The life of this Russian poetess is inextricably linked with the fate of her country. According to her poems, it is easy to trace how the noose of the totalitarian regime dragged on and horror escalated more and more. It was during these terrible years that a poem was created where the whole Anna Akhmatova was discovered - the Requiem. The analysis of this work must begin with when it was written. From 1935 to 1940. It took six years to finish the poem, and every year, month and day were filled with sorrow and suffering.
The poem consists of diverse chapters, and each of them carries its own idea. There is also an epigraph, which Akhmatov precedes "Requiem". An analysis of these few lines reveals why Anna abandoned the idea of emigration from Russia. The words "I was with my people, where my people, unfortunately, was," genuinely sparingly outline the whole tragedy of that era. It is interesting that the epigraph was written twenty-one years after the poem, in 1961, after the death of the “father of nations”.
The chapter “Instead of the Preface” also dates from 1957. The poetess considered that for the new generation, which did not see the horrors of the “nightmare” and the terror of the times of Beria, the narrative will remain incomprehensible. The son of Anna, Lev Gumilyov, was arrested three times during these years. But Akhmatova is not talking about her personal grief. The Requiem, the analysis of which is necessary to reveal the depths of the poetics of those years, tells of the grief "which the hundred-million people shout."
Akhmatova, in strong lines measured like the rumble of a death knell, draws a portrait of the entire Soviet Union: countless mothers, wives, sisters and brides standing in line to the prison windows to pass on to their relatives simple food and warm clothes.
The syllable and size change throughout the entire lyrical cycle: either it is a three-foot anapaest, then a verbiber, then a four-foot chorea. It is not surprising, because Akhmatova created the Requiem. An analysis of this poem allows us to draw a direct parallel with the
musical work of Mozart, who wrote a memorial service for an unknown customer in black.
Just like the Requiem of a brilliant composer, the poem had a customer. The chapter “Initiation” is written in prose. The reader learns that this customer is a “woman with blue lips,” standing in line with Akhmatova to the window in the Leningrad Crosses. “Dedication” and “Introduction” once again emphasize the volume of repressions that swept the country: “Where are now involuntary friends ... old years?”. The ten subsequent chapters, which are called “Sentence,” “To Death,” and “Crucifixion,” emphasize once again that she wanted to create Akhmatova “Requiem”. An analysis of the memorial service echoes the Passion of Christ and the torment of the mother — any mother.
The "epilogue" with which the work ends is very significant. There, the poetess once again recalls the countless women who, along with her, passed through all the circles of hell, and gives a kind of lyrical testament: “And if someday in this country they erect a monument to me ... [let them put it in front of the Crosses prison], where I stood for three hundred hours and where the bolt was not opened for me. ” An analysis of Akhmatova’s poems, whose works have not been written on paper for a long time (because they could have been written for them), but only forgotten by heart, which were published in full only during perestroika, tells us that until the will of the poetess is fulfilled, and the monument it will not rise above the Crosses, the shadow of totalitarianism will hang over the country.