As Akhmatova states in a short prose preface to the work, Rekviem was conceived while she was standing in line before the central prison in Leningrad, popularly known as Kresty, waiting to hear word of her sons fate. Although she lived a long life, it was darkened disproportionately by calamitous moments. Filter poems by topics. . / Ive put on my tight skirt / To make myself look still more svelte. This poem, precisely depicting the cabaret atmosphere, also underlines the motifs of sin and guilt, which eventually demand repentance. For example, in Liubov (translated as Love, 1990), a snake and white dove stand for love: Now, like a little snake, it curls into a ball, / Bewitching your heart, / Then for days it will coo like a dove / On the little white windowsill.. During an interview with Berlin in Oxford in 1965, when asked if she was planning to annotate the work, Akhmatova replied that it would be buried with her and her centurythat it was not written for eternity or posterity but for those who still remembered the world she described in it. . Anna Akhmatova died on the 5th March 1966 and was buried in St. Petersburg (Cf. Other shadows of the past, like Kniazev, cannot be qualified as heroes, and the poema remains without one. The city of St. Petersburg was not only the center of the movement, but also the topic of many of the Acmeists poems especially of those of Akhmatova and Mandelstam. In 1910 she married Nikolai Gumilev, who was also a poet. . The two themes, sin and penitence, recur in Akhmatovas early verse. 1912-25) and a later (ca. You will hear thunder and remember me, and think: she wanted storms, Anna Akhmatova once said herself. Though at first Akhmatova remained hesitant and restrained, and they obligingly engage in the mundane conversations on university and scholarship. Anna Akhmatova was born in 1889 in Odessa on the Black Sea coast. Sam N. Driver, Anna Akhmatova (1972), combines a brief biography with a concise survey of the poetry. Confronting the past in Poema bez geroia, Akhmatova turns to the year 1913, before the realnot the calendarTwentieth century was inaugurated by its first global catastrophe, World War I. Between 1935 and 1940 she composed her long narrative poem Rekviem (1963; translated as Requiem in Selected Poems [1976]), published for the first time in Russia during the years of perestroika in the journal Oktiabr (October) in 1989. For Akhmatova, this palace was associated with prerevolutionary culture; she was quite aware that many 19th-century poets had socialized there, including Aleksander Sergeevich Pushkin and Petr Andreevich Viazemsky. A ne krylatuiu svododu, In Stalinist Russia, all artists were expected to advocate the Communist cause, and for many the occasional application of their talents to this end was the only path to survival. In 1910, she married poet Nikolai Gumilev with whom she had a son, Lev. Neither by the sea, where I was born: Its palaces, its fire and water. Anna Akhmatova, pseudonym of Anna Andreyevna Gorenko, (born June 11 [June 23, New Style], 1889, Bolshoy Fontan, near Odessa, Ukraine, Russian Empiredied March 5, 1966, Domodedovo, near Moscow, Russia, U.S.S.R.), Russian poet recognized at her death as the greatest woman poet in Russian literature. In Zapiski ob Anne Akhmatovoi (Notes on Anna Akhmatova, 1976; translated as The Akhmatova Journals, 1994), in an entry dated August 19, 1940, Chukovskaia describes how Akhmatova sat straight and majestic in one corner of the tattered divan, looking very beautiful.. About Anna Akhmatova | Academy of American Poets Because, loving our city They are expressed in particular not just through the absence of a concrete hero but also through ellipses, which Akhmatova inserts to suggest themes that could not be discussed openly because of censorship. . Ronald Hingley, Nightingale Fever: Russian Poets in Revolution (1981), defines the historical and . Anna Akhmatova Requiem Poem Analysis 1636 Words | 7 Pages. The artistic elite routinely gathered in the smoky cabaret to enjoy music, poetry readings, or the occasional improvised performance of a star ballet dancer. Born near the Black Sea in 1888, Anna Akhmatova (originally Anna Andreyevna Gorenko) found herself in a time when Russia still had tsars. Za vechernei pene, belykh pavlinov The circle of members remained small: according to Anna Akhmatovas diaries of 1963, there were only 19 persons who belonged to the movement. . . In fact, Akhmatova transformed personal experience in her work through a series of masks and mystifications. Anna Akhmatova | Poetry Foundation . (Cf. In 1956, when Berlin was on a short trip to Russia, Akhmatova refused to receive him, presumably out of fear for Lev, who had just been released from prison. 4.1. For example, in one poem, the wind, given the human attribute of recklessness, conveys the poet's emotional state to the. Appearing in 1965, Beg vremeni collected Akhmatovas verse since 1909 and included several previously published books, as well as the unpublished Sedmaia kniga (Seventh Book). . Although Kniazevs suicide is the central event of the poema, he is not a true hero, since his death comes not on the battlefield but in a moment of emotional weakness. Artists could no longer afford to ignore the cruel new reality that was setting in rapidly. Poems by Anna Akhmatova set to music by Iris DeMent. Anna Akhmatova Poems Hit Title Date Added 1. After Stalin's death her poetry began to be . . . Within the first sections, Akhmatova employs melancholic diction to convey her grief. Moreover, she was going to marry Vladimir Georgievich Garshin, a distinguished doctor and professor of medicine, whom she had met before the war. Her acquaintances, now all dead, arrive in the guise of various commedia dellarte characters and engage the poet in a hellish harlequinade.. Everything Everything's looted, betrayed and traded, black death's wing's overhead. Anna Akhmatova Poems - Poems by Anna Akhmatova / We will transmit you to our grandchildren / Free and pure and rescued from captivity / Forever! Here, as during the revolution, Akhmatovas patriotism is synonymous with her efforts to serve as the guardian of an endangered culture. Before the revolution Punin was a scholar of Byzantine art and had helped create the Department of Icon Painting at the Russian Museum. The help she received from her entourage likely enabled her to survive the tribulations of these years. In 1940 Akhmatova wrote a long poem titled Putem vseia zemli (published in Beg vremeni [The Flight of Time], 1965; translated as The Way of All Earth, 1990), in which she meditates on death and laments the impending destruction of Europe in the crucible of war. Willow Poem Analysis - poetry.com There is something, perhaps, not entirely sane about learning a language for the sake of poetry. Anna Akhmatova was born in 1889 in Odessa on the Black Sea coast. Gumilev was originally opposed to Akhmatova pursuing a literary career, but he eventually endorsed her verse, which, he found, was in harmony with some Acmeist aesthetic principles. Anna Akhmatova is a well-known Russian poet and the pen name of Anna Andreyevna Gorenko. 4. r/Poetry. Her essays on Pushkin and his work were posthumously collected in O Pushkine (On Pushkin, 1977). In an attempt to gain his release, she began to write more positive propaganda for the USSR. This new translation of Anna Akhmatova's poetic cycle by Stephen Capus is available in print in Cardinal Points, vol. In 1966, Akhmatova herself died at age 76 of heart failure. She also had an affair with the composer Artur Sergeevich Lure (Lourie), apparently the subject of her poem Vse my brazhniki zdes, bludnitsy (from Chetki; translated as We are all carousers and loose women here, 1990), which first appeared in Apollon in 1913: You are smoking a black pipe, / The puff of smoke has a funny shape. . . Za to, chto my ostalis doma, Akhmatova's Requiem Analysis. The state allowed the publication of Akhmatovas next book after Anno Domini, titled Iz shesti knig (From Six Books), only in 1940. Nashi k Bozhemu prestolu If found by the secret police, this narrative poem could have unleashed another wave of arrests for subversive activities. Altari goriat, My sokhranili dlia sebia Finally, as befits a modern narrative poem, Akhmatovas most complex work includes metapoetic content. Important literary idols for the Acmeist movement were e.g. Not only being a representative of the Silver Age and of Acmeism, but also living and writing under the shadow of Stalinism, her poetry is characterized by its very distinct style and has to be viewed in that special context. Amanda Haight, Anna Akhmatova: A Poetic Pilgrimage (1976), is a critical biography analyzing the relation of the poet's life to her poetry. Though Akhmatova continued to write during this time, the prohibition lasted a decade. . . . 11.. Anna Akhmatova was born in Odessa in 1889, but lived most of her life . Although she did not fancy Gumilev at first, they developed a collaborative relationship around poetry. . Anna Akhmatova. Akhmatova always cherished the memories of her nightlong conversations with Berlin, a brilliant scholar in his own right. Anna Akhmatova was born on the 23th June 1889 in Bolyhoy Fontan, near the Black Sea port of Odessa, as Anna Andreyevna Gorenko. . In a short prewar cycle, titled Trostnik (translated as Reed, 1990) and first published as Iva (Willow) in the 1940 collection Iz shesti knig, Akhmatova addresses many poets, living and deceased, in an attempt to focus on the archetypal features of their fates. . In 1989 her centennial birthday was celebrated with many cultural events, concerts, and poetry readings. The palace was built in the 18th century for one of the richest aristocrats and arts patrons in Russia, Count Petr Borisovich Sheremetev. Vozdvignut zadumaiut pamiatnik mne, Soglase na eto daiu torzhestvo, Yet, there is evidence suggesting that the real cause was Garshins affair with another woman. . An estimated 600,000 people, including Akhmatovas friends and literary colleagues, were killed in the Purge. . Tails) of Poema bez geroia the narrator argues with her editor, who complains that the work is too obscure, and then directly addresses the poema as a character and interlocutor. Akhmatova lived in Russia during Stalin's reign of terror. . The following questions are going to lead me throughout the whole essay: what is so specific about Akhmatovas poetry? She was the third of six children of a lower noble family and spent most of her childhood near St. Petersburg in Tsarskoje. Loving someone to the point of pain. Ni okolo moria, gde ia rodilas; / I pulled the glove for my left hand / Onto my right. Likewise, abstract notions are revealed through familiar concrete objects or creatures. And where they never unbolted the doors for me.). Yet, following her arrival in Leningrad, he broke off the engagement, an act she attributed to his hereditary mental illnesshe was a relative of the emotionally troubled 19th-century Russian writer Vsevolod Mikhailovich Garshin, who had ended his life by flinging himself down a staircase. Akhmatova would then burn in an ashtray the scraps of paper on which she had written Rekviem. She only regained a measure of public respect and artistic freedom following Stalins death in 1953. Pride in a homeland despite its oppressive regime. Anna Akhmatova was born in 1889 in Odessa on the Black Sea coast. Under these conditionsthat it stand. In 1926 Akhmatova and Shileiko divorced, and she moved in permanently with Nikolai Nikolaevich Punin and his extended family, who lived in the same Sheremetev Palace on the Fontanka River where she had resided some years earlier. Very little of Akhmatova's poetry was published between 1923 and 1941. (And if ever in this country Epigram. I dont entirely remember how the finding happenedI fell in love with many writers in those daysbut I do know that I became obsessed with the way Akhmatova captured conflicting emotions. 3. After Stalin's death her poetry began to be published again. Harrington 2006: p. 11 et seq. . (You will live without misfortune, Inspired by their meetings, she composed the love cycle Cinque (first published in the journal Leningrad in 1946; translated, 1990), which was included in Beg vremeni; it reads in part: Sounds die away in the ether, / And darkness overtakes the dusk. / An early fall has strung / The elms with yellow flags. Modigliani made 16 drawings of Akhmatova in the nude, one of which remained with her until her death; it always hung above her sofa in whatever room she occupied during her frequently unsettled life. (And from behind barbed wire, We preserved for ourselves But her heroine rejects the new name and identity that the voice has used to entice her: But calmly and indifferently, / I covered my ears with my hands, / So that my sorrowing spirit / Would not be stained by those shameful words. Rather than staining her conscience, she is determined to preserve the bloodstains on her hands as a sign of common destiny and of her personal responsibility in order to protect the memory of those dramatic days. . Akhmatova read her poems often at the Stray Dog, her signature shawl draped around her shoulders. Akhmatova knew that Poema bez geroia would be considered esoteric in form and content, but she deliberately refused to provide any clarification. Nina | 8 on Twitter: ".. he is rewarded with a form of eternal and calling the ravens, and the ravens are flying in. Akhmatova was eleven years old when she started writing poetry and by then gravely sick herself; later she would name that sickness as the trigger for her to write her first poem (Cf. In what way is her work representative of Acmeism? The wedding ceremony took place in Kiev in the church of Nikolska Slobodka on April 25, 1910. Many of them describe painful experiences, but there is comfort in the beauty that she uncovers from suffering. Very little of Akhmatova's poetry was published between 1923 and 1941. Requiem is one of the best examples of her work. In Tsarskoe Selo, Gorenko attended the womens Mariinskaia gymnasium yet completed her final year at Fundukleevskaia gymnasium in Kiev, where she graduated in May 1907; she and her mother had moved to Kiev after Inna Erazmovnas separation from Andrei Antonovich. The 15 years when Akhmatovas books were banned were perhaps the most trying period of her life. . She lamented the culture of the past, the departure of her friends, and the personal loss of love and happinessall of which were at odds with the upbeat Bolshevik ideology. . As her father, however, did not want her to publish any verses under his respectable name, she chose to adopt her grandmothers distinctly Tatar name Akhmatova as a pen name. My double goes to the interrogation.). . You should appear less often in my dreams - Poem Analysis You will govern, you will judge. . . Captivated by her surroundings in Uzbekistan, she dedicated several short poetic cycles to her Asian house, including Luna v zenite: Tashkent 1942-1944 (translated as The Moon at Zenith, 1990), published in book form in Beg vremeni. Ne liubil, kogda plachut deti, Her former friends and lovers turn up as well among this surreal and festive crowd. After Stalin's death her poetry began to be published again. N. V. Koroleva and S. A. Korolenko, eds.. Roman Davidovich Timenchik and Konstantin M. Polivanov, eds.. Elena Gavrilovna Vanslova and Iurii Petrovich Pishchulin. . She also translated Italian, French, Armenian, and Korean poetry. The communal apartment in Sheremetev Palace, or Fontannyi dom, where she lived intermittently for almost 40 years, is now the Anna Akhmatova Museum. . Vecher includes introspective lyrics circumscribed by the themes of love and a womans personal fate in both blissful and, more often than not, unhappy romantic relationships. The era of purges is characterized in Rekviem as a time when, like a useless appendage, Leningrad / Swung from its prisons. Akhmatova dedicated the poem to the memory of all who shared her fatewho had seen loved ones dragged away in the middle of the night to be crushed by acts of torture and repression: They led you away at dawn, / I followed you like a mourner , Without a unifying or consistent meter, and broken into stanzas of various lengths and rhyme patterns, Rekviem expresses a disintegration of self and world. Born near the Black Sea in 1888, Anna Akhmatova (originally Anna Andreyevna Gorenko) found herself in a time when Russia still had tsars. Later, Soviet literary historians, in an effort to remold Akhmatovas work along acceptable lines of socialist realism, introduced excessive, crude patriotism into their interpretation of her verses about emigration. . Shakespeare, Rabelais, Villon, Flaubert and Gautier. Eventually, they come to discuss literature and poetry and the . Her first collection of poetry, Evening, was published in 1912, and from that date she began to publish regularly. V ego dekabrskoi tishine For a better understanding of her poetry, it is thus necessary to take a look at Acmeism and to explain its objectives and purposes. Posledniaia s morem razorvana sviaz. Her interest in poetry began in her youth; but when her father found out about her aspirations, he told her not to shame the family name by becoming a "decadent poetess.". It was whispered line by line to her closest friends, who quickly committed to memory what they had heard. . . For instance, the poem Kogda v toske samoubiistva (translated as When in suicidal anguish, 1990), published in Volia naroda on April 12, 1918 and included in Podorozhnik, routinely appeared in Soviet editions without several of its opening lines, in which Akhmatova conveys her understanding of brutality and the loss of the traditional values that held sway in Russia during the time of revolutionary turmoil; this period was When the capital by the Neva, / Forgetting her greatness, / Like a drunken prostitute / Did not know who would take her next. A biblical source has been offered by Roman Davidovich Timenchik for her comparison between the Russian imperial capital and a drunken prostitute. This view of Akhmatova as a link between past and future is due to the fact that her career splits up into two different periods: anearlier (ca. Except for her brief employment as a librarian in the Institute of Agronomy in the early 1920s, she had never made a living in any way other than as a writer. By 1946 Akhmatova was preparing another book of verse. Both Akhmatova and her husband were heavy smokers; she would start every day by running out from her unheated palace room into the street to ask a passerby for a light. In 1910, she married poet Nikolai Gumilev with whom she had a son, Lev. . Later, in 1938 Akhmatova meanwhile had a second marriage and then a third was imprisoned as well and kept in the Gulag until the death of Stalin in 1956. it was full of judgment; righteousness lodged in it; but now murderers (Isaiah 1:21). In 1907 Gorenko enrolled in the Department of Law at Kiev College for Women but soon abandoned her legal studies in favor of literary pursuits. . . Analysis of selected works. . Just like readers during Akhmatovas lifetime, we could use that aching bittersweetness now. He first met Akhmatova in 1914 and became a frequent guest in the home that she then shared with Gumilev. Feinstein 2005: p. 1-10). Most likely, it was triggered by two visits from Isaiah Berlin, who, merely because of his post at the British embassy, was naturally suspected of being a spy by Soviet officials. Akhmatova locates collective guilt in a small, private event: the senseless suicide of a young poet and soldier, Vsevolod Gavriilovich Kniazev, who killed himself out of his unrequited love for Olga Afanasevna Glebova-Sudeikina, a beautiful actress and Akhmatovas friend; Olga becomes a stand-in for the poet herself. This short period of seemingly absolute creative freedom gave rise to the Russian avant-garde. His arrest was merely one in a long line that occurred during Soviet leader Josef Stalins Great Purge, in which the government jailed and executed people who were possible political threats. Lev was released from prison in 1956, and several volumes of her verse, though censored, were published in the late 1950s and the 1960s. by Stanley Burnshaw), Lot's Wife (Tr. Lot's Wife (Tr. by Stanley Kunitz with Max | Poetry Magazine She spent most of the revolutionary years in Petrograd (formerly St. Petersburg) and endured extreme hardship. She paid a high price for these moments of happiness and freedom. . Furthermore, Akhmatova reports of a voice that called out to her comfortingly, suggesting emigration as a way to escape from the living hell of Russian reality. Book Three, 1923), the enlarged edition of Anno Domini MCMXXI, she contrasts herself to those who left Russia but pities their sad lot as strangers in a strange land: I am not with those who abandoned their land / To the lacerations of the enemy / But to me the exile is forever pitiful. Because of the year when the poem was composed, the enemy here is not Germanythe war ended in 1918but the Bolsheviks. (Cf. Scholars agree that the only real hero of the work is Time itself. Akhmatova entrusted her newborn son to the care of her mother-in-law, Anna Ivanovna Gumileva, who lived in the town of Bezhetsk, and the poet returned to her bohemian life in St. Petersburg. . . .. he is rewarded with a form of eternal childhood, with the bounty and vigilance of the stars, the whole world was his inheritance and he shared it with everyone. . On the 12th of December 1912, Gumilev and Gorodeckij presented their manifests of the Acmeist movement, which both contained a critical part about what Acmeism is not, a definition of its aims and objectives as well as the connection to the literary tradition (Cf. Ego dvortsy, ogon i vodu. When On liubil was written, she had not yet given birth to her child. I wonder if she found it a dark coincidence to die of heart issues afterthat organ was repeatedly broken for so many years. The poets life, as becomes clear from this cycle, is defined by exile, understood both literally and in existential terms. Very little of Akhmatova's poetry was published between 1923 and 1941. In the very heart of the taiga Her style, characterised by its economy and emotional restraint, was strikingly inventive and distinctive to her fellow poets. . (The city, beloved by me since childhood, Thank God theres no one left for me to lose. Akhmatova finds another, much more personal metaphor for the significance of her poetic legacy: her poem becomes a mantle of words, spread over the people she wishes to commemorate. Acmeism was a transient poetic movement which emerged in Russia in 1910 and lasted until 1917. . Anna Akhmatova was born in Ukraine in 1889 to an upper-class family. Having become a heap of camp dust, So she simply and. . . . / I have woven a wide mantle for them / From their meager, overheard words. The image of the mantle is reminiscent of the protective cover that, according to an early Christian legend, the Virgin spread over the congregation in a Byzantine church, an event commemorated annually by a holiday in the Orthodox calendar. In the poem Akhmatovas shawl arrests her movement and turns her into a timeless and tragic female figure. The addressee of the poem Mne s toboiu pianym veselo (published in Vecher, 1912; translated as When youre drunk its so much fun, 1990) has been identified as Modigliani. . Where an inconsolable shade looks for me, But here, where I stood for three hundred hours, Despite the urgent apocalyptic mood of the poem, the heroine calmly contemplates her approaching death, an end that promises relief and a return to the paternal garden: And I will take my place calmly / In a light sled / In my last dwelling place / Lay me to rest. Here, Akhmatova is paraphrasing the words of the medieval Russian prince Vladimir Vsevolodovich Monomakh that appear in his Pouchenie (Instruction, circa 1120), which he spoke, addressing his children, from his deathbed (represented as a sled, used by ancient Slavs to convey corpses for burial). Leonard Cohen's work is diverse and this is not his only style-I was curious what the sub thinks. . V samom serdtse taigi dremuchei Through a mutual acquaintance, Berlin arranged two private visits to Akhmatova in the fall of 1945 and saw her again in January 1946. I gde dlia menia ne otkryli zasov. Mandelshtam pursued Akhmatova, albeit unsuccessfully, for quite some time; she was more inclined, however, to conduct a dialogue with him in verse, and eventually they spent less time together. Every single person that visits Poem Analysis has helped contribute, so thank you for your support. Akhmatova used objective, concrete things to convey strong emotions. One of the leitmotivs in this work is the direct link between the past, present, and future: As the future ripens in the past, / So the past rots in the future The scenes from 1913 are followed by passages in Chast tretia: Epilog (Part Three: Epilogue) that describe the present horror of war and prison camps, a retribution for a sinful past: A za provolokoi koliuchei, Well into her 70s by this time, she was allowed to make two trips abroad: in 1964 she traveled to Italy to receive the Etna Taormina International Prize in Poetry, and in 1965 she went to England, where she was awarded an honorary doctorate from Oxford University. . . I stertye karty Ameriki. This intriguing poem, Lots Wife, by Anna Akhmatova, translated by Richard Wilbur, takes an age-old story that has been passed down from generation to generation and tells it from a new perspective, that of Lots wife. Mandelshtam immortalized Akhmatovas performance at the cabaret in a short poem, titled Akhmatova (1914). Critical analysis Rekviem, therefore, is a testimony to the cathartic function of art, which preserves the poets voice even in the face of the unspeakable. Acmeism was influenced by architecture, literature and art; its basic intention was to transform the past into the present. She signed this poem, Na ruke ego mnogo blestiashchikh kolets (translated as On his hand are lots of shining rings, 1990), with her real name, Anna Gorenko. As the sole survivor of this bohemian generation (Only how did it come to pass / That I alone of all of them am still alive?), she feels compelled to atone for the collective sins of her friendsthe act of expiation will secure a better future for her country. Anna Akhmatova's work is generally associated with the Acmeist movement. The Symbolists worshiped music as the most spiritual art form and strove to convey the music of divine spheres, which was a common Symbolist phrase, through the medium of poetry. anna akhmatova Poems - Poetry.com In "Prologue," she writes "that [Stalin's Great Purge] was a time when only the dead could smile" (Prologue, Line 1), which suggests it was preferable to die than to live and emphasizes her . And why are her poems still so interesting for todays reading public? (No one wants to help us The burdock and the nettle I preferred, but best of all the silver willow tree. For a better understanding of her poetry, it is thus necessary to take a look at Acmeism and to explain its objectives and purposes. The strong and clear leading female voice was groundbreaking and for the Russian poetry at that time. . They decide to erect a monument to me, I consent to that honor So svoei podrugoi tikhoi 3.2. (Cf. - Anna Akhmatova, Selected Poems . in the nursery of the infant century, and the voice of man was never dear to me, but the breeze's voicethat I could understand. Akhmatovas son was arrested again in 1949 and sentenced to 10 years labor in a Siberian prison camp. . She was born Anna Andreevna Gorenko on June 11, 1889 in Bolshoi Fontan, near the Black Sea, the third of six children in an upper-class family. This content contains affiliate links. In Chast vtoraia: Intermetstso. Anna Akhmatova Requiem Poem Summary | ipl.org Her early years were overshadowed by the serious illness of several members of her family, and especially by the loss of her little sister Irina, who died at the age of four. . Gliadela ia, kak mchatsia sanki, The couple spent their honeymoon in Paris, where Akhmatova was introduced to Amedeo Modigliani, at the time an unknown and struggling Italian painter. Starting in 1925, the government banned Akhmatovas works from publication. When Anna Akhmatova began working on her long poem Requiem sometime in the 1930s, she knew that she would not be allowed to publish it. She even includes herself in this collective image of the exiled poetonly her exile is not from a place but from a time. . Muse Poem Analysis - poetry.com In 1910 she married Nikolai Gumilev, who was also a poet. He was shot as an alleged counter-revolutionary in 1921. How is her early work different from her later work? For a few years after the revolution the Bolshevik government was preoccupied with fighting a war on several fronts and interfered little in artistic life. Six poets formed the core of the new group: besides Gumilev, Gorodetsky, and Akhmatovawho was an active member of the guild and served as secretary at its meetingsit also included Mandelshtam, Vladimir Ivanovich Narbut, and Mikhail Aleksandrovich Zenkevich.
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