1961 The poem “Native Land” was written. In the Leningrad hospital in the last years of the poetess’s life, with an epigraph from her own poem.

Why earth

An analysis of Akhmatova’s poem “Native Land” should begin with an answer to the question: “Why is it the native land, and not the country, not Russia?”

The poem was written for the twentieth anniversary of But Anna Andreevna writes not about the country, but about her native land, the fertile soil - the nurse. By the sixties, the tradition of worshiping the earth was a thing of the past, but Anna Andreevna is sure that ethnic memory still lives in the souls of people. And yes, “this is dirt on the galoshes,” but without it Russia would be nowhere. This dirt feeds us and takes us into itself at the end of life’s journey. The poetess’s lines have a huge meaning. There is no need to write odes about the land, you just need to remember that this is part of our homeland.

The theme of the homeland has always sounded in Anna Andreevna’s poetry. It was not just devotion, but service to the fatherland, despite any trials. Akhmatova was always with the people. Near. Together. She did not look down on her native people, like other poets.

Why not Russia, but the land? Because the poetess perceives her homeland not as a country, but as the land on which she was born and lives. She does not accept the political system, repression and war. But she loves her homeland, the people with whom she lives, and is ready to endure all the hardships with them.

She already wrote about this in 1922. “I’m not with those…” - it was from this poem that the last lines for the epigraph were taken. And over four decades, despite everything, her attitude towards her native land has not changed. But during these 40 years there was a lot of tragedy, both in her fate and in the fate of the country.

The importance of background

An analysis of Akhmatova’s poem “Native Land” cannot be complete without knowing the poetess’s life story. It is impossible to understand how courageous and devoted she had to be in order not to renounce her words and beliefs of forty years ago, if you do not know what she experienced during these years.

The analysis of A. Akhmatova’s poem “Native Land” should not begin in the traditional manner - with an analysis of rhymes and other things, this will not give anything. And we should start with what happened before the writing of this poem in the life of “Anna of All Rus',” as her contemporaries called her. Only then will the deep meaning of the work become clear, all the bitterness and all the patriotism invested in it.

In 1921, Anna Andreevna learns that her close friend is leaving Russia. And this is how she reacts to the departure of her loved one: she writes, “I am not with those who abandoned the earth.” A poem written the following year and included in the collection Anno domini. In this poem there is indignation, anger and a fully expressed civil spirit, which should have changed in connection with subsequent events, but is only strengthened.

Life between two poems

From 1923 to 1940, Anna Andreevna was not published. And this is hard for her. She was subjected to indirect repression. But that wasn't the hardest part. In 1935, her son Lev was arrested. And also her husband, but he was soon released. And Lev Nikolaevich, after a brief release, was arrested again. For five years, Akhmatova lived in tension and fear - whether her son would be pardoned or not.

In 1940, a wind of hope appears; the poetess is allowed to publish, some people are released from Stalin's camps. But in 1941 the war begins. Hunger, fear, evacuation.

In 1946, when the grip of censorship seemed to have weakened, Anna Andreevna was expelled from the Writers' Union and the publication of her collections was prohibited. In fact, she is deprived of her livelihood. In 1949, Anna Andreevna’s son was arrested again, and again she stood in lines with parcels.

In 1951, she was reinstated in the Writers' Union. In 1955, the homeless poet was given a small house in the village of Komarovo near Leningrad, after being evicted from the Fountain House in March 1952. However, they are in no hurry to print it. And for several years Akhmatova’s poems have been published in samizdat.

In May 1960, Anna Andreevna began to suffer several heart attacks, and her ordeal in hospitals began. And in this condition she is in the hospital at the time of writing “Native Land”. What kind of will and devotion did you have to have in order to carry your love for your homeland through all the losses and not change your civic position?

Traditional Akhmatova “Native Land”

The work is about love for the homeland, but the word “love” itself is not in it. When analyzing Akhmatova’s poem “Native Land,” it is easy to understand that it is deliberately excluded. The poem is structured in such a way that even without this word it reveals all the love for one’s native land. For this purpose, the two-part nature of the work is used, which is clear from the change in size.

The change in size immediately catches your eye when you analyze the poem “Native Land.” Akhmatova checked everything clearly. Iambic hexameter - first 8 lines. Next, the transition to anapest is three-foot, and after that - four-foot. Iambic is a denial of something that is not included in the poetess’s understanding of love. Anapest is a statement of a simple definition. Man is part of the earth, and to freely consider it yours means to love it.

It is also necessary to note the meaning of the word “land” itself when analyzing the poem “Native Land”. Akhmatova used them in pairs. The poem has two meanings. The first is the place where we live and die, a place that cannot be abandoned, no matter what happens. The second is soil, dust, “crunch in the teeth.” Everything is simple here. Both epithets (“promised”, etc.) and “decorative” vocabulary (“breedit”, “incense”) remain in the first, iambic part. The second part consists of vernacular language, there are no epithets. Everything is much simpler, but deeper. True love does not need pathos.

G.Yu. Sidnev, I.N. Lebedeva

The theme of the Motherland is a cross-cutting theme in the works of Anna Andreevna Akhmatova. This is a long-term internal dispute of the poet - both with ideological opponents and with his own doubts. In this dialogue, three noticeable milestones can be noted - “I had a voice...” (1917), from which Akhmatova’s entire further creative path can be traced: “I was not with those who abandoned the earth...” (1922) as a continuation and development of the civil lines; “Native Land” (1961), which sums up a long-term philosophical debate about what the Motherland is, about the complex essence of emotional and moral relationships with it.

The subject of this article is the poem “Native Land”; the perfection of its form and natural sound are achieved through extensive work, invisible to the reader. To imagine the process and volume of this work is not only interesting, but also necessary to comprehend the full richness of the content and skill of the great poet.

Motherland
And there are no more tearless people in the world, more arrogant and simpler than us.
1922

We don’t carry them on our chests in our treasured amulet,
We don’t write poems about her sobbingly,
She doesn't wake up our bitter dreams,
Doesn't seem like the promised paradise.
We don’t do it in our souls
Subject of purchase and sale,
Sick, in poverty, speechless on her,
We don't even remember her.
Yes, for us it’s dirt on our galoshes,
Yes, for us it's a crunch in the teeth.
And we grind, and knead, and crumble

But we lie down in it and become it,

("Running of Time")

Choosing the traditional sonnet form, A.A. Akhmatova enriches it with bold innovative discoveries. The philosophical premise and iambic beginning are reminiscent of Shakespeare's sonnets. The ratio of stanzas is preserved, emphasizing the artistic logic of the development of thought: the first quatrain is the thesis (plot); the second quatrain is the development of the thesis; third quatrain - antithesis (culmination); final couplet-synthesis (denouement). However, the rhythmic diversity, intonation richness and figurative content of the poem indicate that this is a sonnet of a new type, a unique creation of a bright and original poet. That is why it is especially interesting how Akhmatova, bringing the form to harmonic perfection, builds rhythm and works on the word.

First of all, it is necessary to remember that meter and rhythm are not the same thing. Meter is a form that unites many syllabic-tonic verses with similarly ordered stressed and unstressed syllables, and in each specific case it carries a strictly individual rhythm, which is the meaning-forming element of the verse. The semantics of a particular poetic meter depends on the meaning and rhythm of the phrases that make up the meter. But it often happens that one rhythm contributes to the development of the dominant mood in poetry, while another does not. Akhmatova’s complex intonation patterns emphasize and enhance semantic associativity. The entire poem is a rhythmic monolith with very flexible rhythmic-semantic and associative connections that form supporting rhythmic parallels.

The author of the sonnet discovers true mastery in the fact that the rhythm of the poem does not exist on its own; it provides exceptional scope for the development of the lyrical plot. The strict iambic style of the first two quatrains indicates expression, enhanced by emphasized laconicism.

Each quatrain of a traditional sonnet is graphically separated from the rest. Akhmatov's sonnet does not need this.

In the ideological disclosure of the topic, the following rhythmic and semantic connection can be noted: the number of syllables and the location of the last stresses of the lines of the last couplet rhythmically echo the iambic hexameter lines, which emphasizes the following train of thought: “We don’t carry them on our chests in the treasured amulet” - “But we lie down in it and become by her." Denial turns into affirmation of a qualitatively new thought.

The interconnection of all the structural elements of the sonnet clearly brings it into thematic community with the entire patriotic work of Anna Akhmatova. Starting from the epigraph, which rhythmically seems to be continued in the poem, the semantic connection is constantly supported by grammatical parallels: there are no more tearless people - We don’t write poetry out of our minds; arrogant and simpler than us - that’s why we call so freely... Finally, a reader familiar with Akhmatova’s poetry will easily discover the structural (and therefore artistic) connection between the ending of the sonnet and the version of the ending of the poem included by the author in the epigraph: “But we lie down in it and become it... - “and there are no more tearless people in the world...” The “poetic resonance” that arose at the very beginning reaches its highest point, which allows the final lines, outwardly devoid of expression, to produce a genuine emotional explosion. This artistic effect is the result of the poet’s strict adherence to two most important stylistic principles. The first of them is laconicism. Akhmatova was firmly convinced that every poem, even a small one, should carry a huge emotional load - figurative, semantic, intonational. The second is an orientation towards a living spoken language, which determines the naturalness of poetic speech, which in Russian poetry is primarily associated with the name of Pushkin. One gets the feeling that the author, without visible effort, uses and collides different speech styles: traditional sublimely poetic vocabulary is contrasted with words with a deliberately reduced specific emotional coloring. The solemnity of reflection followed by a significant conclusion is often created as if in spite of the reduced vocabulary used. Akhmatova is not afraid to rhyme (and rhymes for a great poet are always the center of meaning) in galoshes and crumbs. On the contrary, she needs this rhyme in order to explode her with the pathetically sublime: there is dust on her teeth. Note that this rhyme crowns the third, culminating, quatrain, preparing the denouement-synthesis.

It is interesting to use tropes in this poem - words with a figurative meaning. Metaphor is rarely present in Akhmatova’s poems. One of the main elements of imagery for her is the epithet, the renewal of which has been going on in her poetry for a long time. Let us recall at least these lines from the poem “Listening to Singing”:

Here, with the help of epithets, new, unexpected properties of audible music are conveyed, and an unearthly sense of reality is expressed. And it would be natural to expect a similar artistic technique in “Native Land”. However, instead we find quite traditional, “cherished amulet”, “promised paradise”, which has become a poetic cliche - and even adjacent to the expressions: “dirt on galoshes”, “chalk, and knead, and crumble”. The combination of such contradictory images in one poem is not an external method of mixing a high style with a low one, not just a opposition of different principles, opposite world relations, but a new harmony that allows you to organically connect the traditionally poetic with an ordinary, discreet, but true in its depth feeling .

Striving for the utmost laconicism in expressing this feeling, Akhmatova resorts to “semantic imposition,” which is why the word acquires a special capacity and ambiguity. Thus, the keyword earth appears in several meanings at once, and its semantic dominant is constantly moving, changing and becoming more complex from line to line, since the semantic field of this word cannot be clearly differentiated into the main and peripheral parts. This is both a symbolic attribute (amulet) of a person’s belonging to the land where he was born, and its generalized meaning - Motherland, country, state, and soil, the surface of our planet. The imposition of meaning is facilitated by the fact that the word earth itself is mentioned only in the title of the poem. In the future, this word is replaced by the pronouns she or it. Associative connections are provided by the selection of signal words that form the necessary context: paradise, dirt, crunch, dust. In addition, the keyword, in connection with one or another of its semantic dominants, combines various actions in relation to it: we don’t wear, we don’t remember, we grind, and we knead, and we crumble. And in the final part of the poem, all meanings are combined at a qualitatively new semantic level:

But we lie down in it and become it,
That's why we call it so freely - ours.

She doesn't disturb our bitter dreams...

The following phrases attract attention: a bitter dream and a dream that does not disturb. Tears, grievances, memories or share can be bitter; You can heal wounds, including mental ones. The word dream, therefore, appears in combinations unusual for it. But the psychology of artistic perception excludes linguistic confusion. The transparency of the noted artistic image allows us to avoid its reinterpretation.

The word in the line is subject to a similar contamination of meaning: we don’t write poems about it sobbingly... Here the phrases are combined: crying bitterly and writing poetry - creating poetic appeals to the Motherland, imbued with tearful sentimentality.

The words in the following lines of the poem enter into even more complex associative connections:

And we grind, and knead, and crumble
Those unmixed ashes.

Analysis of Akhmatova’s poem “Native Land”

The late Anna Andreevna Akhmatova leaves the genre of the “love diary,” a genre in which she knew no rivals and which she left, perhaps even with some apprehension and caution, and moves on to thinking about the role of history. Akhmatova wrote about A.S. Pushkin: “He does not close himself off from the world, but goes towards the world.” This was also her road - to peace, to a sense of community with it.

Thinking about the fate of the poet leads to thinking about the fate of Russia and the world.

At the beginning of Anna Andreevna Akhmatova’s poem “Native Land” there are two final lines of a poem composed by Akhmatova herself in the post-revolutionary years. And it starts like this:

I'm not with those who abandoned the earth

To be torn to pieces by enemies.

Akhmatova did not then want to join the ranks of emigrants, although many of her friends ended up abroad. The decision to remain in Soviet Russia was neither a compromise with the Soviet people nor an agreement with the course she had chosen. The point is different. Akhmatova felt that only by sharing her fate with her own people could she survive as a person and as a poet. And this premonition turned out to be prophetic. In the thirties and sixties, her poetic voice acquired unexpected strength and power. Having absorbed all the pain of her time, her poems rose above it and became an expression of universal human suffering. The poem “Native Land” sums up the poet’s attitude towards his homeland. The name itself has a double meaning. “Earth” is both a country with the people inhabiting it and with its own history, and simply the soil on which people walk. Akhmatova, as it were, returns the lost unity to meaning. This allows her to introduce wonderful images into the poem: “dirt on galoshes”, “crunch on teeth” - which receive a metaphorical load. There is not the slightest bit of sentimentality in Anna Akhmatova’s attitude towards her native land. The first quatrain is built on the denial of those actions that are usually associated with the manifestation of patriotism:

We don’t wear treasured incense on our chests,

We don’t write sobbing poems about her...

These actions seem unworthy to her: they do not contain a sober, courageous view of Russia. Anna Akhmatova does not perceive her country as a “promised paradise” - too much in Russian history testifies to the tragic sides of Russian life. But there is no resentment here for the actions that the native land “brings to those living on it.” There is a proud submission to the lot that it presents to us. In this submission, however, there is no challenge. Moreover, there is no conscious choice in it.

And this is the weakness of Akhmatova’s patriotism. Love for Russia is not for her the result of a completed spiritual path, as it was with Lermontov or Blok; this love was given to her from the very beginning. Her patriotic feeling is absorbed with mother's milk and therefore cannot be subjected to any rationalistic adjustments.

The connection with our native land is felt not even on a spiritual, but on a physical level: the earth is an integral part of our personality, because we are all destined to physically merge with it - after death:

But we lie down in it and become it,

That's why we call it so freely - ours

The poem is divided into three sections, which is emphasized and graphic.

The first eight lines are constructed as a chain of parallel negative constructions. The ends of the phrases coincide with the ends of the lines, which creates a measured “persistent” information, which is emphasized by the rhythm of iambic pentameter.

This is followed by a quatrain written in three-foot anapest. Changing meters throughout one poem is a rather rare phenomenon in poetry. In this case, this rhythmic interruption serves to contrast the flow of denials, a statement about how the native land is still perceived by the collective lyrical hero. This statement is of a rather reduced character, which is reinforced by the anaphoric repetition:

Yes, for us it’s dirt on our galoshes,

Yes, for us it’s a crunch in the teeth...

And finally, in the finale, the three-foot anapest is replaced by a four-foot one. This interruption of meter gives the last two lines a breadth of poetic breath, which find support in the infinite depth of the meaning contained in them.

The poetry of Anna Andreevna Akhmatova “was nourished - even in the initial poems - by a feeling of homeland, pain for the homeland, and this theme sounded louder in her poetry... Whatever she wrote about in recent years, a persistent thought about the historical destinies of the country was always felt in her poems , with which she is connected with all the roots of her being.”

Native land or Motherland is a part of a person. The only place that is especially dear to the soul, there is no other place like it on the planet. There are many beautiful and fascinating places and this is very cool. But as they say: it’s good here, but home is better.

No foreign land can replace our native land, no matter how good it is there. There will be some kind of aching feeling in a person’s soul, some kind of longing that goes away only when he sets foot on the territory of his state. Many poets who were forced to emigrate abroad wrote about this.

Especially when it was a forced measure, melancholy consumed them from the inside, but they could not return. Their suffering can be subtly felt through their creativity. Some could not stand it and returned, despite the fact that exile or imprisonment awaited them. It was better for him to live in his native land in extreme conditions than in luxury in a foreign land.

Some officers and soldiers who found themselves abroad after the revolution could not stand parting with their homeland, with the old foundations and life. They had nowhere to return, since everything was different and there was no place in a foreign land. They could not accept their fate and committed suicide.

Homeland is the place where a person was born into this world. The land where he grew up, learned about the world, made his first discoveries, lived, made friends and loved. In your native land, even special feelings overwhelm you: the sky and air are different, not the same as in a foreign land. Everything is special, everything is native, there is nothing like it anywhere else. Every blade of grass, tree and bush has its own history, its own deep connection with memories. Life will not be the same as before. Everyone has grown up, everyone has their own things to do. Childhood is in the past, but the homeland is alive and preserves everything that was here.

The homeland has its own history. Each land is special. For one person, this or that place evokes very tender feelings, sweet, pleasant memories, but for another, who is from another country, this place is just a place, nothing remarkable.

Any homeland needs protection. The homeland is just land. But humanity cannot exist without it. The earth can feed you with its bread, give you water from a spring, and surprise you with its beauty, but there is one thing it cannot do – protect itself.

Land that produces resources, many resources, is of great interest to other states. They will try to win her, to grab a tidbit. But to prevent this from happening, the state has an army that is always on the alert and will repel any enemy.

Option 2

Native land is the place where a person was born. The native land can be called the Motherland. There is nothing more dear than a village or city close to the heart, rich in history and exploits.

Every Russian city has its own history; many have experienced wars and hardships, famine and pestilence more than once. The elderly people saw all this, only those who were able to survive are with us, but many remained in the damp earth. And how many prospects, hopes and dreams there were. All these people lived, loved, expected something from life, and it was cut short like that. We must not forget this. Never. This is necessary to ensure that all those horrors do not happen again.

The native land is something that is associated with childhood, literally saturated with it. All the events of childhood, adolescence and youth took place here, as if it were a simple village or a busy city. These memories will remain forever in your memory. Everyone has their own, but there is only one homeland. There will be no better place anywhere on earth.

The Russian land stores so much information, many wars took place here, a huge number of soldiers and officers died and died brave deaths, it was on this land that the blood and sweat of the country’s heroes were shed. Our land keeps history. Thanks to archaeological excavations, many tools, weapons, grenades and other elements for combat have been discovered. Unfortunately, after the war, finds such as grenades claimed the lives of many children and careless residents. Our territory is very vast and in many places there are still bombs from the times of the Great Patriotic War. The tragedies that occurred after hostilities were called the echo of war. The war ended, but still continued to claim lives. It's very scary.

Our homeland is beautiful, Russia is full of beautiful and picturesque places. Many people happened to live there, but others can come and relax in these places. This is wonderful. Those who like to travel do not need to go or fly to other countries when everything they need can be found at home. There are also many unexplored places in Russia.

Russian people have something to be proud of. Our country is great. With a rich history for which we are not ashamed, our ancestors stood to the end, to the last drop of blood. They had a goal and they achieved it. Many countries surrendered to the Nazis, and very quickly. But when the enemy came to us, he met such resistance that he did not expect. We didn’t have such weapons, tanks, planes, we were lagging behind in everything. The warriors were not prepared for such an attack; the troops were dispersed throughout the country. Because the decision to move to the border was made too late. But none of these facts stopped our fighters; everyone, soldiers, women, and even children, fought for their happiness and victory. We know many child heroes, thanks to whom we are now alive and happy.

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