Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 1146
Anna Akhmatova 1888–1966
(Pseudonym for Anna Andreyevna Gorenko) Russian poet, translator, and essayist.
The following entry presents an overview of Akhmatova's career. For further information on her life and works, see CLC, Volumes 11, 25, and 64.
Anna Akhmatova spent a major part of her career not being able to publish her work in her own country, yet she refused to be silenced. By remaining one of the few artists who did not emigrate during the years of Stalinist oppression in Russia, and by having friends memorize her verse when committing it to paper would have been dangerous, she guaranteed herself and the Russian people a voice. As such she has become one of the most important artistic figures in twentieth-century literature.
Akhmatova was born Anna Andreyevna Gorenko in Kiev, Russia. Her father was a naval architect and moved the family to the Baltic in 1905. After her father and mother separated, the family settled in Tsarkoe Selo, just outside St. Petersburg. In 1910, Akhmatova married the poet Nikolai Gumilyov, who was at first reluctant for her to pursue poetry. When he saw her talent, however, he encouraged her, and together with poets such as Osip Mandelstam they began the Acmeist movement in Russian poetry. The movement was in opposition to the prevailing Symbolist poetry of the era. At the age of 22, she published her first volume Vecher (1912; Evening). Her middle-class father had asked her not to dishonor their family name with literary pursuits, so she published under the pseudonym Anna Akhmatova, the Tartar name of her maternal great-grandmother who had descended from Genghis Khan. She developed a cult following in the literary world of St. Petersburg with her second volume, Chetki (1914; Rosary), and she gained a brilliant reputation in russia where her poetry was widely read. In 1913 she left Gumilev and eventually married Vladimir Shileiko, an Orientalist, whom she divorced in 1921. The Revolution of October 1917 changed both Akhmatova's life and career. In 1921, her first husband Gumilyov was executed after being charged with involvement in a counter-revolutionary conspiracy. She did not emigrate like other artists, and in 1925, there was an unofficial ban on her work. During this period, Akhmatova continued to write poetry, often about the cruel acts being committed in the name of the Revolution and un-der the rule of Stalin. She memorized her verses and had friends memorize them, fearing arrest if a written copy were found. She married again at this time, to Nikolai Punin, a critic and historian, but this marriage also ended in separation. Many of her friends were arrested and died under Stalin's persecution, and she suffered another great loss in 1935 when her son, Lev Gumilyov, was arrested and subsequently spent fourteen years in prison and in exile in Siberia. The poems in her Rekviem (1964; Requiem) were inspired by her trips to visit her son in prison in Leningrad and express the sense of loss she felt by the separation. In 1939, Stalin allowed several of her poems to be published, but Akhmatova again fell out of government favor in 1946 when she was denounced by Andrey Zhadanov, Secretary of the Central Committee of the Communist Party. Zhadanov began an ideological campaign against her work, calling it too personal to be relevant to a socialist society. She was expelled from the Union of Soviet Writers and ostracized from the Russian literary world for the next ten years. She was only readmitted to the Union after the death of Stalin. The ban on Akhmatova's work was not officially lifted until 1988, but interest in her work burgeoned anyway and by the 1960s Akhmatova was world famous. In 1964 she won the Etna-Taormina international poetry prize, and in 1965 she received an honorary doctorate from Oxford University.
A major influence on Akhmatova's work was her relationship to the Acmeists—writers who attempted to restore clarity to poetic language and who utilized the ordinary objects and events of daily life for their subject. Her poems explore her search for identity as a woman, a poet, and a Russian, as they delve into the complexities of human nature. In many of her early volumes the theme of love dominates along with attendant motifs of romantic meetings and separations, togetherness and solitude, and jealousy is often present. The poems in Evening paint a portrait of love as long periods of suffering broken up by rare moments of happiness and joy. In Rosary she deals with her feelings of guilt and loss over the breakup of her marriage with Gumilev. The poems in this collection contain many religious elements, expressing her strong belief in Christianity. With her third book, Belaya Staya (1917; The White Flock), Akhmatova turns to more civic-minded themes, including the foreshadowing of World War I in "July 1914." Requiem tells the story of a mother separated from her only son and was inspired by Akhmatova's own story and those of the thousands of other Russian women with whom she waited outside prison walls. This cycle of poems chronicles the era of Stalinism and the grief and horror suffered during these years. Poema Bez Geroya; Triptykh (1960; Poem Without a Hero; Triptych) chronicled her life before and after World War II. The poems described such personal events as love affairs and the suicide of a young cadet who was in love with Akhmatova's friend, but through these autobiographical accounts, she chronicled an epoch time period in world history. In this collection are many veiled statements and complex allusions that are much more opaque than her previous work.
Critics often discuss Akhmatova's work in its relation to the Acmeist movement. As with other Acmeists, reviewers find Akhmatova's work more straightforward than that of her Symbolist predecessors. Critics often discuss Akhmatova's literary debt to Russian poet Alexander Pushkin, including her unselfconscious impulses, use of allusions, and superb diction and rhythms. Stanley Kunitz states, "[Akhmatova's] poems exist in the purity and exactness of their diction, the authority of their tone, the subtlety of their rhythmic modulations, the integrity of their form." Reviewers praise Akhmatova's unique voice, many arguing that her verse is definitive. John Simon says, "I do see a poet with an original vision and a personal voice who manages to maintain her individual talent within the tradition." Many reviewers discuss the impact the Russian political climate had on Akhmatova's career and how it helped to infuse a civic element in her work. Many assert that she was the veritable voice of the Russian people during one of its most harrowing periods in history. More specifically, some critics claimed Akhmatova was the mouthpiece for subjugated Russian women and a true feminist leader before Feminism. Ervin C. Brody asserts, "A chronicler of the isolated and intimate psychological events of a woman's emotional and intellectual life as well as the political events in the Soviet Union, Anna Akhmatova is one of Russia's greatest poets and perhaps the greatest woman poet in the history of Western culture."
Cite this page as follows:
"Anna Akhmatova - Introduction" Contemporary Literary Criticism Ed. Jeffrey W. Hunter. Vol. 126. Gale Cengage 2000 eNotes.com 15 Aug. 2022 <https://www.enotes.com/topics/anna-akhmatova/critical-essays/akhmatova-anna-vol-126#critical-essays-akhmatova-anna-vol-126-introduction>
Note: When citing an online source, it is important to include all necessary dates. The citation above will include either 2 or 3 dates.
- If there are three dates, the first date is the date of the original publication in traditional print. The second is the date of publication online or last modification online. The last date is today's date — the date you are citing the material.
- If there are two dates, the date of publication and appearance online is the same, and will be the first date in the citation. The second date is today's date — the date you are citing the material.