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Volume	Title	Status
Vol. 1	The Art of War by Sun Tzu	published
Vol. 2	The Analects by Confucius	published
Vol. 3	The Arthashastra by Chanakya (Kautilya)	published
Vol. 4	The Meditations by Marcus Aurelius	published
Vol. 5	The Prince by Niccolo Machiavelli	April 2019
Vol. 6	The Book of Five Rings by Miyamoto Musashi	April 2019
Vol. 7	The Hagakure by Yamamoto Tsunetomo	April 2019

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MOU secondary school №3

ABSTRACT on literature

Rosary and White Flock -

two collections of Akhmatova.

Vanino

Plan

1. Introduction.
2. Rosary intimate experiences of the heroine
3. Features of the Rosary collection

a) History of creation

b) individualism of speech

c) main motives

2. Why Rosary?

a) What is the reason for the division of the book into four parts

b) Composition and content of the first movement

c) The movement of the soul of the lyrical heroine in the second part

d) Philosophical motives in the third part

e) the theme of memory in the fourth part

III. white flock feeling of personal life as a national life,

historical

1. Historical publications and symbolism of the name

2. Chorus of beginnings and main themes

1. Conclusion. Similarities and differences between the two collections
2. Bibliography
3. Application

Introduction.

A. A. Akhmatova is currently regarded as a poet of that period of the twentieth century, which, since 1905, covers two world wars, revolution, civil war, Stalin's purge, cold war, thaw. She was able to create her own understanding of this period through the prism of the significance of her own fate and the fate of people close to her, who embodied certain aspects of the general situation.

Not everyone knows that for decades Akhmatova waged a titanic and doomed struggle to convey to her readers the "royal word", to stop being in their eyes only the author of "The Gray-Eyed King" and "mixed gloves." In her first books, she sought to express a new understanding of history and the man in it. Akhmatova entered literature immediately as a mature poet. She did not have to go through the school of literary apprenticeship, which took place before the eyes of readers, although many great poets did not escape this fate.

But despite this, creative way Akhmatova was long and difficult. It is divided into periods, one of which is early work, which includes the collections Evening, Rosary and the White Flock of the transitional book.

Inside early period Creativity is the worldview growth of the consciousness of the poet. Akhmatova perceives the reality around her in a new way. From intimate, sensual experiences, she comes to the solution of moral global issues.

In this work, I will consider two books by Akhmatova, published between 1914 and 1917, namely: The Rosary and The White Flock.

The choice of the topic of my work, especially the chapters related to the definition of the symbolism of the title of a poetic book, is not accidental. This problem has been little studied. A relatively small number of works are devoted to her, in which researchers approach the analysis of A. Akhmatova's books in various aspects.

There is no work devoted to a holistic analysis of collections, including an analysis of the symbolism of the titles of A. Akhmatova's books, which, in my opinion, is important, since Akhmatova, when creating a book, always paid special attention to its title.

Thus, the purpose of my work is to study books, as well as the importance of the title of the book in the work of A. Akhmatova. As a result of this, I will get a very vivid and multifaceted idea of ​​the spiritual and biographical experience of the author, the circle of mind, personal fate, and the creative evolution of the poet.

As a result, I have the following tasks:

1. analyze two collections of Akhmatova;

2. identify the main similarities and differences between books;

3. reveal in the abstract such topical issues as the theme of memory and nationality;

4. emphasize religious motives, intimacy and choral principles in these collections;

5. compare the opinions of different critics on one of the issues, compare them and draw a conclusion from this;

6. get acquainted with the theory of the title, analyze the titles of these books from the point of view of reflecting all possible associations in them and trace the dynamics of the formation of the poet's worldview.

1. Rosaryintimate feelings of the heroine

1.Features of the Rosary collection

Akhmatova's second book of poems was an extraordinary success. Her publication in the Hyperborey publishing house in 1914 made the name of Akhmatova famous all over Russia. The first edition came out with a circulation of 1000 copies, which was considerable for that time. The main part of the first edition of the Rosary contains 52 poems, 28 of which were previously published. Until 1923, the book was reprinted eight times. Many verses of the Rosary have been translated into foreign languages. Press reviews were numerous and mostly favorable. Akhmatova herself singled out an article (Russian Thought. 1915. - No. 7) by Nikolai Vasilyevich Nedobrovo, a critic and poet with whom she was well acquainted. The poem is addressed to Undobrovo For a whole year you have not been separated from me ... in the White Pack.

Epigraph from E. Boratynsky's poem Justification.

Like most young poets, Anna Akhmatova often has words: pain, longing, death. This so natural and therefore beautiful youthful pessimism has so far been the property of pen trials and, it seems, in Akhmatova's poems for the first time received its place in poetry.

120, pp. In publisher's covers. Copy on laid paper. Color print. Format: 15x11 cm. The famous, so-called "Odessa counterfeit", printed under the Whites in Odessa in 1919, which Akhmatova mentions in her Notebooks under the date 06/24/1963. Extreme rarity, unknown to most bibliophiles!

Bibliographic sources:

1. A.A. Akhmatova. Notebooks. Moscow-Turin, 1996, p. 376.

2. Tarasenkov A.K., Turchinsky L.M. Russian poets of the XX century. 1900-1955. Materials for the bibliography. Moscow, 2004, p. 57.

You are my letter, dear, do not crumple.

Until the end of it, friend, read it.

I'm tired of being a stranger

Be a stranger in your way.

Don't look like that, don't frown in anger.

I am loved, I am yours.

Not a shepherdess, not a princess

And I'm no longer a nun -

In this gray, everyday dress,

On worn heels...

But, as before, a burning embrace,

The same fear in the huge eyes.

You are my letter, dear, do not crumple,

Don't cry about cherished lies

You have him in your poor knapsack

Put it at the very bottom.

The second collection of poems "Rosary", published in 1914, brought Akhmatova all-Russian fame and was reprinted 10 times, including counterfeit, and was a success in a wide variety of readership. Akhmatova herself, not without bitter irony, said that the peculiar lyrics of "Evening" and "Rosary" appealed to "high school students in love." Khodasevich in the article "Inglorious Glory", jealously dedicated to the incomprehensible popularity of Akhmatova, at the end writes: "I love Akhmatova, but I don't love her fans!" However, the Rosary was also met with an enthusiastic reception by demanding poets of the same age: Tsvetaeva and Pasternak. Blok and Bryusov's approving assessments were more restrained. If after the "Evening" in the minds of most contemporaries Akhmatova's poetry was associated with the poetry of "unhappy love", then the poems published after, in an obvious way, demanded a revision of this seemingly well-established reputation. Mandelstam noted: "The voice of renunciation is growing stronger and stronger in Akhmatova's poetry, and at present her poetry is approaching becoming one of the symbols of the greatness of Russia." There is a certain religiosity in the Rosary, although most of the poems are completely secular. The epigraph to the book was the lines of Baratynsky: “Forgive me forever! But I know that two guilty, not one, there are names in my verses, in love stories. Indeed, most of the poems are devoted to the relationship between lovers. However, many poems are imbued with other sensuality. This is especially noticeable in the poem "In the Evening", which describes how "the fresh and pungent smell of the sea on a dish of oysters in ice." The lover touches the dress - and the heroine says: "this is how cats or birds are stroked." Reviews for the book have been very favorable. She also liked Gumilyov. By 1914, Akhmatova had already met the people who were destined to play important role in her love life. This is an unsuccessful marriage with Gumilyov; in February 1913, she met Arthur Lurie and art critic Nikolai Nikolaevich Punin. The poet and critic Nikolai Nedobrovo was in love with her. She regularly participated in the meetings of the Society of Poets, organized by N.V. Nedobrovo, communication with which had a decisive influence on the final formation of her aesthetic attitudes. He was the addressee of several masterpieces love lyrics Akhmatova and the author of an article about her, in which he wrote that Anna Andreevna “will be called upon to expand the “narrow circle of her personal topics”, but “her vocation is not to spread in breadth, but to cut the layers, because her tools are the tools of a miner crashing into deep into the earth to the veins of precious ores. Akhmatova was always keenly interested in letters close friend Nedobrovo, Boris Anrep, in which he spoke highly of her poems. She loved all these men. Here is what Akhmatova later wrote about the second collection of poems:

The Rosary went out of print on March 15, 1914. Lozinsky kept the proofreader. Gumilyov, when we discussed the circulation, thoughtfully said: “Maybe it will have to be sold in every small shop.” The circulation of the 1st edition is 1100 copies. It sold out in less than a year. The main article is N.V. Nedobrovo. Two abusive - S. Bobrov and Talnikova. The rest are commendable. The book came out on March 15, 1914 (Old Style) and was given approximately six weeks to live. At the beginning of May, the St. Petersburg season began to fade, and everyone was leaving little by little. This time the parting with Petersburg turned out to be eternal. We returned not to St. Petersburg, but to Petrograd, from the 19th century we immediately got into the 20th, everything became different, starting with the appearance of the city. It seemed that a small book of love lyrics by a novice author should have been drowned in world events. This did not happen with the "Rosary" ... And then many more times she swam out of the sea of ​​​​blood, and from the polar glaciation, and having been on the chopping block, and decorating the lists of banned publications (Index librorum prohibitorum), and representing stolen goods ( publication of Efron in Berlin, and Odessa counterfeiting under the Whites in 1919). Habent sua fata libelli. - Books have their own destiny (lat.). Dmitry Evgenievich Maksimov claims that the Rosary played a very special role in the history of Russian poetry, that they were destined to become a tombstone on the grave of symbolism. (See also Matheseus). To some extent, he repeats what both Viktor Maksimovich Zhirmunsky and M. Zenkevich told me recently, one as a researcher, the other as a witness. The Rosary, as I have already said, came out on March 15, 1914, that is, shortly after the campaign to destroy acmeism ended. With extraordinary enthusiasm and rare unanimity, everyone and everything rushed to stifle the new trend. From the Suvorin "New Time" to the Futurists, symbolist salons (Sologubs, Merezhkovskys), literary societies (the so-called Fiza), the former "tower", that is, V. Ivanov's entourage, etc. etc. pitylessly clawed the Apollo manifestos. The fight against the symbolists who had taken commanding heights was a hopeless affair. They possessed vast experience in literary politics and struggle, we had no idea about all this. It got to the point that Hyperborea had to be declared not an acmeist journal. Some of the titles of anti-acmeist articles can give an idea of ​​the general tone of the controversy (“Frozen Parnassus”, “At the feet of an African idol”, “Without a deity, without inspiration”, etc. ). Bryusov in the influential "Russian Thought" called Nikolai Stepanovich - "Mr. Gumilyov", which in the then language meant someone who was outside of literature. ... I say all this in connection with my recollections of the Rosary, because in several dozen laudatory reviews of this collection the word "acmeism" never occurs. It was almost a swear word. The first present about acmeism: "Overcoming symbolism" Zhirmunsky - December 1916. In the days of the release of "Rosary" we were invited by the publisher of "Northern Notes" Socialist-Revolutionary Chaikina (I was in the blue dress in which Altman portrayed me). She has gathered apparently-invisibly guests. At about midnight they began to say goodbye. The hostess let some go, others she asked to stay. Then everyone went to the dining room, where the front table was laid, and we ended up at a banquet in honor of the people who had just been released from Shlisselburg. I sat with L.K. against German Lopatin. Then she often recalled with horror how L.K. told me: "If they gave me the Rosary, I would agree to spend as much time in prison as our counterpart." Someone introduced Stepun to me. He immediately said: “Take your glass, go around the table and clink glasses with German Lopatin. I want to be present at this historic moment.” I went up to the old man and said, "You don't know me, but I want to drink to you." The old man answered with some kind of half-graciousness, half-impertinence, but that was no longer interesting. The 20th century began in the autumn of 1914 with the war, just as the 19th century began with the Congress of Vienna. Calendar dates don't matter. Undoubtedly, symbolism is a phenomenon of the 19th century. Our rebellion against symbolism is completely justified, because we felt like people of the 20th century and did not want to remain in the previous one ... Nikolai Stepanovich Gumilyov is only seven years younger than Blok, but there is an abyss between them. However, he still had a period of symbolism. We - Mandelstam, Narbut, Zenkevich and I did not sniff symbolism.

Oh no, I didn't love you

Burning with sweet fire

So explain what power

In your sad name.

In front of me like knees

You became, as if waiting for a crown,

And mortals touched the shadow

Calm young face.

And you left. Not for victory

Beyond death. The nights are deep!

Oh my angel, don't know, don't know

My current longing.

But if the white sun of paradise

A path will light up in the forest,

But if the bird of the field

Takes off from a prickly sheaf,

I know it's you, the dead one,

Do you want to tell me about

And again I see a pitted hill

Over the bloody Dniester.

Forget the days of love and glory

Forget my youth

The soul is dark, the paths are cunning,

But your image, your feat is right

Until the hour of death I will keep.

Forgive me forever! but know that the two guilty,

Not one, there are names

In my poems, in love stories.

Baratynsky

Confusion

1. “It was stuffy from the burning light…”

It was stuffy from the burning light,

And his eyes are like rays.

I just shuddered: this

Can tame me.

Bent over - he will say something ...

Blood drained from his face.

Let it lie like a tombstone

For my life love.

2. "Do not like, do not want to watch? .."

Don't like, don't want to watch?

Oh, how beautiful you are, damned!

And I can't fly

And from childhood she was winged.

Fog obscures my eyes,

Things and faces merge

And only a red tulip

Tulip in your buttonhole.

3. "As simple courtesy dictates..."

As simple courtesy dictates,

Came up to me, smiled

Half kind, half lazy

Touched the hand with a kiss -

And mysterious ancient faces

Eyes looked at me...

Ten years of fading and screaming

All my sleepless nights

I put in quiet words

And she said it - in vain.

You left, and it became again

My heart is empty and clear.

Note The state of mind of the heroine of Akhmatov's poems coincides with the state of the hero of the 1907 poem by A. Blok "Confusion" ("Are we dancing shadows? .."). See about this in the article by V. A. Chernykh “The Blok legend in the work of Anna Akhmatova” (Silver Age in Russia). The author of the article concludes that there is a Blok's "love" theme in Akhmatova's early work and, in particular, in Sat. "Beads". Indeed, the system of images and moods in the poetry of this period reflects the tense "love" collision of 1913 - early. 1914, connected in the fate of Akhmatova with several addressees. In 1913, she met N. V. Nedobrovo, a poet and literary critic; on February 8, 1914, or earlier in 1913, A. S. Lurie, a talented modernist musician. Both were carried away by Anna Akhmatova, she was attracted to both, although in different ways. As before, relations with her husband, N.S. Gumilyov, remained difficult, in which the friendly equality of free individuals was replaced by confrontation and almost hostility. A light shade of sensuality appeared in poems dedicated to M. I. Lozinsky, with whom Akhmatova had known since 1911 (“We will not drink from one glass ...”). And, of course, two suicides were reflected in the lyrical theme of "The Rosary" - Vsevolod Gavriilovich Knyazev (1891-1913) - March 29 (died April 5), 1913 and Mikhail Alexandrovich Linderberg - December 23, 1911. Both suicides were "romantic", associated with love "polygons", one of which included O. A. Glebova-Sudeikina, the other - Akhmatova. "Blok's theme" "Rosary" exists; it does not come down only to the poem "I came to visit the poet ..." (January 1914), but there is not enough data for the exact addressing of Blok's other poems "Rosary".

Walk

The pen touched the top of the carriage.

I looked into his eyes.

The heart languished, not even knowing

Reasons for your grief.

The evening is windless and bound by sadness

Under cloudy skies,

And as if drawn with ink

In the album the old Bois de Boulogne.

Gasoline smell and lilac,

Anxious calm...

He touched my knees again

With almost no trembling hand.

Note Written in May 1913, the poem is possibly a reminiscence of the May spent by Akhmatova in Paris in 1910 and 1911. Modern authors of books about Akhmatova and Modigliani connect this poem with the image of Modigliani in Akhmatova's 1910–1913 poems. See about this in the book by B. Nosik "Anna and Amedeo". S. 116.

"I'm not asking for your love..."

I'm not asking for your love.

She's in a safe place now...

Believe that I am your bride

I don't write jealous letters.

Let her keep my portraits -

After all, grooms are so kind!

And these fools need

Consciousness full of victory,

Than friendship bright conversations

And the memory of the first tender days ...

When happiness is pennies

You will live with a dear friend

And for the weary soul

Everything will become so disgusting at once -

On my solemn night

Do not come. I don't know you.

And how could I help you?

I don't heal from happiness.

“After the wind and frost was…”

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

Dragonfly flutter.

Oh! it's not hard for me to guess the thief,

I recognized him by his eyes.

Only scary so that soon, soon

He will return his prey himself.

The music rang in the garden

Such unspeakable grief.

Fresh and pungent smell of the sea

Oysters on ice on a platter.

He told me: "I true friend!»

And touched my dress.

How not like hugs

The touch of these hands.

So they stroke cats or birds,

So slender look at riders ...

Only laughter in the eyes of his calm

Under the light gold of the eyelashes.

Singing behind the creeping smoke:

"Bless the heavens -

You are alone with your beloved for the first time.

“We are all thugs here, harlots…”

You smoke a black pipe

So strange is the smoke above her.

I put on a tight skirt

To appear even slimmer.

Forever filled windows:

What is there, frost or thunder?

Into the eyes of a cautious cat

Look like your eyes.

Oh, how my heart yearns!

Am I waiting for the hour of death?

And the one that's dancing now

It will definitely go to hell.

Note Stray Dog is a literary and artistic cabaret (opened on December 31, 1911) a favorite place for meetings, performances and literary evenings, in which Akhmatova and her friends, poets, artists, and artists took part. It was located in St. Petersburg, on Mikhailovskaya Square, in the second courtyard of house No. 5. Officially, the "Stray Dog" was closed on March 3, 1915 - according to one version, for the sale of wine under the "dry law", according to another - after the scandalous speech of V. Mayakovsky on February 11, 1915 with the reading of the poem "To You" (see. about this in the book: A. Kruchenykh, Our Exit, On the History of Russian Futurism, Moscow, 1996, pp. 62 and 216). In the 1960s, intending to include this poem in the book. “The Run of Time”, Akhmatova suggested changing the first line to “We all came out of fiction ...”, however, apparently, this was not required, and the poem was included in the book in its original version. “We are all hawkers…” - poems of a bored capricious girl, and not a description of debauchery, as is commonly thought now… - AA “Autobiographical prose”.

"... And meet on the steps ..."

... And meet on the steps

Didn't come out with a flashlight.

In the wrong moonlight

I entered a quiet house.

Under the green lamp

With a lifeless smile

A friend whispers: "Sandrillon,

The fire 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?

And my heart is sad to believe

What is close, the time is near,

What will he measure for everyone

My white shoe.

Note Sandrillon is the heroine of the fairy tale by the French writer Charles Perrault (1628–1703), in the Russian translation Cinderella.

“I ask for mercy…”

Unwillingly asking for mercy

Eyes. What should I do with them

When they say to me

A short, sonorous name?

And the languid heart hears

Secret news about the distant.

I know he is alive, he breathes

From dare not be sad.

Note Short, sonorous name- Some researchers believed that the poem was addressed to A. A. Blok, but on a copy of the collection of poems in 1958, donated by Akhmatova to her close friend V. S. Sreznevskaya, it has a dedication: S. S., i.e. Sergei Sudeikin. Sergei Yuryevich Sudeikin (1882-1946) - artist. Akhmatova was friendly with him, he owns an early portrait of Akhmatova, with which in 1965 she planned to illustrate the section "Evening" in the "front" final meeting his poems. In RT<рабочая тетрадь>114 there is a story by Akhmatova:

"My drawing of Sudeikin, the cat<орый>always hung in the office<ихаила>L<еонидовича Лозинского>, arose like this. I came with Sudeikin to the editorial office of Apollo. To Lozinsky, of course. (I have never been to Mako). Sat on the sofa. WITH<ергей>YU<рьевич>drew me on the form "Ap<оллона>and gave Micah<аилу>Leonid<овичу>».

“The last time we met was then…”

The last time we met then

On the embankment where we always met.

There was high water in the Neva,

And the floods in the city were afraid.

He talked about summer and

That being a poet for a woman is absurd.

As I remember the high royal house

And the Peter and Paul Fortress! -

Then that the air was not ours at all,

And as a gift from God - so wonderful.

And at that hour was given to me

The last of all crazy songs.

Note There are several assumptions regarding the addressee of the poem. It is possible that this poem can be added to Akhmatova's "Blok" cycle. M. M. Kralin connects the poem with the poetic description of Akhmatova published in 1913 in the poem of the Tsarskoye Selo poet V. A. Komarovsky “I saw you beautiful only once. How smoky mine ... ". High royal house...- Winter Palace.

"Submit my imagination..."

Submissive to me imagination

In the image of gray eyes.

In my Tver solitude

I remember you bitterly.

Beautiful hands happy prisoner

On the left bank of the Neva

My famous contemporary

Happened as you wanted

You, who ordered me: enough,

Go kill your love!

And now I'm melting, I'm weak-willed,

But more and more the blood is missing.

And if I die, who will

My poems will write to you

Who will help to become ringing

Words not yet spoken?

1913, Slepnevo

Note Some researchers and memoirists suggested that the poem was addressed to the poet Nikolai Vladimirovich Nedobrovo (1882–1919), whom Akhmatova met in April 1913, after inviting her to meetings of the Society of Poets organized by N. V. Nedobrovo and the poet E. G. Lisenkov (the first meeting took place on April 4, the program includes reading by A. Blok of his drama "The Rose and the Cross"). On October 29, 1913, Nedobrovo already wrote to his friend B.V. Anrep about a new acquaintance:

“A source of significant entertainment for me is Anna Akhmatova, a very capable poetess ...”

On May 12, 1914, in another letter to Anrep about Akhmatova, Nedobrovo quotes a line from Akhmatova's poem "I submit to my imagination ...":

“In a week we will have a three-month separation, at least. This is very sad for me.<…>I would like not to have any duties, even medical ones, not to have new impressions, but, resting my body in old places, to write more in order to entertain Akhmatova in her "Tver solitude" by sending her idylls, poems and excerpts from a novel entitled "The Spirit of breathes where he wants" and with the epigraph:

And here in my memory

One bright smile.

One star of love is brighter.

A. Blok was called another possible addressee of Akhmatov's poem. However, it seems to us that both assumptions seem to overtake events: the close friendship between Akhmatova and Nedobrovo did not begin until the winter of 1913/14. His sadness from the upcoming parting is the spring of 1914, joint work on the third edition of the Rosary - 1916. Akhmatova met Blok personally in April 1911, but a trace of acute mutual interest can be found in their poems of December 1913 - January 1914 In my Tver solitude...- In the estate of the Gumilyovs, Slepnev, Bezhetsky district, Tver province, where Akhmatova spent almost every summer after her marriage and the birth of her son.

... And someone, invisible in the darkness of the trees,

Rustled with fallen leaves

And he shouted: “What did my beloved do to you,

What did your beloved;

As if touched by black, thick ink

Your heavy eyelids.

He betrayed you to longing and suffocation

Love poisoners.

The chest is dead under a sharp needle.

And in vain you try to be cheerful -

It’s easier for you to lie down alive in the coffin! .. "

I told the offender: “Sly, black,

That's right, you have no shame.

He is quiet, he is gentle, he is submissive to me,

In love with me forever!"

Note The addressee of the poem, perhaps, is N. S. Gumilyov, as evidenced by the lines: “He betrayed you to longing and suffocation / / Poisoner-love ...”, which are, as it were, an “identification detail”. In the autumn of 1911, in Slepnev, Gumilyov composed a play in verse "Love the Poisoner" from Spanish life, which was merrily performed by the friends of the Gumilyovs on the estate of their young neighbors Nevedomsky Podobino, as a parody of the pseudo-classical style. “Identification detail” is often the only way, in relation to Akhmatova's lyrics, to determine the addressee of the poem.

"Your palms are burning..."

"Your palms are burning,

Easter ringing in my ears

You are like Saint Anthony

Seemingly tempted."

"Why on holy days

One day broke

How thick is the hair

Crazy Magdalene".

“Only children love so much,

And that's just the first time."

"The strongest thing in the world

Rays of calm eyes.

"These are the devil's nets,

Unclean sadness."

"White than everything in the world

It was her hand."

Note You are like Saint Anthony... – Reverend Anthony Great (d. 356) - ascetic, founder of hermitage and monasticism. Settled in the desert, Anthony experienced severe temptations from the devil: monsters, naked virgins, gold and jewelry appeared before him. When he resisted the temptations, the demons attacked him with the intention of killing him and inflicted severe beatings on him. Only after this did Jesus appear to him, thus testing his courage. St. Anthony's Day - January 17, O.S. Art., January 30 - new. How thick hair//Mad Magdalen.– In the Gospel, Mary is a sinner from the city of Magdala, who repented and became a faithful follower of Christ. Jesus healed Mary Magdalene of an illness - "possession with seven demons." After the resurrection, Jesus first appeared to Mary Magdalene (Gospel of Mark, 16, 8). Traditions tell of the further preaching work of Mary Magdalene in Gaul, after which she retired to the desert, where she devoted herself to fasting and prayer. when her clothes decayed, Magdalene's hair became so long and thick that it hid her body.

"Let's not drink from the same glass..."

Let's not drink from the same glass

We are neither water nor sweet wine,

We don't kiss early in the morning

And in the evening we will not look out the window.

You breathe the sun, I breathe the moon

But we live by love alone.

With me always my faithful, gentle friend,

Your funny friend is with you.

But I understand the fear of gray eyes,

And you are the culprit of my illness.

Short we do not increase the frequency of meetings.

So we are destined to protect our peace.

In your poems my breath blows.

Oh, there is a fire that dare not

Touch neither oblivion nor fear.

And if you knew how I love you now

Your dry, rosy lips!

Note Addressed to M. L. Lozinsky. Confirmation of this is in the entry of L. K. Chukovskaya dated May 10, 1940:

“... She dictated to me minor corrections to the poem “We will not drink from one glass ...” - Mikhail Leonidovich was offended when he saw that I had changed, did not do it the way it was in my youth. And now, I’m restoring in the old way, ”she explained. "How? So it's for him!" I thought, but didn’t say it” (Chukovskaya, vol. 1, p. 108).

“I have one smile…”

I have one smile

So, the movement is slightly visible lips.

For you I save it -

After all, she was given to me by love.

It doesn't matter that you are arrogant and evil,

It doesn't matter if you love others.

In front of me is a golden lectern,

And with me is a gray-eyed groom.

«…»

You can't confuse real tenderness

Nothing, and she's quiet.

You vainly carefully wrap

I have fur on my shoulders and chest.

And in vain the words are submissive

You talk about first love.

How do I know these stubborn

Your unsatisfied glances!

Note Analysis Nedobrovo -

“Speech is simple and colloquial to the point, perhaps, that this is not poetry? But what if we read it again and note that when we were talking like that, then, for the complete exhaustion of many human relations, it would be enough for each to exchange two or three 8-verses with each - and there would be a kingdom of silence. Is it not in silence that the word grows to the power that transforms it into poetry?

You can't confuse real tenderness

With nothing… -

what a simple, quite everyday phrase, how calmly it passes from verse to verse, and how smoothly and with a draw the first verse flows - pure anapaests, whose stresses are distant from the ends of words, so well suited to the dactylic rhyme of the verse. But now, smoothly moving into the second verse, the speech is compressed and cut: two anapaests, the first and third, contract into iambs, and the stresses, coinciding with the ends of the words, cut the verse into firm feet. We hear the continuation of a simple saying:

... you can’t confuse tenderness

With nothing, and she is quiet, -

but the rhythm had already conveyed anger, somewhere deeply held back, and the whole poem was suddenly tense with it. This anger decided everything: it has already subjugated and belittled the soul of the one to whom the speech is addressed; therefore, in the following verses, the triumph of victory has already surfaced - in cold contempt:

You are careful in vain...

What is the most clear indication of the spiritual movement that accompanies speech? The very words are not spent on this, but their flow and fall again work: this “carefully wrapping up” is so pictorial and so, if you like, pampered, which could be said to a loved one, that’s why it beats here. And then almost a mockery in the words:

I have shoulders and chest in furs ... -

This dative case, so approaching the sensation and betraying some kind of shudder of disgust, and at the same time sounds, sounds! “My shoulders and chest…” – what a tender crunch of tender, pure and deep sounds in this spondee and anapaest.

But suddenly there is a change in tone to a simple and significant one, and how syntactically this change is genuinely justified: the repetition of the word "in vain" with "and" in front of it:

And in vain the words are submissive ...

To a vain attempt at impudent tenderness, a harsh answer was given, and then it was especially emphasized that humble words were also in vain; The peculiarity of this shading is outlined by the fact that the corresponding verses are already included in another rhyme system, in the second quatrain:

And in vain the words are submissive

You talk about first love.

How it is again as if it was said in an ordinary way, but what reflections play on the gloss of this shield - the shield is, after all, the whole poem. But it is said: and in vain do you speak obedient words... Isn't the strengthening of the idea of ​​speaking already a denunciation? And is there any irony in the words "submissive", "about the first"? And is it not because the irony is so felt that these words are carried out on anapaests tightened in iambs, on rhythmic concealments?

In the last two verses:

As I know these stubborn

Your unsatisfied glances! -

again the ease and mobile expressiveness of dramatic prose in the phrase, and at the same time the subtle lyrical life in rhythm, which, putting out the word “these” on the anapaest bound in iambic, makes the views that are mentioned, in fact, “these”, that is, here here, now visible. And the very way of introducing the last phrase, after the break of the previous wave, with the exclamation word “how”, it immediately shows that something completely new and final awaits us in these words. The last phrase is full of bitterness, reproach, judgment and something else. What? - Poetic liberation from all bitter feelings and from the person standing here; it is undoubtedly felt, but what is given? Only the rhythm of the last line, clean, these completely free, without any exaggeration, rolling anapaests; in the words there is still bitterness “your insatiable glances”, but under the words there is already a flight.<…>

It is worth noting that the described technique, that is, the translation of an entire syntactic system from one rhythmic system to another, so that the phrases, bending the stanzas in the middle, fasten their edges, and the stanzas do the same with phrases, is one of Akhmatova’s very characteristic techniques, with which she achieves a special flexibility and insinuatingness of verses, for verses, so articulated, look like snakes. Anna Akhmatova sometimes uses this technique with the familiarity of a virtuoso” (Russian Thought, 1915, No. 7, Section II, pp. 50–68).

Akhmatova in her later years cherished this poem of hers and in 1963 she quoted it while working on the text of the work “The Big Confession”, which she intended to include in the drama “Prologue, or Dream in a Dream”:

And this tenderness was not

Like the one that some poet

At the beginning of the century, he called the real

And quiet for some reason. No, not at all -

She rang like the first waterfall,

Crunched with a crust of blue ice,

And she went mad before our eyes.

(RNB)

“Walking a friend to the front…”

Walked a friend to the front.

Stood in golden dust.

From the bell tower nearby

Important sounds flowed.

Thrown! Invented word -

Am I a flower or a letter?

And the eyes are already looking sternly

In a darkened dressing table.

“So many requests from my beloved always! ..”

So many requests from my beloved always!

A loved one does not have requests.

How glad I am that today the water

Freezes under colorless ice.

And I will - Christ help me! -

On this cover, light and brittle,

And you take care of my letters,

For posterity to judge us

To be more distinct and clear

You were visible to them, wise and brave.

In your glorious biography

Is it possible to leave spaces?

Too sweet earthly drink,

Love networks are too dense.

May someday my name

Children read in the textbook

And, having learned the sad story,

Let them smile slyly...

Not giving me love and peace,

Give me bitter glory.

Note Apparently addressed to N. S. Gumilyov (“identification marks” - “wise and courageous”, “in your glorious biography”, “so that descendants judge us”).

"Hello! You can hear a slight rustling…”

Hello! You hear a light rustle

To the right of the table?

You can't add these lines -

I came to you.

Would you offend

Just like last time -

You say you can't see your hands

My hands and eyes.

You are light and simple.

Don't take me there

Where under the stuffy vault of the bridge

Dirty water drips.

Note Possibly addressed to N. V. Nedobrovo.

“Flowers and inanimate things…”

Flowers and inanimate things

Nice smell in this house.

Pile of vegetables by the beds

They lie, motley, on the black soil.

The chill is still flowing

But the matting has been removed from the greenhouses.

There is a pond, such a pond,

Where mud looks like brocade.

And the boy told me, being afraid,

Very excited and quiet

What does a big crucian live there

And with him a big crucian.

“Every day is new and disturbing…”

Every day is a new worry

The smell of ripe rye is getting stronger.

If you are at my feet,

Sweet, lie down.

Orioles scream in wide maples,

Nothing to calm them until the night.

I love from your green eyes

Drive away the merry ones.

On the road, the bell tinkled -

We remember this light sound.

I'll sing to you so that you don't cry

A song about the evening of parting.

"The boy said to me:" How it hurts! .. "

The boy said to me: "How it hurts!"

And the boy is very sorry.

Until recently, he was pleased

When the cold came

You've been following dispassionately

Follow me everywhere and always

As if hoarding omens

My dislike. Sorry!

Why did you take vows

Painful path?

And death stretched out its hands to you ...

Tell me what happened next?

I didn't know how fragile the throat is

under the blue collar.

Forgive me, funny boy

My tortured owlet!

Today I am from the church

It's so hard to go home.

November 1913

Note The researcher of Akhmatova's work, M. M. Kralin, connects the theme of this poem with the suicide of a young man in love with her, M. A. Linderberg. Perhaps Akhmatova remembered him in connection with the news of the suicide of V. G. Knyazev, which she wrote about in the poem “Voice of Memory” on June 18, 1913, dedicated to O. A. Glebova-Sudeikina. M. A. Linderberg was buried in the Lutheran part of the Volkov cemetery in St. Petersburg.

“It lasts without end - an amber, hard day! ..”

M. Lozinsky

It lasts without end - an amber, hard day!

How impossible is sadness, how vain is expectation!

In the menagerie he talks about the Northern Lights.

And I believed that there is cool snow

And a blue font for those who are poor and sick,

And the little sleigh is such an incorrect run

To the sound of ancient distant bell towers.

Note Dedicated to Mikhail Leonidovich Lozinsky (1886–1955), poet and translator, friend of Akhmatova. Lozinsky was a member of the Guild of Poets, an associate of Gumilyov, the editorial secretary of the Apollo magazine, the owner of the Hyperborea publishing house, and the editor and publisher of the Hyperborea magazine. He was the unofficial editor of many of Akhmatova's books, read their proofs. Lozinsky's poem "Not Forgetting" was dedicated to her in Sat. his poems "Mountain Key" (1916). In book. "Rosary" only three poems had dedications: this - Lozinsky, "Voice of Memory" - O. A. Glebova-Sudeikina and "I came to visit the poet" - A. A. Blok.

O. A. Glebova-Sudeikina

What do you see, looking at the wall dimly,

At the hour when the dawn is late in the sky?

Whether a seagull on a blue water tablecloth

Or Florentine gardens?

Or the huge Tsarskoye Selo park,

Where did anxiety cross your path?

Or that you see at your knees,

Who left your captivity for your white death?

No, I only see the wall - and on it

Glimpses of celestial fading lights.

Note Olga Afanasievna Glebova-Sudeikina (1885-1945) - actress, close friend of Akhmatova (since the 1910s). She made her debut after graduating from the St. Petersburg Theater School in 1905 in the troupe of the Alexandrinsky Theater (Anya in the play by A.P. Chekhov "The Cherry Orchard"), a year later she moved to the St. Petersburg Drama Theater of V.F. Komissarzhevskaya, where she played in plays by Ibsen and Maeterlinck . In 1907 she became the wife of the artist S. Yu. Sudeikin. In 1909, her artistic career resumed (at the Suvorin Theater) with the role of Confusion in Y. Belyaev's vaudeville Confusion, or 1840. She played many roles in plays by Rostand, A. Dumas, Schiller, Chekhov, Belyaev, Kuzmin; she danced - in Tchaikovsky's "Swan Lake" at the Maly Theater, in divertissement and vaudeville. The polonaise that Sudeikina danced with Nijinsky became famous; in the cabaret "Stray Dog" she sang, recited poetry, danced stylized Russian folk and French (XVIII century) dances. Glebova-Sudeikina is the main character of Akhmatova's Poem without a Hero, the first part of which takes place in 1913. Who left your captivity for your white death?– We are talking about the suicide of V. G. Knyazev (died on April 5, 1913 in Riga), after a break in relations with Glebova-Sudeikina and as a result of complex and lengthy experiences associated with M. A. Kuzmin.

“I have learned to live simply, wisely…”

I learned to live simply, wisely,

Look up to the sky and pray to God

And wander long before evening,

To relieve unnecessary anxiety.

When burdocks rustle in the ravine

And a bunch of yellow-red rowan droops,

I compose funny poems

About life perishable, perishable and beautiful.

I'm coming back. Licks my hand

Fluffy cat, purring sweeter,

And a bright fire lights up

On the tower of the lake sawmill.

Only occasionally cuts through the silence

The cry of a stork flying onto the roof.

And if you knock on my door,

I don't think I can even hear.

The third month I do not sleep from them.

You again, again with me, insomnia!

I recognize your motionless face.

What, beautiful, what, lawless,

Am I bad at singing to you?

The windows are finished with white cloth,

Twilight flows blue ...

Or are we consoled by further news?

Why is it so easy for me to be with you?

"You know, I'm languishing in captivity..."

You know I'm languishing in captivity

Pray for the death of the Lord.

But I remember everything painfully

Tver's poor land.

End of introductory segment.

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Collection "Rosary"

After the publication of her first book, A. Akhmatova could not find a place for herself. It seemed inappropriate to her that her poems were published, she was even ashamed of it. But, in the end, Akhmatova was able to overcome these feelings and continued to write.

The book "Rosary", published in 1914, was the most popular and, of course, remains the most famous book by A. Akhmatova. “In 1964, speaking in Moscow at an evening dedicated to the fiftieth anniversary of the release of the Rosary, the poet Arseny Tarkovsky said: “... With the Rosary, for A. Akhmatova, the time has come for popular recognition. Before the revolution, not a single book by a new Russian poet was reprinted as many times as The Rosary. Glory opened the gates in front of her at once, in one day, in one hour.

In the book "Rosary" some images and motifs of the first book are repeated. The world still seems to A. Akhmatova cruel, unfair and devoid of any meaning.

The verses of the "Rosary" are graceful and a little pretentious. They shimmer with delicate shades and capricious kinks, glide over the surface of the soul. Light tonic meters, unexpected sharpness of the finals, spectacular simplicity of phrases create the subtle charm of Akhmatov's poetry. These are poems of charming trifles, aesthetic joys and sorrows. The world of things with its clear lines, bright colors, with its plastic and dynamic diversity captivates the poet's imagination. The external is so intertwined with the internal that the landscape often becomes an expression state of mind. The motives of unrequited love, longing and expectation are not yet fixed by pain and despair. The poet depicts the gestures and posture of emotion, its plastic attributes, and in such an image there is a share of narcissism. In the Rosary, a sharp expressiveness of the word has already been found, but there is no pathos yet; there is manner, but no style.

Why Rosary? Here one can trace the religious and philosophical orientation of A. Akhmatova's creativity.

Rosaries are beads strung on a thread or braid. Being an indispensable attribute of a religious cult, the rosary helps the believer keep count of prayers and kneeling. In monasticism, the rosary is called the "spiritual sword" and is given to a monk during tonsure. The rosary has different shape: they can be in the form of beads, (that is, the beads are strung on a thread whose end and beginning are connected), and can simply be a "ruler".

Before us are two possible meanings of the symbol "rosary":

• 1) linearity, (that is, the consistent development of events, feelings, the gradual growth of consciousness, creative mastery);
• 2) the symbol of the circle (movement in a closed space, the cyclical nature of time).

The meaning of linearity, the increase in the strength of feelings, consciousness, approaching in its volume to moral universals, is reflected in the composition and general content of the four parts of the book "Rosary".

But still, we cannot ignore the interpretation of the "rosary" as a circle, analyzing the symbolism of the title of this book, since we must use all possible variants of meanings.

Let's try to connect a line and a circle together. The movement of the line in a circle without connecting the beginning and end will give us the so-called spiral. Direction forward in a spiral implies a return back for a certain period (repetition of the passed element for a certain period of time).

Thus, it is possible that the author's worldview of A. Akhmatova did not develop in a straight line, but in conjunction with a circle, in a spiral. Let us see whether this is so by examining the four parts of the book. Let's try to determine by what principles the division into parts took place, what motives, images, themes are leading in each of the parts, whether they change throughout the book, what the author's position is seen in this regard.

Let's start the analysis of the internal content of the book with an epigraph taken from E. Baratynsky's poem "Justification":

Forgive me forever! but know that the two guilty,

Not one, there are names

In my poems, in love stories.

These lines already at the beginning of the book declare a lot, namely that in the "Rosary" it will no longer be about the individual experiences of the lyrical heroine, not about her suffering and prayers ("my prayer", "I"), but about feelings , experiences, responsibility of two people (“you and me”, “our names”), that is, in the epigraph, the theme of love is immediately declared as one of the dominant ones in this book. The phrase "in the legends of love" in the "Rosary" introduces the themes of time and memory.

So, let's determine by what principle the book was divided into parts. In our opinion, based on logical development, the enlargement of images, motives and themes already stated in the first book, as well as in connection with the gradual transition from the personal to the more general. From feelings of confusion, unhappiness in love, dissatisfaction with oneself through the theme of memory (one of the most important for A. Akhmatova's entire work) to a premonition of an impending catastrophe.

Consider the composition and content of the first part. The thematic dominant of this part will be love poems (17 poems). Moreover, they are about love without reciprocity, which makes you suffer, leads to separation, it is a “tombstone” that presses on the heart. Such love does not inspire, it is difficult to write:

Don't like, don't want to watch?

Oh, how damned beautiful you are!

And I can't fly

And from childhood she was winged.

("Confusion", 2, 1913).

Feelings have become obsolete, but the memory of the first tender days is dear. The heroine is no longer the same as in the "Evening": not only did she cause pain and suffering, but they did the same to her. She's not the only one to blame. N. Nedobrovo caught this change in the consciousness of the heroine, seeing in the poetry of the Rosary "a lyrical soul rather harsh than too soft, rather cruel than tearful, and clearly dominant rather than oppressed." And indeed it is:

When happiness is pennies

You will live with a dear friend

And for the weary soul

Everything will immediately become disgusting -

On my solemn night

Do not come. I know you.

And how could I help you

I don't heal from happiness.

(“I do not ask for your love”, 1914).

The heroine passes judgment on herself and her lover: we cannot be together, because we are different. It is only related that both can love and love:

Let's not drink from the same glass

We are neither water nor red wine,

We don't kiss early in the morning

And in the evening we will not look out the window.

You breathe the sun, I breathe the moon

But we live by love alone.

And this love breath, the story of the feelings of two people will remain in memory thanks to the verses:

In your poems my breath blows.

Oh, there is a fire that dare not

Touch neither oblivion nor fear.

(“We will not drink from one glass”, 1913).

And you take care of my letters,

For posterity to judge us.

To be more distinct and clear

You were visible to them, wise and brave.

In your glorious biography

Is it possible to leave spaces?

Too sweet earthly drink,

Love networks are too dense.

May someday my name

Children read in the textbook.

(“So many requests from the beloved always!”, 1912).

The poem “We are all harlots here, harlots”, in the first part of the Rosary, gives rise to the development of the theme of guilt, sinfulness, vanity of life:

Oh, how my heart yearns!

Am I waiting for the hour of death?

And the one that's dancing now

It will definitely go to hell.

(“We are all hawkers here, harlots”, 1912).

In the second part of The Rosary, the feelings of two lovers are replaced by the loneliness of the heroine, as if returning her to the experiences of The Evening (a step back along the developing spiral). The lyrical heroine again blames herself for all the troubles and misunderstandings. How many times does this banal sound: "I'm sorry!" from her mouth:

Forgive me, funny boy

That I brought you death. - ...

As if hoarding omens

My dislike. Sorry!

Why did you take vows

Painful path? …

Forgive me, funny boy

My tortured owlet!…

(“High vaults of the church”, 1913).

Thus, the heroine tries to repeat the movement of her own soul. She defends herself from upcoming feelings, tries to lead a religious lifestyle that promises her calm and stability:

I learned to live simply, wisely,

Look up to the sky and pray to God

And wander long before evening,

To allay unnecessary anxiety.

She even suggests that if the hero knocks on her door, she probably won't hear it:

And if you knock on my door,

I don't think I can even hear.

(“I have learned to live simply, wisely”, 1912).

But right there, in the poem "Insomnia", she cannot fall asleep, listening to distant steps, in the hope that they may belong to Him:

Somewhere cats meow plaintively,

I catch the sound of footsteps...

("Insomnia", 1912).

We see that there are throwings in the soul of the heroine, there is again a mess, chaos, as in "Evening". She tries to return to what has already been experienced again, but the general forward movement of consciousness is still felt.

In the second part, two poems (“Voice of Memory” and “Everything is the same here, the same as before”) are devoted to the theme of memory. A. Akhmatova recalls both Tsarskoe Selo, where anxiety reigns, and the Florentine gardens, where the spirit of death wafts and, “prophesying the imminent bad weather,” “smoke creeps low.”

In the third part of the book "Rosary" takes place new round"spirals".

Step back: the heroine again does not consider herself the only one guilty. In the first verse of this section, "Pray for the poor, the lost," she asks why did God punish her day after day and hour after hour? In search of an answer, the heroine looks through her life. Although she does not fully justify herself for her guilt, she finds her own guilt insufficient to explain the punishment. The reason that the lyrical heroine, in the end, names is of a completely different order: “Or was it an angel who pointed out to me a light invisible to us?”

The heroine, however, considers herself an unfairly accused victim. But instead of rebellion - a more passive resistance: sorrow, questioning. She submits to divine punishment, finding something positive in it.

And a new step in the “turn of the spiral” is the change in the look of the heroine A. Akhmatova on the past. He becomes somewhat detached, from somewhere above, from that height when there is sobriety, objectivity of assessment. She opposes herself to others ("we" - "you"):

I won't drink wine with you

Because you are a naughty boy.

I know - you have

With anyone to kiss under the moonlight.

And we have peace and quiet,

God's grace.

And we have bright eyes

There is no order to raise.

(“I will not drink wine with you”, 1913).

The heroine leaves her lover in worldly life, wishes happiness with a new girlfriend, good luck, honor, wants to protect him from experiences:

You don't know that I'm crying

I'm losing count for days.

She frees him from mutual responsibility and ranks herself among the crowd of God's wanderers praying for human sins:

Many of us are homeless

Our strength is

What is for us, blind and dark,

The light of God's house.

And for us, bowed down,

The altars are burning

(“You will live without knowing the hard way”, 1915).

Beloved A. Akhmatova retains in herself only as a piece of memory, for the abandonment of which she prays from the "prophecies" "from old books":

So that in a languid string

You didn't seem like a stranger.

(“Dying, yearning for immortality”, 1912).

The main theme of the fourth part of the "Rosary" is the theme of memory. The heroine returns to the abandoned past, visits her favorite places: Tsarskoe Selo, where the "willow, mermaid tree" stands in her way; Petersburg, where "a stifling and harsh wind sweeps away the cinders from black pipes." She also expects a meeting with her beloved. But this meeting most likely symbolizes a clash that burdens everyone:

Oh, I know: his consolation -

It is intense and passionate to know

That he doesn't need anything

That I have nothing to refuse him.

("Guest", 1914).

A. Akhmatova also comes to visit the poet (the poem “I came to visit the poet” with a dedication to Alexander Blok), a conversation with whom, she thinks, will be remembered for a long time, she will not forget the depth of his eyes.

The last poem of the fourth part and the book "Rosary" is a three-line. It is very significant, as it is, as it were, a transitional bridge to the book The White Pack (1917). And lines

In the canals of the river Neva the lights tremble.

Tragic autumn decorations are scarce.

(“Will you forgive me these November days”, 1913).

as if prophesying about impending changes, changes in the usual course of life.

Thus, having examined the four parts of the book "Rosary", we saw that the experiences, thoughts of the heroine do not flow in a limited direct channel, but develop in a spiral. There are fluctuations, repetitions of the same movement, throwing. And, consequently, the formation of the image of the heroine, the author's position can be seen only by examining the book as a whole, and not by individual verses.

What is the spiral movement in this book?

On the soul of the heroine at a certain moment - a tragedy, an internal breakdown, a feeling of emptiness. To somehow restore the lost peace of mind, she directs her thoughts into the past, wants to resurrect the bright moments of love, friendship. And if this does not help - looking for a new solution; she is ready to act, to go forward. In this book, the themes of love and creativity are closely intertwined with the theme of memory as an integral part of the poet's being.

The relationship between the title of the book "The Rosary" and its content is observed in the fact that, most likely, the image of the "rosary" introduces two time layers into the book: the past, associated with legends about past feelings, events, meetings, and the present, associated with a distant look from above, from an objective position. The combination of the linear and cyclic meanings of the "rosary", as noted earlier, gives a "spiral" along which the development of the heroine's inner world takes place, including alternately both elements of the past and the present.

In the book of S. I. Kormilov "The Poetic Work of A. Akhmatova" there is a statement that the title of the book "Rosary" "contains a hint of a sedative mechanical movement fingers." If this assumption is considered correct, then in the context of this book it can be represented as follows: all everyday problems, the intensity of reality for Akhmatova is only a passing phenomenon. Turning over the beads of the rosary, the poet from above, as if with external indifference, looks at the mortal human existence, internally preparing for a meeting with some highest Power. Consequently, we meet with another meaning of the symbol "rosary". The rosary is a reminder of static, the finiteness of the outer side of life.