of the meaning of the author's dedication not to him alone, but to all the dead - sees in the sky. In this vision, the "December haze" is illuminated by "sunshine". It seems that the "lily of the valley" is in this case a special configuration of stars, a constellation. Indeed, there is an astral sign wedge-shaped, reminiscent of a lily of the valley flower - Y, is the sign of Aries and the vernal equinox. In universal sign systems, there is a wedge-shaped symbol that allows "reversal". This is the /\ circumflex introduced by Aristotle. In poetry, the circumflex "is used to mark the rise and fall of tone when reading poetry (Greek)<…>Czech uses an inverted circumflex V. This is the so-called " wedge sign"45. Note that the "wedge sign" in its inverted form looks like a bowl. In Akhmatova's poetry, the "cup" is not only a sign of the poet's fate ("That, His past bowl"), but also the sign of the poet himself: "I will bow over him like over bowl... ". In the "Poem without a Hero" "chalice" is directly compared with "flower":

That, His past cup;
I will bring it to you
If you want, I'll give it as a souvenir,
Like a pure flame in clay
Ile snowdrop in the graveyard.

In the "secret writing" of the Poem, the "wedge sign" seems to be connected with an appeal to another ancient sign system - the system of writing - cuneiform. In the Prose of the Poem, a remark is made on this subject: “... except for things ... the Fountain House itself intervened in the matter.<…>... Some kind of ghostly gates and golden cuneiform lanterns in the Fontanka - and the Sumerian coffee house (V. K. Shileiko's room in the wing) "46. The name of V. K. Shileiko, a great connoisseur of cuneiform writing, is not accidental in this case. The above confession of the author" Poems" through biographical overtones "declassifies" one of the "secret" plans of the text of the work: "In the autumn of 1918, Shileiko prepared for publication the volume of the Assyrian-Babylonian epic." This work was the main meaning and content of his life, and the "Sumerian coffee shop" was filled with cuneiform tablets, which Shileiko translated "from the sheet" aloud, and Akhmatova wrote down the translation.<…>A. A. wrote under his dictation. I recorded for six hours straight. In the "World Literature" there should be a whole pile of translations of the Assyrian epic, copied by the hand of A. A. "47.

So, the fact that Akhmatova had certain knowledge in the field of cuneiform can be considered proven. This knowledge assumed at least the awareness that "...radical changes in the letter appeared with the invention of a method of indenting a wedge-shaped "signet". This letter was called"cuneiform".<…>Sample cuneiform - "Legend of Gilgamesh" 48 . The name of Gilgamesh Akhmatov will give the hero of the "Poem without a Hero": "Gilgamesh you ...". "Gilgamesh" is one of the most ancient epic tales ... Akhmatova perceived it as a kind of fundamental principle, as a starting point for world culture.<…>For Akhmatova, "Gilgamesh" forever remained associated with two dear names to her "49. "In 1940 she (Akhmatova. - M.S.) said to L. K. Chukovskaya: “Do you know Gilgamesh? No? It’s great. It’s even stronger than the Iliad.” Nikolai Stepanovich translated interlinearly, but V (ladimir) K (azimirovich) translated to me directly from the original - and because i can judge"50. It seems, indeed, she could not only to "judge", but also to use- at least one of the hieroglyphs - quite freely: "The most powerful ..." ankh ", which "symbolizes eternal life" 51. This sign, consonant with Akhmatova's name, consists of the same graphic elements from which Akhmatova made her famous painting, several shifting their location relative to each other: a. a. a. As a rule, three such signs were used at once as a painting. "In addition to the aesthetic and semantic meaning, magical meaning was attributed to hieroglyphs" breathe life"in the things that were depicted. The Egyptians believed that if their names were written down, they would exist in the afterlife" 52 . In stanzas that are not allowed in the main body of the work, the author will emphasize the "Egyptian" element in the image of his heroine: "But he told me, to my Egyptian..." 53 , perhaps hinting at her ability to "breathe life into things", which she already used in the lyrics: cf. about the "spring-widow" - " dies on the kidney ... "(" In memory of a friend "). "Breathing life into death" requires a certain sacrifice from the one who "breathes". the collective immortality of a generation, the author of "A Poem Without a Hero" was ready to pay by refusing to personal immortality.

The triumph of the law of collective immortality is signaled in the "Poem Without a Hero" by "flowers". This function is entrusted to them quite reasonably. The rationale for this high function of the "flower" in the system of universal symbols in 1904 in the work "The Reason of Flowers" was formulated by Maurice Maeterlinck: there is no doubt about plants.<…>And the energy… that emerges from the darkness of the roots to grow stronger and blossom into a flower is an incomparable sight. All of it is expressed in one unchanging impulse, in the desire to overcome the fatal weight of depth with height, to deceive, to transgress the gloomy law ... to conquer the space in which its fate has concluded, to reach out to another kingdom ... And the fact that the plant reaches this is as amazing as if we would be able to live outside the time to which we are chained by fate. ... A flower gives a person an amazing example of rebelliousness, courage, indefatigability .... If we were to use half of the energy that a small flower in our garden develops in the struggle against overwhelming needs, with old age or death, then it is permissible to think that our fate would differ in many ways from what it is now "54. This the conclusion allowed the artist, "developing the possibilities of the mystery" (H. L. Borges), to consider "the problem of our immortality solved in principle" 55 .

Notes

1. A. A. Urban in the article "A. Akhmatova. "I don't need odic rati ..." (Poetic system of Russian lyrics. L., 1973. S. 254-274) considers Akhmatova's "flowers" as an element of the Russian tradition S. F. Nasrulaeva in the book "Chronotope in the Early Lyrics of Anna Akhmatova" (Makhachkala, 2000) interprets the functionality of flower imagery as a device of reminiscence: "roses" in the "Rosary", according to the researcher, are associated with the collection (p. 132) Special attention in the context of Akhmatova's flower theme deserves VV Korona's book "The Poetry of Anna Akhmatova. Poetics of auto-variations" (Ekaterinburg, 1999). In this, in its own way, unique study, the author, a biologist by profession, absolutely brilliantly showed that the structure of Akhmatov's poetic world is a living structure, a living organism, the mechanism of functioning of which is carried out according to biological, natural laws A separate chapter of the book is devoted to the image of the “rose.” V. V. Korona's research method, which is based on Goethe's morphogenetic method, allowed the scientist to come close to the so-called Akhmatov's “mystery”.

2. Crown V. V. Decree. op. pp. 202-203.

3. See about this: Smirnova N.V. Flower in Russian lyrics of the 19th century // Bulletin of the Ural State University. Humanitarian sciences. Release. 3. Yekaterinburg, 2000, pp. 113-121.

4. In this case, we are avoiding talking about the role of I. F. Annensky in Akhmatova's creative biography, although the title of Akhmatova's text ("shamrock") clearly refers us to "The Cypress Casket". We note here only the juxtaposition in the context of the "flower" semantics of the compositional form "shamrock" and the genre - "Almost in an album". A. S. Pushkin wrote about the traditional elements of this genre in "Eugene Onegin": "Here you will certainly find / Two hearts, a torch and flowers."

5. Russian school folklore: From the invocation of the Queen of Spades to family stories / Comp. A. F. Belousov. M., 1998. S. 12-13. See also: Belousov A.F. Institutka // School life and folklore: Educational material on Russian folklore. Part 2: Girl culture. Tallinn, 1992, pp. 119-159; Belousov A.F. Institutka in Russian literature // Tynyanovsky collection: Fourth Tynyanov readings. Riga, 1990. S. 77-90.

6. Foley. J. Encyclopedia of signs and symbols. M., 1997. S. 399.

7. Akhmatova Anna. Sobr. cit.: In 6 vols. M., 1998-2001. Hereinafter, the texts of Akhmatova's poems are quoted from this edition without indicating the volume and pages.

8. Calderon P. Persistent Prince / Per. B. Pasternak // Spanish Theatre. M., 1969. S. 539. For the first time, the play in Pasternak's translation was published in 1961. The text of Pasternak's translation contains, in our opinion, many reminiscences (conscious or unconscious?) from Akhmatova's poetry, for example: "In captivity they can sing / Only senseless creatures ..." (Pasternak / Calderon) - "And I'm not a prophetess at all ... But I just I don't feel like singing / To the sound of prison keys" (Akhmatova); “I need to know whose portrait / You held a white one in your hand, / Answer me, do me a favor / Or better give an answer, / Whoever he is, it doesn’t matter, / The name will not reduce shame. / Your portrait looks out of the frame, / Shaming the canvas" (Pasternak) - "You fled here from the portrait, / And the empty frame to the light / Will be waiting for you on the wall ... / There are scarlet spots on your cheeks; / You should go back to the canvas ... "(Akhmatova). In addition, in the text of Pasternak's translation, one can also find reminiscences from the work of other poets, the translator's contemporaries, for example: "... Is it really over me / Damned rock weighs / To be a bargaining chip / Someone's earthly death, / For the dead payback?" (Pasternak) - "Here it is. I am on the wine of grace / I got drunk and ready to die, / I am a coin with which the Creator / Buys the forgiveness of the gods" (N. Gumilyov), etc. Obviously, such cases of "borrowing" by Pasternak from "colleagues on the shop floor" and prompted Akhmatova to say in a different context: "He (Pasternak. - M. S.) did not think anything about other people's poems. He simply forgot them exactly after 5 minutes, but it was very charmingly affected by his genius" (Akhmatova Anna, op. cit. Vol. III, p. 235).

9. In this and similar cases, it is clear that for Akhmatova it is not so much the general cultural meaning of the flower symbol that is relevant, but the personal content, hidden from the reader and not amenable to unambiguous decipherment.

10. On the semantics of Akhmatova's "rose", see Korona V.V. Decree. op. pp. 23-79.

11. See about this: Serova M. V. On one unrecorded "manifesto" of acmeism, or Akhmatova's version // Non-calendar twentieth century: Mater. All-Russian seminar May 19-21, 2000. Veliky Novgorod, 2000. S. 72-84.

12. Mandelstam O. About the nature of the word // Mandelstam O. Word and culture. M., 1978. S. 65.

13. Gorodetsky S. Some trends in modern Russian literature // Russian literature of the twentieth century: pre-October period. L., 1991. S. 487-488.

14. Mandelstam O. Morning of acmeism // Decree. op. S. 172.

15. Gumilyov N. S. The legacy of symbolism and acmeism // Gumilyov N. S. Letters about Russian poetry. M., 1990. S. 57.

16. Gumilyov N. S. Decree. op. S. 58.

17. Bogomolov N. A. Gumilyov and the occult // Bogomolov N. A. Russian literature of the early twentieth century and the occult. M., 1999. S. 113-114.

18. Ibid. S. 136.

19. Op. Quoted from: Foley J. Decree. op. S. 399.

20. "A symbol in poetry is a special kind of metaphor - an object or phenomenon of the external world, denoting the phenomenon of the spiritual or spiritual world according to the principle of similarity (my italics - M.S.)". - Zhirmunsky V. M. Poetics Al. Blok // Zhirmunsky V. M. Theory of Literature. Poetics. Stylistics. L., 1977. S. 217.

21. Kerlot H. E. Dictionary of symbols. M., 1994. S. 217.

22. See: Belousov A. F. Lilac acclimatization in Russian poetry // Lotman - 70: Sat. articles for the 70th anniversary of prof. Yu. M. Lotman. Tartu, 1992, pp. 311-322.

23. In this regard, it seems to us not very convincing that fragment of the generally interesting study by S. F. Naslulaeva, which speaks of "princely" roses in Akhmatova's Rosary. However, the researcher herself doubts that these are precisely the “princely” roses, who writes: “... we did not find practically any borrowings, citations in the “princely” verses of the “Rosary”, however, in our opinion, in the poems 2- In the first section, there are two key images of Knyazev's lyrics - "flowers" and "roses". We cannot categorically state this, since these images are included in Akhmatova's poetic system and were used by her earlier when characterizing the realm of love / death "(S. F. Nasrulaeva op. cit. p. 132).

24. See the commentary by N. V. Koroleva on this: Anna Akhmatova. Decree. op. T. I. S. 691-695. Nevertheless, individual cases of "personification" of the flower image in Akhmatova's poetry take place ("daffodils" are associated with the personality of V. Nedobrovo, "violets" - N. Gumilyov). See about this: Serova M. V. About one unrecorded "manifesto" of acmeism ... S. 81-82.

25. Nyman A. History of Russian symbolism. M., 1998. S. 15.

26. Akhmatova Anna. Decree. op. T. III. S. 244.

27. Ibid. S. 217.

28. Nedobrovo N. Anna Akhmatova // Naiman A. G. Stories about Anna Akhmatova. M., 1989. S. 241.

29. Foley J. Decree. op. S. 398.

30. Maurice Maeterlinck attributed a mystical meaning to fragrances, directly related to the mystery of the future and, in general, to “mystery”: “Aromas - the jewels of the air that gives us life - adorn it for a reason. It would not be surprising if incomprehensible luxury would respond to something deep and essential, something, as we have already said, rather not yet come, rather than already past.It is quite possible that this feeling, the only one that is turned to the future, already perceives the most vivid manifestations of happy and desirable forms and states of matter, which are preparing many surprises for us.<…>It barely guesses, and then with the help of imagination, about those deep and harmonious vapors that surround the great phenomena of the atmosphere and light "(Maeterlinck M. Mind of Flowers. St. Petersburg, 1999. P. 88). The sensitivity of the lyrical heroine Akhmatova to aromas time - the floral-perfumery smells of the era - obviously explains the desire of the author of the poem "Russian Trianon", which can be considered as a rough sketch for "Poem Without a Hero", additionally - in a specially made note - to pay attention to this moment:

Ylang-ylang * the whole station smelled,
Not the last one that will burn sometime
And the very first, main - the White Hall
In it, dancing - was richly removed,
But no one was dancing in that hall.

31. Akhmatova Anna. Decree. op. T. III. S. 214.

32. Ibid. S. 249.

33. 1) 1943 - Tashkent; 2) 1946 - Leningrad; 3) 1956 - Leningrad; 4) 1963 - Leningrad-Moscow (Ibid., p. 510).

34. Ibid. S. 217.

35. On the "dark" ("black") soul of the hero-poet of Akhmatova's lyrics, see: Serova M. V. Anna Akhmatova's lyrics: strokes to the "portrait" of the hero // Gender conflict and its representation in culture: A man through the eyes of a woman. Yekaterinburg, 2001, pp. 137-141.

36. Krasikov S.P. Flowers and gems. M., 1998. S. 214.

37. Akhmatova Anna. Decree. op. T. III. S. 214.

38. Krasikov S. P. Decree. op. S. 214.

39. Akhmatova Anna. Decree. op. T. III. S. 631.

40. Krasikov S. P. Decree. op. S. 208.

41. Perhaps it was the openness and directness of O. Mandelstam's formulations in this article that caused S. Gorodetsky and N. Gumilyov not to recognize it as a manifesto. See about this: Mandelstam O. Stone. L., 1990. S. 335; Lekmanov O. A. A book about acmeism. M., 1996. S. 52, 54.

42. Gumilyov N. S. The legacy of symbolism and acmeism. S. 58.

43. Kerlot H. E. Decree. op. S. 560.

44. Calderon P. Steadfast Prince. S. 524.

45. Foley J. Decree. op. S. 63.

46. Akhmatova Anna. Decree. op. T. III. S. 246.

47. Popova N. I., Rubinchik O. E. Anna Akhmatova and the Fountain House. SPb., 2000. S. 16-17.

48. Foley J. Decree. op. pp. 17-19.

49. "In 1919, the publishing house" World Literature "published the Assyro-Babylonian epic" Gilgamesh ". There were two names on the cover: N. Gumilyov - the author of the translation, and Shileiko - the author of the preface.<…>Here is the beginning of the poem in Shileiko's translation about its protagonist:

About the one who saw everything to the end of the world
About the one who penetrated everything, comprehended everything.
He read all the scriptures together,
The depth of wisdom of all book readers;
I saw the hidden, I knew the secret ...

“About the one who saw everything to the end of the world…” - this could be said about Nikolai Stepanovich.” - N. I. Popova, O. E. Rubinchik Decree op. pp. 21-22.

50. Ibid.

51. Foley J. Decree. op. S. 19.

52. Ibid. S. 22.

53. The "Egyptian" subtext in Akhmatova's poetry is associated not only with the names of N. S. Gumilyov and V. K. Shileiko, but also with the name of Modigliani: "... Modigliani raved about Egypt. He took me to the Louvre to look at the Egyptian department and assured me that everything else (tout le rest) is unworthy of attention. He painted my head in the attire of Egyptian queens and dancers and seemed completely captured by the great art of Egypt. Obviously, Egypt was his last hobby "- Anna Akhmatova. Amedeo Modigliani // Akhmatova A. Sobr. cit.: V 2 t. M., 1996. T. II. S. 145.

54. Maeterlinck M. Decree. op. pp. 11-12.

55. Ibid. P. 226. Maeterlinck's "name" in "A Poem without a Hero" is guessed in the image of the "Blue Bird" ("Soft embalmer, Blue Bird..."), which became the emblem of this writer.

Lytova Daria.

This material is a research work on the work of A.A. Akhmatova.

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Symbolism of flowers

in poetry

Anna Andreevna Akhmatova.

Lytova Daria Sergeevna

Grade 10

Leaders:

MKOU BSOSH №1

Sosnitskaya Lilia Mikhailovna,

Teacher of Russian language and literature

MKOU BSOSH №1

Reshetnyak Natalya Yurievna.

Bykovo

year 2014.

Annotation.

The relevance of research.

Goals.

Research objectives.

Stages of work.

I. Abstract.

Rose.

1.1. Early lyrics.

1.2. late lyrics.

2. Lilac.

2.1. Early lyrics.

2.2. late lyrics.

3. Violet.

3.1. Early lyrics.

3.2. late lyrics.

4. Mac.

4.1. Early lyrics.

4.2. late lyrics.

5. Chrysanthemum.

5.1. Early lyrics.

5.2. late lyrics.

6. Tulips and carnations.

6.1. Early lyrics.

6.2. late lyrics.

7. Daffodils.

7.1. Early lyrics.

7.2. late lyrics.

IV. Conclusion.

V. Literature.

1.Rose.

early lyrics.

- "Dry, rosy lips."

The final judgment is coming soon

And crimson bonfires

Dragonfly flutters»

late lyrics.

- "Immortal Roses"("Moon at its zenith" 1942-1944)

- "Instead of grave roses"(in memory of M.A. Bulgakov.)

("The Last Rose" 1962)

To the homeland of eternal roses ... " (1941)

2. Lilac.

early lyrics.

The branches that have now faded

- "The smell of gasoline and lilacs,

Alert calm"("Walk" 1913)

- “The sky is sowing a fine rain

On the blooming lilac"(1916)

late lyrics.

That I inherit all this:

... And a penitential shirt,

And sepulchral lilac"

("Heiress" 1958)

3. Violet.

early lyrics.

("Poem without a Hero" 1913)

Keeping my life

They are brighter than the first violets,

And deadly for me."

late lyrics.

Dust is a ray of sunshine

Violet - a girl's mouth ...

... But we learned forever

(1933)

4.Mac.

early lyrics.

late lyrics.

5. Chrysanthemum.

early lyrics.

("Evening Room" 1910)

late lyrics.

Tulips and carnations.

early lyrics.

late lyrics.

“Spring fogs over Asia,

And terribly bright tulips

Ditches muttered their own,

And Asia smelled like carnations.

Daffodils.

early lyrics.

late lyrics.

III. Conclusion.

		(A. Akhmatova 1910)

Literature.

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Municipal Scientific and Practical Conference

“May someday they read my name…”

(based on the life and work of A.A. Akhmatova)

Section - research work.

Symbolism of flowers

as picture inner world

in poetry

Anna Andreevna Akhmatova.

Lytova Daria Sergeevna

MKOU BSOSH No. 1 "named after the hero of Russia S.A. Arefiev"

Grade 10

Leaders:

Teacher of Russian language and literature

MKOU BSOSH №1

Sosnitskaya Lilia Mikhailovna,

Teacher of Russian language and literature

MKOU BSOSH №1

Reshetnyak Natalya Yurievna.

Bykovo

year 2014.

Annotation.

The relevance of research.

Flowers reveal themselves in the poetic world of Anna Akhmatova quite clearly. Many researchers paid attention to the images of flowers in the works of the poetess.Consideration and study of the images of flowers in the work of Akhmatova is of interest and will help to delve deeper and understand the essence of the poetry of the great poetess.

Goals.

1. Set the symbolic meaning of colors in the work of Akhmatova.

2. To trace the connection between the images of flowers with the life and worldview of the poetess.

Research objectives.

1. Study the poems of the poetess.

2. Understand the purpose of colors in the life and work of Anna Akhmatova.

Stages of work.

The study of literature on the topic of research (images of flowers in the literature of the twentieth century, biography of the poetess, research by scientists on the study of images of flowers).
Collection of material (work with primary sources - collections of poems by A. Akhmatova), its processing.
Generalization of the obtained results.

I. Abstract.

II. Introduction “Flowers in the work of A.A. Akhmatova".

III. The main part “Symbolism of flowers as an image of the inner world in the poetry of A.A. Akhmatova".

Rose.

1.1. Early lyrics.

1.2. late lyrics.

2. Lilac.

2.1. Early lyrics.

2.2. late lyrics.

3. Violet.

3.1. Early lyrics.

3.2. late lyrics.

4. Mac.

4.1. Early lyrics.

4.2. late lyrics.

5. Chrysanthemum.

5.1. Early lyrics.

5.2. late lyrics.

6. Tulips and carnations.

6.1. Early lyrics.

6.2. late lyrics.

7. Daffodils.

7.1. Early lyrics.

7.2. late lyrics.

IV. Conclusion.

V. Literature.

I. Flowers in the work of A.A. Akhmatova.

Flowers in the life of every woman play an important role. Everyone has their own preferences - favorite flowers. There are also unloved ones. In addition, since ancient times, a person wanted to see in everything that surrounds him, a certain symbolism and a certain significance for his life. And A.A. Akhmatova's images of flowers in poetry have a certain symbolic content and are closely connected with her life.

Anna Andreevna Akhmatova (surname at birth - Gorenko) - one of the most famous Russian poets of the XX century, writer, literary critic, literary critic, translator.

Her fate was tragic. Three of her relatives were subjected to repressions (her husband in 1910-1918, N. S. Gumilyov, was shot in 1921; Nikolai Punin, the third common-law husband (the marriage was not officially registered), was arrested three times, died in a camp in 1953; the 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 "enemies of the people" is reflected in one of the most famous works of Akhmatova - the poem "Requiem". Recognized as a classic of Russian poetry back in the 1920s, Akhmatova was hushed up, censored and persecuted (including the decision of the Central Committee of the All-Union Communist Party of Bolsheviks of 1946 , not canceled during her lifetime), many of her works were not published not only during the life of the author, but also for more than two decades after her death. Her name, even during her lifetime, was surrounded by fame among admirers of poetry both in the USSR and in exile.

One of the features of Anna Akhmatova's lyrics is the abundance of flowers in her poetic "bouquet".

"Flowers" frees the author from directly naming experiences and expressing feelings that for some reason could not be expressed aloud. Its flowers are real, visible, and even give the impression that we feel their fragrances; always have a certain color, and each color has its own meaning.

II. The symbolism of flowers as an image of the inner world in the poetry of Anna Akhmatova

1.Rose.

The image of a rose in the poetry of A. Akhmatova is ambiguous.

early lyrics.

- "Dry, rosy lips."(“We will not drink from one glass…” 1913)

- "Black angels' wings are sharp,

The final judgment is coming soon

And crimson bonfires

Like roses bloom in the snow.(“How can you look at the Neva…” 1914)

-"The New Year's holiday lasts magnificently,

Wet stems of New Year's roses,

And in my chest you can no longer hear

Dragonfly flutters»(“After the wind and frost was…” 1914)

On the one hand, it symbolizes beauty, love, suffering and passion. But this love is unrequited, so there is a share of sadness and longing in the poems.

“And the nettle smelled like roses…” - the weed pretended to be a rose. It also means a premonition of something wrong in the feelings of the author.

late lyrics.

- "Immortal Roses"("Moon at its zenith" 1942-1944)

- "Instead of grave roses"(in memory of M.A. Bulgakov.)

- “Take everything, but this scarlet rose

Let me feel fresh again"("The Last Rose" 1962)

- “And we’ll go to Samarkand to die,

To the homeland of eternal roses ... " (1941)

On the other hand, the poetess mentions her, speaking about life and death, therefore, the color of the whole work changes.

2. Lilac.

early lyrics.

- “I cut my hair on lilac bushes

The branches that have now faded(“I began to dream less often, thank God…” 1912)

- "The smell of gasoline and lilacs,

Alert calm"("Walk" 1913)

- “The sky is sowing a fine rain

On the blooming lilac"(1916)

late lyrics.

“Oh, who would have told me then,

That I inherit all this:

... And a penitential shirt,

And sepulchral lilac"

("Heiress" 1958)

- "And the lilac smelled like a cemetery .."

(“A poem without a hero” 1940-1962)

Akhmatova characterizes lilac as the extinction of eternal values, not only in her early work, but also later. The only difference is that first the feeling of love in a person fades away, and then the most precious thing - human life.

3. Violet.

early lyrics.

- "Mountains of Parisian violets in April -

And a date in the Maltese Chapel,

Like a curse in your chest."

("Poem without a Hero" 1913)

“Just don’t you dare raise your eyes,

Keeping my life

They are brighter than the first violets,

And deadly for me."

late lyrics.

- "The peach blossomed, and the violets smoke

Everything is more fragrant "(" The Moon at its Zenith "1942-1944)

- “Wild honey smells free ...

Dust is a ray of sunshine

Violet - a girl's mouth ...

... But we learned forever

That only blood smells like blood

(1933)

The main difference in the image of the violet is that in the early lyrics the reader perceives it visually, while in the later it opens up to us through the world of smells and sensations.

4.Mac.

early lyrics.

late lyrics.

In the early work of Akhmatova, the poppy takes her into the world of calm memories, into the world of dreams.

In the later, these memories evoke more vivid associations, since they contain a certain amount of drama.

5. Chrysanthemum.

early lyrics.

“I speak now with the words

That only once are born in the soul,

A bee buzzes on a white chrysanthemum,

The old sachet smells so stuffy.”

("Evening Room" 1910)

In this poem, individual words help to create a complete picture of the evening room, which "keeps and remembers the old days." So, the verbs "buzz", "smells" and the adjective "white" convey sound, smell and color.

late lyrics.

Tulips and carnations.

early lyrics.

In the symbolism of flowers, the tulip and carnation characterize the expression of love, personify a certain purity. The heroine in love does not see anything in front of her and therefore may subsequently be deceived.

late lyrics.

“Spring fogs over Asia,

And terribly bright tulips

The carpet was woven for many hundreds of miles ... "

(“What is. I wish you another…” 1942)

"That night we went crazy for each other,

Only ominous darkness shone on us,

Ditches muttered their own,

And Asia smelled like carnations.

(From the cycle "Tashkent Pages" 1959)

In later work, the reader

may notice that the poetess is separated from her home by hundreds of miles. The smell of carnations and a carpet of tulips helps Akhmatova mentally immerse herself in memories of the past.

(1916)

late lyrics.

In the symbolism of flowers, the narcissus is a symbol of the masculine principle. In the early lyrics of Akhmatova, the daffodil expresses the emptiness of the soul and the feeling of helplessness. And in the later it is associated with unpleasant memories of the distant past, with the hope of something good.

III. Conclusion.

In order to follow the changes taking place in the depths of the human soul, A. A. Akhmatova uses the symbolism of flowers. They help her to feel the whole gamut of feelings, feel each shade separately and convey emotions to the reader.

Each flower in her lyrics is permeated with certain features: either it is pity and helplessness, or passion and pride. It is impossible not to find such a feeling that she could not convey through the images of flowers that help to convey the psychologism of A.A. Akhmatova.

In early works, images of delicate flowers predominate - images of purity, purity.

"I don't like flowers - they remind

Funerals, weddings and balls for me"

(A. Akhmatova 1910)

In 1913-1914, the flowers represent feelings of impermanent happiness associated with disappointments and unhappy love.

In later works, the symbols of flowers acquire a gloomy character and drama associated with suffering and death.

Literature.

1. Vilenkin V. I. "In the hundred and first mirror." - M., 1990.

2. Dobin E. S. Poetry of Anna Akhmatova. - L., 1968.

3. Zhirmunsky V. M. Creativity of Anna Akhmatova. - L., 1973.

4. Pavlovsky A. Anna Akhmatova. Essay on creativity. - L., 1966.

5. Silman T. I. Notes on lyrics. - L., 1977

6. Chukovskaya L.K. Notes on Anna Akhmatova: in 3 vols. - Paris: YMCA-Press, 1976.

Flowers in the work of Akhmatova. "flowers" in the poetic world of Anna Akhmatova. The language of flowers makes it possible to express your intentions and feelings. Key words: Azalea - devotion

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