כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
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התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Anna Akhmatova (nee Gorenko , the first husband Gorenko-Gumilev, after divorce took alias-name Ahmatova, the second husband Ahmatova-Shileiko, after divorce Ahmatova; 11 June 1889, Odessa, Kherson province , Russian Empire-March 5, 1966, Domodedovo, Moscow region, USSR)-Russian poet of the Silver Age, translator and literary critic, one of the most significant figures in Russian literature of the XX century. She was nominated for the Nobel Prize in Literature (1965 and 1966). People close to her were subjected to repression: her first husband , Nikolai Gumilyov , was shot in the case of the Kronstadt conspiracy in July 1921; the third husband, Nikolai Punin, was arrested three times and died in the camp in 1953; the only son of the poetess, the historian Lev Gumilyov (1912-1992), spent more than 10 years in prison in the 1930-1940s and 1940-1950s, in 1954 he was amnestied and received the right to rehabilitation. The grief of the wives and mothers of "enemies of the people" was reflected in one of the most significant works of Akhmatova -the poem "Requiem". The first two chapters of the poem were written in 1934-1935, chapters 3-7 were published in 1936-1943, the rest were refined over the next twenty years, when Akhmatova herself was expelled from the Union of Writers of the USSR. The poem itself was not published in samizdat for a long time; it was published in the mid-1980s. Having become a classic of Russian poetry, Akhmatova was subjected to silence, censorship and persecution (the resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) of 1946 was not canceled during her lifetime), many works were not published in her homeland, not only during the author's lifetime, but also for more than two decades after her death. At the same time, even during her lifetime, the name of Akhmatova was surrounded by glory among admirers of poetry both in the USSR and in exile.
Anna Andreyevna Gorenko (23 June [O.S. 11 June] 1889 – 5 March 1966), better known by the pen name Anna Akhmatova, was one of the most significant Russian poets of the 20th century. She was shortlisted for the Nobel Prize in 1965 and received second-most (three) nominations for the award the following year. Akhmatova's work ranges from short lyric poems to intricately structured cycles, such as Requiem (1935–40), her tragic masterpiece about the Stalinist terror. Her style, characterised by its economy and emotional restraint, was strikingly original and distinctive to her contemporaries. The strong and clear leading female voice struck a new chord in Russian poetry. Her writing can be said to fall into two periods-the early work (1912-25) and her later work (from around 1936 until her death), divided by a decade of reduced literary output. Her work was condemned and censored by Stalinist authorities, and she is notable for choosing not to emigrate and remaining in the Soviet Union, acting as witness to the events around her. Her perennial themes include meditations on time and memory, and the difficulties of living and writing in the shadow of Stalinism. Primary sources of information about Akhmatova's life are relatively scant, as war, revolution and the Soviet regime caused much of the written record to be destroyed. For long periods she was in official disfavour and many of those who were close to her died in the aftermath of the revolution. Akhmatova's first husband, Nikolay Gumilyov, was executed by the Soviet secret police, and her son Lev Gumilyov and her common-law husband Nikolay Punin spent many years in the Gulag, where Punin died.
In Akhmatova's lyrics of different periods there is often an appeal to folklore creativity. In particular, we are talking about the genre of lullaby song. In 1915, Anna Andreevna wrote a poem called Lullaby. In the first lines of the work there is clearly an allusion to Charles Perrault's fairy tale "Boy with a finger". It tells the story of a poor woodcutter's family with seven children, all male. The youngest child was unusually small. In the second stanza, the lyrical heroine refuses to hand over the plot of the fairy tale. Then the central place in the poem will be occupied by her own thoughts and experiences. Perhaps that's why she calls herself a "bad mother"-she couldn't tell the falling asleep baby a magic story to the end. By the way, Akhmatova herself hardly considered herself a good mother for her son Leo. According to the memories of contemporaries, almost from the first days of life the child was placed in the care of his grandmother. From the third stanza, the reader learns that the boy's father is away - rarely to talk about it fly home. Here it is necessary to turn to the biography of Akhmatova. She gave birth to her only child in 1912 from her first husband, Nikolai Stepanovich Gumilev. After the outbreak of World War I, the poet volunteered for the army. In 1915 he had a chance to fight in Western Ukraine, for his military services he was awarded the St. George's Cross III degree. Gumilev was very proud of the award. Akhmatova treated her with a great deal of skepticism. In the text under consideration, the Order of Nikolai Stepanovich is called a "white cross." The irony is clearly heard in naming this. The final lines are no longer a lullaby, but practically a prayer. Mention in folk lullabies songs of angels, Lord, saints became traditional for folklore creativity in Russia after the adoption of Christianity. Most often called to the Virgin, asking her to protect the child from evil spirits. The lyrical heroine turns to Saint Yegory. Most likely, it means George the Victorious. In the Russian Empire, he was revered as a patron of warriors, as well as pastoralists and farmers. The heroine of the analyzed poem asks Saint Yegorya to keep her husband and father of the child. Before addressing him, she calmly states the thought of a terrible, but undeniable: There was grief, there will be grief, there is no end to grief...
One of the brightest, original and talented poets of the Silver Age Anna Gorenko, better known to her admirers as Akhmatova, lived a long and eventful life. This proud and fragile woman witnessed two revolutions and two world wars. Her soul was seared by repression and the death of the closest people. Anna Akhmatova's biography is worthy of a novel or film adaptation, which was repeatedly undertaken by both her contemporaries and the later generation of playwrights, directors and writers.
Was Anna Akhmatova Stalin's lover?. After I had to debunk the fabrications of the teacher of literature that Anna Akhmatova almost half-life Anna Akhmatova spent in the "left" and half-life-in repression, remembered that I wanted to tell a long ago one apocryphal story. The legend of what about the alleged Anna Akhmatova was Stalin's lover…Akhmatova's third husband was another brilliant man-art historian Nikolai Punin. He also made a successful career under the new government, commanded the arts, headed the narkompros section, became commissioner of the Russian Museum and Hermitage, taught, but was suddenly arrested along with Akhmatova's son Leo Gumilev and two other university students. It happened on October 24, 1935, they were accused of counterrevolution. Akhmatova rushed to Moscow, to Mikhail Bulgakov, who was secretly considered in literary circles a specialist on Stalin. Bulgakov read Akhmatova's letter to the Kremlin and, after thinking, gave advice: do not use the typewriter. Rewrite the letter by hand. You're a poet. You can. Akhmatova rewrote the text by hand, believing little in success. But it worked! The letter to Stalin worked. Without any explanation, the two arrested were released a week later. And here begins conspiracyology-the writer Anatoly Korolev writes that: Thus Akhmatova had a fourth-secret-husband, Joseph Vissarionovich himself. Here's a case: the daughter of the tyrant Svetlana Stalin was read out by Akhmatova's poems. For Stalin, his daughter's emotions were very important. After his wife's protest suicide, he lived with a constant sense of guilt, and immoderately and anxiously pampered his daughter. Her daughter's sympathies for the disgraced poet resonated in the widower's heart with a complex despotic feeling of jealousy for the one who suddenly replaced Svetlana's late mother with her authority. Somehow, in a supernatural way, Akhmatova stepped in the circle of Stalin's family. Demonstratively releasing her husband and son from the prison, Stalin gave Akhmatova to understand who the master of her fate, and to whom she owes what she was still untouched. And soon at a reception in the Kremlin about the awarding of government awards Stalin suddenly addressed to others with ostentatious surprise: where is Akhmatova? Why doesn't he write anything? After this line, two new books were published: "Out of Six Books" and "Favorites." Before that, the poet was almost not printed for 7 years. Akhmatova herself joked about her books-it's "gifts to daddy's daughter." But the chief wasn't joking. In 1941, he ordered him to evacuate Akhmatov from the encircled Leningrad to Tashkent. Her poem "The Hour of Courage Struck on Our Hours..." was printed first in Pravda, and then countless times reprinted in the Soviet press. The poet was awarded the medal "For the Defense of Leningrad." And after the war, in the spring of 1946, she was invited to a solemn evening in honor of the anniversary of the Great Victory. When the disgraced poet suddenly took to the stage of the column hall of the House of The Union, the hall stood up, arduously a standing ovation that lasted for 15 minutes. So it was customary to honor only one person in the country. And now there were two of them. Stalin endured this scene, but when suddenly Akhmatova soon accepted in his apartment the English writer and philosopher Isaiah Berlin, and even in the company of the grandson of Churchill himself, the nerves of the jealous could not stand. After listening to the recording of the night conversation (Akhmatova's home was bugged) the despot arranged a scattering of his assistants: so that's how our nun lives! The result of this hysteria was the odious ruling of the Central Committee on the work of the Leningrad magazine "Star" and "Leningrad"; Akhmatova herself has always noted this fateful connection between Berlin's late-night visit to Churchill and the subsequent ruling. She was expelled from the Writers' Union. Trying to achieve forgiveness, Akhmatova even humbled her pride and wrote poems glorifying Stalin. But he did not accept any gestures. And ordered again to arrest and her ex-husband Punin (they parted before the war) and her son Leo, who fought valiantly and soldier reached Berlin. At the same time, the Kremlin jealous soon ordered the restoration of Akhmatova's membership in the Writers' Union. The son was released only in 1956, and Punin died in the camp. The last years of Akhmatova's life were held in the rays of world fame. "with L.N. Gumilev, A.I. Gitovich, V.E. Ardov, etc. She is nominated for the Nobel Prize. In 1964 she received the prestigious Aetna-Taormina Prize in Italy, and in 1965 in England she received the title of honorary doctor of The University of Oxford. At the same time, her personal life, according to Brodsky's apt remark, resembles the wanderings of a homeless queen between the old and the new capital. Anna Akhmatova died at the age of 77-March 5, 1966 in Moscow, but was buried in the beloved suburb of Komarovo near Leningrad.
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