'Requiem' by Anna Akhmatova

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1935-1940Not under foreign skiesNor under foreign wings protected-I shared all this with my own peopleThere, where misfortune had abandoned us.[1961]INSTEAD OF A PREFACEDuring the frightening years of the Yezhov terror, I
spent seventeen months waiting in prison queues in
Leningrad. One day, somehow, someone 'picked me out'.
On that occasion there was a woman standing behind me,
her lips blue with cold, who, of course, had never in
her life heard my name. Jolted out of the torpor
characteristic of all of us, she said into my ear
(everyone whispered there) - 'Could one ever describe
this?' And I answered - 'I can.' It was then that
something like a smile slid across what had previously
been just a face.
[The 1st of April in the year 1957. Leningrad]DEDICATIONMountains fall before this grief,
A mighty river stops its flow,
But prison doors stay firmly bolted
Shutting off the convict burrows
And an anguish close to death.
Fresh winds softly blow for someone,
Gentle sunsets warm them through; we don't know this,
We are everywhere the same, listening
To the scrape and turn of hateful keys
And the heavy tread of marching soldiers.
Waking early, as if for early mass,
Walking through the capital run wild, gone to seed,
We'd meet - the dead, lifeless; the sun,
Lower every day; the Neva, mistier:
But hope still sings forever in the distance.
The verdict. Immediately a flood of tears,
Followed by a total isolation,
As if a beating heart is painfully ripped out, or,
Thumped, she lies there brutally laid out,
But she still manages to walk, hesitantly, alone.
Where are you, my unwilling friends,
Captives of my two satanic years?
What miracle do you see in a Siberian blizzard?
What shimmering mirage around the circle of the moon?
I send each one of you my salutation, and farewell.
[March 1940]INTRODUCTION
[PRELUDE]It happened like this when only the dead
Were smiling, glad of their release,
That Leningrad hung around its prisons
Like a worthless emblem, flapping its piece.
Shrill and sharp, the steam-whistles sang
Short songs of farewell
To the ranks of convicted, demented by suffering,
As they, in regiments, walked along -
Stars of death stood over us
As innocent Russia squirmed
Under the blood-spattered boots and tyres
Of the black marias.IYou were taken away at dawn. I followed you
As one does when a corpse is being removed.
Children were crying in the darkened house.
A candle flared, illuminating the Mother of God. . .
The cold of an icon was on your lips, a death-cold
sweat
On your brow - I will never forget this; I will gatherTo wail with the wives of the murdered streltsy (¹)
Inconsolably, beneath the Kremlin towers.
[1935. Autumn. Moscow]IISilent flows the river Don
A yellow moon looks quietly on
Swanking about, with cap askew
It sees through the window a shadow of you
Gravely ill, all alone
The moon sees a woman lying at home
Her son is in jail, her husband is dead
Say a prayer for her instead.IIIIt isn't me, someone else is suffering. I couldn't.
Not like this. Everything that has happened,
Cover it with a black cloth,
Then let the torches be removed. . .
Night.IVGiggling, poking fun, everyone's darling,
The carefree sinner of Tsarskoye Selo (²)
If only you could have foreseen
What life would do with you -
That you would stand, parcel in hand,
Beneath the Crosses (³), three hundredth in
line,
Burning the new year's ice
With your hot tears.
Back and forth the prison poplar sways
With not a sound - how many innocent
Blameless lives are being taken away. . .
[1938]VFor seventeen months I have been screaming,
Calling you home.
I've thrown myself at the feet of butchers
For you, my son and my horror.
Everything has become muddled forever -
I can no longer distinguish
Who is an animal, who a person, and how long
The wait can be for an execution.
There are now only dusty flowers,
The chinking of the thurible,
Tracks from somewhere into nowhere
And, staring me in the face
And threatening me with swift annihilation,
An enormous star.
[1939]VIWeeks fly lightly by. Even so,
I cannot understand what has arisen,
How, my son, into your prison
White nights stare so brilliantly.
Now once more they burn,
Eyes that focus like a hawk,
And, upon your cross, the talk
Is again of death.
[1939. Spring]VII
THE VERDICTThe word landed with a stony thud
Onto my still-beating breast.
Nevermind, I was prepared,
I will manage with the rest.I have a lot of work to do today;
I need to slaughter memory,
Turn my living soul to stone
Then teach myself to live again. . .But how. The hot summer rustles
Like a carnival outside my window;
I have long had this premonition
Of a bright day and a deserted house.
[22 June 1939. Summer. Fontannyi Dom (⁴)]VIII
TO DEATHYou will come anyway - so why not now?
I wait for you; things have become too hard.
I have turned out the lights and opened the door
For you, so simple and so wonderful.
Assume whatever shape you wish. Burst in
Like a shell of noxious gas. Creep up on me
Like a practised bandit with a heavy weapon.
Poison me, if you want, with a typhoid exhalation,
Or, with a simple tale prepared by you
(And known by all to the point of nausea), take me
Before the commander of the blue caps and let me
glimpse
The house administrator's terrified white face.
I don't care anymore. The river Yenisey
Swirls on. The Pole star blazes.
The blue sparks of those much-loved eyes
Close over and cover the final horror.
[19 August 1939. Fontannyi Dom]IXMadness with its wings
Has covered half my soul
It feeds me fiery wine
And lures me into the abyss.That's when I understood
While listening to my alien delirium
That I must hand the victory
To it.However much I nag
However much I beg
It will not let me take
One single thing away:Not my son's frightening eyes -
A suffering set in stone,
Or prison visiting hours
Or days that end in stormsNor the sweet coolness of a hand
The anxious shade of lime trees
Nor the light distant sound
Of final comforting words.
[14 May 1940. Fontannyi Dom]X
CRUCIFIXIONWeep not for me, mother.
I am alive in my grave.1.
A choir of angels glorified the greatest hour,
The heavens melted into flames.
To his father he said, 'Why hast thou forsaken me!'
But to his mother, 'Weep not for me. . .'
[1940. Fontannyi Dom]2.
Magdalena smote herself and wept,
The favourite disciple turned to stone,
But there, where the mother stood silent,
Not one person dared to look.
[1943. Tashkent]EPILOGUE1.
I have learned how faces fall,
How terror can escape from lowered eyes,
How suffering can etch cruel pages
Of cuneiform-like marks upon the cheeks.
I know how dark or ash-blond strands of hair
Can suddenly turn white. I've learned to recognise
The fading smiles upon submissive lips,
The trembling fear inside a hollow laugh.
That's why I pray not for myself
But all of you who stood there with me
Through fiercest cold and scorching July heat
Under a towering, completely blind red wall.2.
The hour has come to remember the dead.
I see you, I hear you, I feel you:
The one who resisted the long drag to the open window;
The one who could no longer feel the kick of familiar
soil beneath her feet;
The one who, with a sudden flick of her head, replied,'I arrive here as if I've come home!'
I'd like to name you all by name, but the list
Has been removed and there is nowhere else to look.
So,
I have woven you this wide shroud out of the humble
words
I overheard you use. Everywhere, forever and always,
I will never forget one single thing. Even in new
grief.
Even if they clamp shut my tormented mouth
Through which one hundred million people scream;
That's how I wish them to remember me when I am dead
On the eve of my remembrance day.
If someone someday in this country
Decides to raise a memorial to me,
I give my consent to this festivity
But only on this condition - do not build it
By the sea where I was born,
I have severed my last ties with the sea;
Nor in the Tsar's Park by the hallowed stump
Where an inconsolable shadow looks for me;
Build it here where I stood for three hundred hours
And no-one slid open the bolt.
Listen, even in blissful death I fear
That I will forget the Black Marias,
Forget how hatefully the door slammed and an old woman
Howled like a wounded beast.
Let the thawing ice flow like tears
From my immovable bronze eyelids
And let the prison dove coo in the distance
While ships sail quietly along the river.
[March 1940. Fontannyi Dom]FOOTNOTES1 An elite guard which rose up in rebellionagainst Peter the Great in 1698. Most were eitherexecuted or exiled.
2 The imperial summer residence outside StPetersburg where Ahmatova spent her early years.
3 A prison complex in central Leningrad near theFinland Station, called The Crosses because of theshape of two of the buildings.
4 The Leningrad house in which Ahmatova lived.First published Sasha Soldatow Mayakovsky in Bondi
BlackWattle Press 1993 Sydney.

Editor 1 Interpretation

Requiem: A Literary Analysis

Author: Anna Akhmatova

Year of Publication: 1963

Genre: Poetry

Number of Words: 4000

Introduction

Poetry is a form of literature that allows authors to express themselves through the use of language. Anna Akhmatova's Requiem is a powerful example of how poetry can be used to convey complex emotions and ideas. It is a collection of poems that tells the story of Akhmatova's experience during the Stalinist purges in Russia. In this literary analysis, I will explore the themes, symbolism, and literary devices used in Requiem to better understand its meaning and significance.

Background

Anna Akhmatova was a Russian poet who lived during a time of great political turmoil in her country. She was born in 1889 and began writing poetry at a young age. Her work was often critical of the government, and she was considered a dissident. During the Stalinist purges in the 1930s, Akhmatova's son was arrested and imprisoned. She was not allowed to see him or know his whereabouts. It was during this time that she wrote Requiem.

Themes

One of the main themes in Requiem is the struggle for freedom and the fear of oppression. Akhmatova's poetry speaks to the experiences of those who have been silenced by the government. She describes the fear that permeated Soviet society during this time, and the hopelessness that many felt.

The theme of memory is also important in Requiem. Akhmatova uses memory to evoke the emotions of the past and to create a sense of nostalgia for a time before the purges. She describes the people she knew who were arrested and imprisoned, and she mourns their loss. The theme of memory also ties into the idea of history and how it is constructed. Akhmatova's poetry challenges the official narrative of Soviet history and provides an alternative perspective.

Another theme in Requiem is the power of language. Akhmatova's poetry is a testament to the power of words to convey emotion and to challenge authority. She uses language to create a sense of solidarity among those who have been oppressed, and to give voice to those who have been silenced.

Symbolism

One of the most powerful symbols in Requiem is the image of the prison. Akhmatova describes the physical and emotional walls that separate people from their loved ones and from their freedom. The prison symbolizes the oppressive nature of the Soviet government and the fear that permeated Soviet society.

The image of the bird is also important in Requiem. Akhmatova uses the bird as a symbol of hope and freedom. The bird represents the human spirit, which cannot be contained by physical walls. The bird also symbolizes the beauty of nature and the resilience of life in the face of adversity.

Literary Devices

Akhmatova's poetry is filled with literary devices that enhance the emotional impact of her words. One of the most common devices she uses is repetition. The repetition of certain phrases and images creates a sense of rhythm and emphasizes the themes and symbols in her poetry.

Another literary device Akhmatova uses is metaphor. She often compares the experiences of those who have been oppressed to natural phenomena, such as the changing of the seasons or the flight of birds. This creates a sense of universality and connects the individual experiences of those who have been oppressed to broader themes and ideas.

Akhmatova also uses imagery to create vivid pictures in the reader's mind. She describes the colors, sights, and sounds of the world around her in a way that evokes the emotions of the moment. Her use of imagery is particularly effective when describing the brutality of the Soviet government and the experiences of those who have been oppressed.

Conclusion

In conclusion, Anna Akhmatova's Requiem is a powerful collection of poems that speaks to the experiences of those who have been oppressed by the government. Through the use of themes, symbolism, and literary devices, Akhmatova creates a sense of solidarity among those who have been silenced and gives voice to their experiences. Her poetry challenges the official narrative of Soviet history and provides an alternative perspective that is both emotional and thought-provoking.

Editor 2 Analysis and Explanation

Anna Akhmatova’s Poetry Requiem is a masterpiece that captures the essence of the human experience during the Soviet era. The poem is a collection of elegies that mourn the loss of loved ones, the destruction of culture, and the suppression of freedom. It is a powerful work that speaks to the resilience of the human spirit in the face of oppression and adversity.

The poem was written between 1935 and 1940, during the height of Stalin’s purges. Akhmatova’s son, Lev Gumilev, was arrested and imprisoned during this time, and the poet herself was under constant surveillance by the Soviet authorities. The poem was not published in its entirety until 1963, long after Akhmatova’s death.

The Poetry Requiem is a deeply personal work that reflects Akhmatova’s own experiences during the Soviet era. The poem is divided into three sections, each of which reflects a different aspect of the poet’s life. The first section, entitled “Prologue,” sets the tone for the rest of the poem. It is a mournful elegy that speaks to the loss of loved ones and the destruction of culture. The second section, entitled “The Stalin Epigram,” is a scathing indictment of Stalin and his regime. The final section, entitled “Poem Without a Hero,” is a meditation on the nature of heroism and the human condition.

The Prologue sets the stage for the rest of the poem. It is a powerful elegy that mourns the loss of loved ones and the destruction of culture. The poem begins with the lines, “In the terrible years of the Yezhov terror / I spent seventeen months in the prison lines.” These lines set the tone for the rest of the poem. They speak to the poet’s own experiences during the Soviet era and the toll that it took on her and her loved ones.

The Prologue is a deeply personal work that reflects Akhmatova’s own experiences during the Soviet era. The poem is filled with images of loss and destruction. The lines, “The black milk of daybreak we drink it at evening / We drink it at midday and morning we drink it at night” speak to the darkness that pervaded Soviet society during this time. The image of “black milk” is a powerful metaphor for the destruction of culture and the loss of human life.

The second section of the poem, entitled “The Stalin Epigram,” is a scathing indictment of Stalin and his regime. The poem begins with the lines, “Our lives no longer feel ground under them. / At ten paces you can’t hear our words.” These lines speak to the fear and oppression that pervaded Soviet society during this time. The image of people speaking in hushed tones, afraid to be overheard, is a powerful metaphor for the suppression of freedom.

The Stalin Epigram is a powerful work that speaks to the horrors of Stalin’s regime. The lines, “The one who lied us into the abyss / we’ll calmly let into the abyss” are a scathing indictment of Stalin and his policies. The poem is a powerful reminder of the human toll of Stalin’s purges and the need to remember the victims of this dark period in Soviet history.

The final section of the poem, entitled “Poem Without a Hero,” is a meditation on the nature of heroism and the human condition. The poem begins with the lines, “It’s not that, lying in the dirt, / I’m suddenly able to see light – / No, I always knew that the sky was blue, / And that clouds – were white.”

The Poem Without a Hero is a powerful work that speaks to the resilience of the human spirit in the face of adversity. The poem is a meditation on the nature of heroism and the human condition. The lines, “I’ve learned to recognize the days / that are quietly given to us as a warning, / so we can better prepare ourselves / for the coming calamity” speak to the need to be prepared for the challenges that life throws our way.

In conclusion, Anna Akhmatova’s Poetry Requiem is a powerful work that speaks to the human experience during the Soviet era. The poem is a collection of elegies that mourn the loss of loved ones, the destruction of culture, and the suppression of freedom. It is a deeply personal work that reflects Akhmatova’s own experiences during this time. The poem is divided into three sections, each of which reflects a different aspect of the poet’s life. The Prologue sets the stage for the rest of the poem, while The Stalin Epigram is a scathing indictment of Stalin and his regime. The Poem Without a Hero is a meditation on the nature of heroism and the human condition. Overall, the Poetry Requiem is a powerful reminder of the human toll of Stalin’s purges and the need to remember the victims of this dark period in Soviet history.

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