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Carregando... Anna Akhmatova (Everyman's Library Pocket Poets)de Anna Ahkmatova
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Registre-se no LibraryThing tpara descobrir se gostará deste livro. Ainda não há conversas na Discussão sobre este livro. I first became aware of poet Anna Akhmatova from portraits of her in the Russian Museum in St. Petersburg, one painted by Nathan Altman in 1914, the other by Kuzma Petrov-Vodkin in 1922. At once fashionable and striking, the first captures her at 25 in her ascent, having travelled to Paris a few years earlier, famously meeting Modigliani and forming quite a relationship with him, and having already published two volume of poetry (‘Evening’ and ‘Rosary’). The second, three volumes of poetry and eight years later, was made a year after her first husband Nikolay Gumilev had been rounded up with 61 others and shot. It reflects the grim sobriety of an intellectual whose world is about to crumble, but even it doesn’t anticipate just how difficult it will be over the coming decades – her poetry banned by Stalin, watching friends sent off to the gulags and being executed, and standing outside a prison for hundreds of hours, pleading on her son’s behalf after he too was jailed. ‘Requiem’, a longer poem from 1957 about that experience, is a tour-de-force, reflecting a mother’s grief, an intellectual’s anger, and beautiful poetic moments: “Gently flows the gentle Don, Yellow moonlight leaps the sill, Leaps the sill and stops aston- ished as it sees the shade Of a woman lying ill, Of a woman stretched alone. Son in irons and husband clay. Pray. Pray.” …and my understanding those last two lines are nearly impossible to translate from the original. Akhmatova would also live through the siege of Leningrad in WWII and great poverty. Her poetry being memorized in bits and pieces by close friends because she wasn’t allowed to write it is a real-life Fahrenheit 451, and her story of perseverance and strength through this oppression is truly inspiring. This collection includes poems spanning her entire life, and while there are certainly common themes, her range is broad – from her direct, approachable style (most of which I quote below, out of practicality), to her elegies and avant-garde symbolic works (e.g. ‘Poem Without a Hero’). Through it all, while clearly haunted, she endures. A few samples… Untitled (1910) I share my room with A slow black snake; It’s like me, just as lazy, Just as cold. In the evening I make up Marvellous stories, on the rug By the fire’s glow. Its emerald Eyes gaze at me indifferently. At night the dead, mute icons hear Moans of resistance … It’s true I’d take my desires elsewhere Were it not for the serpent eyes. In the morning I’m compliant again, I melt like a slender candle; Then from my bare shoulder A black strap slides. Untitled (1915) There is a frontier-line in human closeness That love and passion cannot violate – Though in silence mouth to mouth be soldered And passionate devotion cleave the heart. Here friendship, too, is powerless, and years Of that sublime and fiery happiness When the free soul has broken clear From the slow languor of voluptuousness. Those striving towards it are demented, and If the line seem close enough to broach – Stricken with sadness … Now you understand Why my heart does not beat beneath your touch. Untitled (1940) Some walk in a straight line, Others in circles, Waiting to return home, hoping Their sweethearts have waited. But I walk neither straight ahead Nor aslant, But to nowhere and never, Like a derailed train. In Dream (1946) Black and enduring separation I share equally with you. Why weep? Give me your hand, Promise me you will come again. You and I are like high Mountains and we can’t move closer. Just send me word At midnight sometime through the stars. D.M. Thomas's translations are surprisingly lyrical. There is the sense, so deftly is the prosody handled, that some of these were written in English. One is filled with awe at times. How can these poems be so mesmerizingly lyrical? It's the earlier poems I prefer to the later serious ones, which tend to be be a slog. I think this volume, which contains the stirring "Requiem," is an excellent place for those curious about Akhmatova's poetry to start. Highly recommended. sem resenhas | adicionar uma resenha
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Collectable, beautifully presented hardback of Anna Akhmatova's greatest poems. Edited by D. M. Thomas.His translations of Akhmatova have been described by John Bayley as 'a masterly achievement'. He has translated 19 additional poems especially for this Everyman edition. From her appearance in a small magazine in 1906 to her death in 1965, Anna Akhmatova was a dominant presence in Russian literary life. But this friend of Pasternak and Mandelstam was a poet in a country where poetry was literally a matter of life and death, as she found when Mandelstam and her own husband, Gumilyev, were executed, and her son imprisoned for many years in the Gulag. Akhmatova's first collection, Evening, appeared in 1912. Rosary (1914) made her a household name. After the Revolution she went in and out of favour with the authorities, who sometimes allowed her to publish, sometimes banned her work. She is now most celebrated in the West for Poem Without A Hero and Requiem, a sequencemourning the victims of Stalin's Terror which was only published (and then outside Russia) in 1963. Não foram encontradas descrições de bibliotecas. |
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Google Books — Carregando... GênerosClassificação decimal de Dewey (CDD)891.7142Literature Literature of other languages Literature of east Indo-European and Celtic languages Russian and East Slavic languages Russian poetry USSR 1917–1991 Early 20th century 1917–1945Classificação da Biblioteca do Congresso dos E.U.A. (LCC)AvaliaçãoMédia:
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The Everyman Library presents about two hundred and fifty pages of poems by each poet or on each theme in the collection. The Akhmatova collection gives an introduction to one of Russia’s great modern poets. Her writing stretches from the Czarist period through the revolution and Stalin’s reign of terror. Her last works were published under Khrushchev.
There is a noticeable change from her earlier writing and that from the Stalin Era:
Empty white Christmastide.
Snow, snowstorm, snow
Let the roads be an ice-rink
I’ve nowhere to go!
(1914)
Black and enduring separation
I share equally with you
Why weep? Give me your hand,
Promise me you will come again.
You and I are like high
Mountains and we cannot move closer
Just send me word
At midnight sometime through the stars.
~In Dream (1946)
The joy and a subtle religious tone found in early poems are replaced with caution and separation. Later poems were written in secrecy as surveillance by the Cheka and executions of intellectuals were commonplace. Andrei Zhdanov publicly labeled her "half harlot, half nun", her work "the poetry of an overwrought, upper-class lady", her work the product of "eroticism, mysticism, and political indifference". He banned her poems from publication in the journals Zvezda and Leningrad, accusing her of poisoning the minds of Soviet youth. Her surveillance was increased and she was expelled from the Union of Soviet Writers.
The rhyme scheme that exists in the original Russian is lost in translation. Russian poetry uses feminine rhymes and in English, there are far fewer feminine rhymes. The well-collected selection of poetry covering the change in a nation and in a poet’s life.
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