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“I am not with those who left the earth ...” - one of the most famous and quoted poems by Akhmatova, relating to civil lyrics.

Brief history of creation

The poem “I am not with those who left the earth ...” is dated July 1922 and is included in the collection “Anno Domini MCMXXI”. It is highly likely that it was created under the impression of the events that took place at that time with the Soviet intelligentsia. In May 1922, Lenin sent a note to Dzerzhinsky, which spoke of preparations for the expulsion of "writers and professors helping the counter-revolution." Already in June, the first two people were sent abroad. On July 16, a letter from Lenin appeared, addressed to the Central Committee, proposing the arrest and then exile of several hundred representatives of the intelligentsia, and without explanation. Subsequently, these plans began to be implemented. If Akhmatova knew about Lenin's intentions, which is quite acceptable, then the poem "I am not with those who abandoned the land ..." is a reaction to the actions of the authorities. If you didn’t know, then the work is most likely dedicated to people who left Russia after the fall of the tsarist regime.

Theme, plot, composition

The poem has no plot. The attention of readers is focused on the thoughts and feelings of the lyrical hero. It is generally accepted that the main theme of the work is the theme of emigration. “I am not with those who left the land…” is often seen as a harsh statement directed against people who left Russia after the Great October Revolution. The share of the exile in the poem is a heavy share. The emigrant's bread smells of wormwood, his path is dark. Those who remained in their homeland also have a hard time - Russia, which is in the "deaf child of the fire", is dangerous. They can only hope that time will put everything in its place, that subsequently "every hour will be justified." Compositionally, the work is built on antithesis- those who left are opposed to those who remain.

There is another interpretation of the poem. For example, the poet Dmitry Bobyshev, who in the early 60s was part of Akhmatova's closest circle of friends, believed that emigration was not the main theme. In his opinion, the people mentioned in the work, who threw the land to be torn to pieces by enemies, are those who signed the Treaty of Brest-Litovsk in 1918, which marked the exit Soviet Russia from the First World War and defeat in it. With this interpretation, the rough flattery, which the lyrical heroine does not heed, does not come from emigrants, but from representatives new government. If we accept this interpretation, then the second stanza begins to sound differently. It turns out that she talks about those whom the Soviet government expelled from the country, and not about those who left, and the heroine really feels sorry for them. In this case, the semantic originality lies in the fact that the poem is about confronting the authorities, about people who were forced to leave native land, and about the rest, whose share in the future will also fall a lot of trials.

Lyrical hero

The perception of the image of the lyrical hero is almost completely determined by the chosen interpretation of the poem. However, there are some common features. Regardless of the interpretation of the work, it is clear that its lyrical heroine - strong personality, able to endure difficulties, unwilling to compromise their moral principles and ready to fight.

Size, rhymes, trails

The poem is written in iambic. The rhyme is used cross, rhymes are both male and female. Among the means of artistic expression found in the work are epithets (“rude flattery”, “deaf child”), comparison (exiles are compared with prisoners, patients), alliteration with “r” (the first two lines). In addition, an important role is played by the combination of “high” vocabulary (“I will not heed”, “torn apart”) with everyday (“foreign bread”).

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I am not with those who threw the earth at the mercy of enemies.
I will not heed their rude flattery, I will not give them my songs.
But the exile is eternally pitiful to me, Like a prisoner, like a patient,
Dark is your road wanderer, Wormwood smells of someone else's bread.
And here, in the deaf haze of the fire, destroying the rest of youth,
We did not deflect a single blow from ourselves.

Akhmatova Anna Andreevna ( real name- Gorenko) was born in the family of a marine engineer, captain of the 2nd rank, retired at st. Big Fountain near Odessa. A year after the birth of their daughter, the family moved to Tsarskoye Selo. Here Akhmatova became a student of the Mariinsky Gymnasium, but spent every summer near Sevastopol. “My first impressions are Tsarskoye Selo,” she wrote in a later autobiographical note, “the green, damp splendor of the parks, the pasture where the nanny took me, the hippodrome, where small motley horses galloped, the old station and something else that later became part of the Tsarskoye Selo Ode "". In 1905, after the divorce of her parents, Akhmatova moved with her mother to Evpatoria. In 1906 - 1907. In 1908-1910, she studied in the final class of the Kiev-Fundukley gymnasium, in 1908 - 1910. - at the legal department of the Kyiv Higher Women's Courses.

On April 25, 1910, "beyond the Dnieper in a village church," she married N. S. Gumilyov, whom she met in 1903. In 1907, he published her poem "There are many brilliant rings on his hand ..." in his publication in the Paris magazine "Sirius". The style of Akhmatova's early poetic experiments was significantly influenced by her acquaintance with the prose of K. Hamsun, with the poetry of V. Ya. Bryusov and A. A. Blok.
During the First World War, Akhmatova did not join her voice with the voices of poets who shared the official patriotic pathos, but she responded with pain to wartime tragedies ("July 1914", "Prayer", etc.). The White Pack, published in September 1917, was not as successful as the previous books. But the new intonations of mournful solemnity, prayerfulness, and the supra-personal beginning destroyed the habitual stereotype of Akhmatov's poetry, which had developed among the reader of her early poems. These changes were caught by O. E. Mandelstam, noting: "The voice of renunciation is growing stronger and stronger in Akhmatova's poems, and at present her poetry is approaching becoming one of the symbols of the greatness of Russia."

After the October Revolution, Akhmatova did not leave her homeland, remaining in "her deaf and sinful land." In the poems of these years (collections "Plantain" and "Anno Domini MCMXXI", both - 1921), sorrow for the fate of their native country merges with the theme of detachment from the vanity of the world, the motives of "great earthly love" are colored by the mood of the mystical expectation of the "groom", and understanding creativity as divine grace spiritualizes reflections on the poetic word and the vocation of the poet and translates them into an "eternal" plan. In 1922, M. S. Shaginyan wrote, noting the deep property of the poet’s talent: “Akhmatova, over the years, more and more knows how to be amazingly folk, without any quasi, without falsehood, with severe simplicity and with priceless avarice of speech.”

Since 1924, Akhmatova was no longer published. In 1926, a two-volume collection of her poems was supposed to be published, but the publication did not take place, despite prolonged and persistent efforts. Only in 1940 was the small collection "From Six Books" published, and the next two - in the 1960s ("Poems", 1961; "Running Time", 1965).

Since the mid-1920s, Akhmatova has been much involved in the architecture of old Petersburg, studying the life and work of A. S. Pushkin, which corresponded to her artistic aspirations for classical clarity and harmony of poetic style, and was also associated with understanding the problem of "poet and power". In Akhmatova, despite the cruelty of the time, the spirit of high classics indestructibly lived, determining both her creative manner and style of life behavior.

In the tragic 1930s and 1940s, Akhmatova shared the fate of many of her compatriots, having survived the arrest of her son, husband, the death of friends, her excommunication from literature by a party decree of 1946. The very time she was given the moral right to say, together with the "hundred millionth people": "We Not a single blow was deflected." Akhmatova's works of this period - the poem "Requiem" (1935? in the USSR published in 1987), poems written during the Great Patriotic War, testified to the poet's ability not to separate the experience of personal tragedy from the understanding of the catastrophic nature of history itself. B. M. Eikhenbaum considered the most important aspect of Akhmatova's poetic worldview to be "the feeling of one's personal life as a national, folk life, in which everything is significant and generally significant." “Hence,” the critic remarked, “is the way out into history, into the life of the people, hence comes a special kind of courage associated with a sense of being chosen, a mission, a great, important cause ...” A cruel, disharmonious world breaks into Akhmatova’s poetry and dictates new themes and new poetics: the memory of history and the memory of culture, the fate of a generation, considered in a historical retrospective... Multi-temporal narrative planes intersect, "another's word" goes into the depths of subtext, history is refracted through the "eternal" images of world culture, biblical and gospel motifs. Significant understatement becomes one of the artistic principles of Akhmatova's late work. It was based on the poetics of the final work - "Poems without a Hero" (1940 - 65), with which Akhmatova said goodbye to St. Petersburg in the 1910s and to the era that made her a Poet.

Akhmatova's creativity as the largest cultural phenomenon of the 20th century. received worldwide recognition. In 1964 she became a laureate international award"Etna-Taormina", in 1965 - the owner of an honorary degree of Doctor of Literature from Oxford University.

On March 5, 1966, Akhmatova died in the village of Domodedovo, on March 10, after the funeral service at the St. Nicholas Naval Cathedral, her ashes were buried in a cemetery in the village of Komarov near Leningrad.

Already after her death, in 1987, during Perestroika, the tragic and religious cycle "Requiem" was published, written in 1935 - 1943 (supplemented 1957 - 1961).

The poem "I am not with those who left the earth ...". Perception, interpretation, evaluation

The poem “I am not with those who left the earth ...” was written by A.A. Akhmatova in 1922. It belongs to civil lyrics. Its main theme is the theme of the Motherland, the poet's relationship to his country.

The poem is built on the principle of antithesis: emigrants, exiles are opposed to the lyrical heroine, who remained in Russia in difficult times for her. The images of the exile and foreign land are already created in the second stanza:

But the exile is eternally pitiful to me,

prisoner, as if sick.

Dark is your road, wanderer,

Wormwood smells of someone else's bread.

It is characteristic that Akhmatova's image of the exile is not romanticized. Her exiles are miserable, unhappy, their path is “dark”. The fate of those who remained in their homeland is also harsh and dramatic, Russia is “in the deep haze of fire”, it destroys its children, deprives them of their youth and happiness. However, despite all the hardships and trials, the lyrical heroine is ready to share her fate with her. She is a strong and courageous person, she is ready to sacrifice her well-being, peace and comfort to the Motherland. At the same time, the heroine is sure that this victim

not in vain, it will be appreciated by posterity:

And we know that every hour will be justified in the later evaluation...

But there are no more tearless people in the world,

Haughtier and simpler than us.

Thus, the composition of the poem is based on the principle of antithesis. The first two stanzas speak of exiles and life in a foreign land. The last two stanzas are about people who remained in their homeland. The antithesis is also present in the first stanza, where the lyrical heroine sharply separates herself from the emigrants.

Glossary:

• not with those I who threw the earth analysis
• analysis of the poem Not with those I who left the earth
• not with those I who left the earth analysis of the poem

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Anna Andreevna Akhmatova

I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.

But the exile is eternally pitiful to me
Like a prisoner, like a sick person.
Dark is your road, wanderer,
Wormwood smells of someone else's bread.

And here, in the deaf haze of fire
Losing the rest of my youth
We are not a single blow
They didn't turn themselves away.

And we know that in the assessment of late
Every hour will be justified ...
But in the world there are no people without tears,
Haughtier and simpler than us.

After the revolution, Anna Akhmatova faced a very difficult choice - to remain in plundered and destroyed Russia or to emigrate to Europe. Many of her acquaintances safely left their homeland, fleeing hunger and the upcoming repressions. Akhmatova also had the opportunity to go abroad with her son. Immediately after the revolution, her husband, the poet Nikolai Gumilyov, turned up in France, and, taking advantage of this, Akhmatova could leave without hindrance.

Nikolai Gumilyov

But she refused such an opportunity, although she assumed that from now on life in rebellious Russia promises to turn into a real nightmare. Until the start of mass repressions, the poetess was repeatedly offered to leave the country, but each time she refused such a tempting prospect. In 1922, when it became clear that the borders were closed, and inside the country persecution of people objectionable to the authorities began, Akhmatova wrote a poem “I am not with those who abandoned the land ...”, full of patriotism.

Indeed, this poetess has repeatedly admitted that she cannot imagine her life away from her homeland. It is for this reason that she put her own literary career and even her life on the line for the opportunity to stay in her beloved St. Petersburg. Even during the blockade, she never regretted her decision, although she was balancing between life and death. As for the poem itself, it came into being after the poetess experienced a personal drama associated with her arrest and execution. ex-spouse Nikolay Gumilyov.

The last photo of Nikolai Gumilyov without retouching

But even this fact did not stop Akhmatova, who did not want to become a traitor to her homeland, believing that this was the only thing that no one could take away from her.

The poetess has no illusions about the new government, noting: "I will not heed their rude flattery, I will not give them my songs." That is, while remaining in the USSR, Akhmatova consciously chooses the path of opposition and refuses to write poems that would praise the building of a new society. At the same time, the author has great sympathy for the emigrants who showed cowardice and were forced to leave Russia. Addressing them, the poetess notes: “Your road is dark, wanderer, someone else’s bread smells like wormwood.” Akhmatova is well aware that much more is waiting for her in her homeland. more danger and adversity than in a foreign land. But the decision made allows her to proudly declare: "We have not deflected a single blow from ourselves." The poetess foresees that years will pass, and the events of the early 20th century will receive an objective historical assessment. Everyone will be rewarded according to their deserts, and Akhmatova has no doubts about this.. But she does not want to wait until time puts everything in its place. Therefore, she delivers a verdict to all those who did not betray Russia and shared her fate: "But in the world there are no people more tearless, arrogant and simpler than us." Indeed, the trials made yesterday's aristocrats become more rigid and even cruel. But no one managed to break their spirit, their pride. And the simplicity that the poetess speaks of is connected with the new conditions of life, when being rich becomes not only shameful, but also life-threatening.

Analysis of the poem

1. The history of the creation of the work.

2. Characteristics of the work of the lyrical genre (type of lyrics, artistic method, genre).

3. Analysis of the content of the work (analysis of the plot, characterization of the lyrical hero, motives and tone).

4. Features of the composition of the work.

5. Analysis of the means of artistic expression and versification (the presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).

6. The meaning of the poem for the entire work of the poet.

The poem “I am not with those who left the earth ...” was written by A.A. Akhmatova in 1922. It was included in the collection "Anno Domini". The work belongs to civil lyrics. It is built on the basis of opposing emigrants, people who left Russia, and people who remained faithful to their Motherland in difficult times for her. The main theme of the poem is the Motherland, patriotism, the tragic fate of a person experiencing difficult times together with his country.

Already the first stanza is built on the principle of antithesis. The poet separates himself from the "exiles", people who "abandoned the earth". And here sounds the motive of temptation. Moreover, Akhmatova symbolically expands the concept of “enemy”: she means not only the defenders of the Soviet, inhuman regime, the executioners who poisoned the “water”, but also the demon-tempter, bringing the spirit of doubt, skepticism into the poet’s heart:

I am not with those who left the earth
At the mercy of enemies.
I will not heed their rude flattery,
I won't give them my songs.

The same motive of temptation is heard by Akhmatova in the poem “I had a voice. He called consolingly…”, written in 1917:

However, the lyrical heroine in this poem overcomes the temptation, preferring to stay in her homeland. The same motif resounds in the new poem. The “exiles” of the poetess are not only unhappy and their path is “dark”, they are “miserable”. Despite the fact that in Russian poetry the image of an exile, a wanderer is often poeticized, in Akhmatova he loses all his romantic halo. In her opinion, exile only humiliates a person.

But the exile is eternally pitiful to me,
Like a prisoner, like a patient.
Dark is your road, wanderer,
Wormwood smells of someone else's bread.

The next stanza tells about the difficult fate of those who remained in their homeland and shared with her her troubles, difficulties, tragedies:

And here, in the deaf haze of fire
Losing the rest of my youth
We are not a single blow
They didn't turn themselves away.

In the last stanza, the poet, as it were, sees the future meaning of this tragic fate of an entire generation:

And we know that in the assessment of late
Every hour will be justified ...

And here Akhmatova echoes F.I. Tyutchev, with his poem "Cicero". “The lyrical heroine…, without deviating from herself“ a single blow ”of fate, becomes a participant in a tragedy full of high passions and self-sacrifice.” However, Tyutchev's pathos, loftiness, solemnity are replaced by simplicity in the poetess when the tragedy becomes reality:

But there are no more tearless people in the world,
Haughtier and simpler than us.

Thus, the composition of the poem is based on the principle of antithesis. In the first stanza, the lyrical heroine seems to indicate a sharp boundary between herself and "those who abandoned the earth." The second stanza is dedicated to the "exiles". The third and fourth stanzas are about the tragic fate of their generation and the great meaning and significance of this life. The poem is written in iambic tetrameter, quatrains, rhyming is cross. Akhmatova uses modest means of artistic expression:

Metaphor (“who threw the earth to be torn apart by enemies”), epithet (“rough flattery”, “in a deaf fumes”), rows homogeneous members, a morphological neologism and an oxymoron (“But there are no people in the world more tearless, haughtier and simpler than us”). The poem contains “high” vocabulary (“I will not heed”, “exile”, tearing apart) and “reduced”, everyday (“coarse flattery”, “foreign bread”), alliteration (“who threw the earth To be torn to pieces by enemies”).

Thus, in the collection "Anno Domini" the poetess goes beyond the subject of intimate, deeply personal experiences. Her lyrical heroine deeply experiences the events taking place in the world, sharing tragic fate countries.