Anna Akhmatova - biography, photo, special features of life, people of the great poetry. Anna Akhmatova - biography, information, special features of life

“was embodied in one of Akhmatova’s most significant works – the poem “Requiem”.

Known as a classic of ancient poetry back in the 1920s, Akhmatova was subject to persecution, censorship and persecution (including the 1946 decree of the Central Committee of the All-Union Communist Party of Bolsheviks, which was not punished for her life), and many works were published. and Fatherlandism as for the life of the author, but also for a long time more two decades after her death. At that very hour, Akhmatova’s life gained fame among the mischievous poets of both the USSR and the emigration.

Biography

Ganna Gorenko was born in the Odessa region of the Great Fountain from the family of a nobleman, a mechanical engineer for the fleet under the representative of A. A. Gorenko (1848-1915), who after moving to the capital became a wheeled assessor, an official for special entrustments to the State Control. Vaughn was the third of six children. Their mother, Inna Erazmovna Stogova (1856-1930), had a distant relationship with Ganna Bunina: in one of her black notes, Ganna Akhmatova wrote: “... In this family, no one, as many eyes as we can tell, and without writing, only the first Russian poetry Ganna Bunina was the aunt of my grandfather Erasm Ivanovich Stogov...” My grandfather’s friend was Ganna Egorivna Motovilova, the daughter of Yegor Mikolaovich Motovilov, who was a friend of Paraskaya Fedosiivna Akhmatova; This girl’s nickname was chosen by Ganna Gorenko as a literary pseudonym, creating the image of a “Tatar grandmother” who, perhaps, resembled the Khan of Orda Akhmat. Before this choice, the honorable father Ganni appeared: having learned about the poetic traces of the seventeen-year-old daughter, he asked not to discredit his name.

In 1890, the motherland moved from the beginning to Pavlovsk, and then to Tsarskoe Selo, where in 1899, Ganna Gorenko became a student of the Mary's Women's Gymnasium. She spent the summer near Sevastopol, according to these words:

Thinking about childishness, the poetesa wrote:

Akhmatova thought that she had started reading from Leo Tolstoy’s book. At the age of five, hearing how the teacher was taking care of the older children, she learned to speak French. In St. Petersburg, the poet's coming day found the “edge of the era” where Pushkin is alive; With this, she and Petersburg are remembered as “pre-tram, kinny, kinny, kinny, gurky and squeaky, hanging from head to head with temples.” As N. Struve wrote, “Still a great representative of the great Russian noble culture, Akhmatova removed all this culture from herself and poured it into music.”

She published her first verses in 1911 (“New Life”, “Gaudeamus”, “Apollo”, “Russian Thought”). In her youth she joined acmeists (collections “Evening”, 1912, “Chitki”, 1914). The characteristic features of Akhmatova’s creativity can be called fidelity to the moral foundations of society, a subtle and sophisticated psychology, an understanding of the underground people’s tragedies of the 20th century, associated with special experiences, drawn to the classical style of poetic language.

Addresses

Odessa

• 1889 - born on 11? station of the Great Fountain at the dacha where my family knew. Tsyogorichna address: Fontanska road, 78.

Sevastopol

• 1896-1916 - visited her grandfather (Lenin St., 8)

St. Petersburg – Petrograd – Leningrad

All of A. A. Akhmatova’s life was in St. Petersburg. I started writing the verses at the gymnasium, at the Tsarskosilskaya Mariinsky gymnasium, where it began. Budivlya was preserved (2005), with 17 booths on Leontievsky Street.

Gumilyov and Akhmatova affectionately called their little quiet life “Khmarka”. They lived at apartment 29, booth No. 17. There was one room with a view onto the alley. The passage goes out to the Malaya Neva ... This is the first independent address of Gumilyov in St. Petersburg, until which time he is alive with his fathers. In 1912, when the stinks settled on “Khmartsi”, Ganny Andrievna published her first book of verses, “Evening”. Just as she said to herself, she went to sessions at Altman’s workshop, where she was assigned, on Tuchkovya Embankment.

Ganna Andrievna is coming. And in the spring of 1913, fate, having lost its son under the care of Gumilyov’s mother, turned here, to “Khmarka”, in order to continue to work on the “snowy and short walk.” From “Khmari” to escort Mikola Stepanovich to the theater of military operations of the First World War. The place where you are welcome at the exit and stops is no longer at “Khmartsa”, but at Fifth Line, 10, near Shileika’s apartment, .

• 1914-1917 - Tuchkova embankment, 20, apt. 29;
• 1915 - Velika Pushkarska, bud. 3. In kvitna - travni 1915 r. I rented a room in my little cabin; Her notes suggest that she called this little house the Pagoda.
• 1917-1918 - apartment of Vyacheslav and Valeria Sreznevsky - Botkinska street, 9;
• 1918 – Shileiko’s apartment – ​​the outbuilding of the building No. 34 on the Fontanka embankment (also known as the Sheremetyev Palace or “Fontany Budinok”);
• 1919-1920 - Khalturina street, 5; an apartment with two rooms on the other side of the service building on the rose Millionnaya Street and Suvorovskaya Square;
• spring 1921 rock - mansion of O. N. Narishkina - st. Sergievska, 7, apt. 12; and then booth No. 18 on the Fontanka embankment, the apartment of O. A. Glibovoy-Sudeykina’s friend;
• 1921 rіk - sanatorium - Dityache Selo, Kolpinska street, 1;
• 1922-1923 rocks - near-butkovy budinok - Kazanska vulitsa, 4;
• end 1923 – beginning 1924 rock – Kazanska street, 3;
• summer - autumn 1924-1925 rocks - embankment of the Fontanka river, 2; the booth stands opposite the Summer Garden along the branch of the Fontanka, which is on the Neva;
• autumn 1924 r. - Lyuty born 1952 - outdoor courtyard wing of the palace of D. N. Sheremetev (apartment of N. N. Punin) - embankment of the Fontanka River, 34, apt. 44 (“Fontanniy Dim”). Guests of Akhmatova’s service began to pass through the passage, which at that hour was there; Akhmatova herself had a permanent signet with the signet “Sevmorshlyakha”, where the column “posad” indicated “tenant”;
• summer 1944 – Kutuzov embankment, quarter on top of Budinka No. 12, Ribakovich’s apartment, for an hour to renovate the apartment near the Fountain Budinka;
• lyuty 1952-1961 - pributkovy booth - Chervona Kinnitsa street, 4, apt. 3;
• The last fates of life in booths No. 34 on Lenina Street, where apartments were given to a large number of poets, writers, literary scholars, and critics;

Moscow

Coming to Moscow in 1938-1966, Anna Akhmatova chatted with the writer Viktor Ardov, whose apartment was located at Velika Ordinka, 17, bldg. 1. She lived and worked here for a long time, and she and Marina Tsvetaeva passed away here in the early days of 1941.

Tashkent

Komarov

While the “booth” was cleared out in 1955, Ganna Andriivna lived with her friends, the Getovichs, at 36, 2nd Dachna Street.

Vidomy's picturesque portrait of Anni Akhmatova, written by K.S. Petrov-Vodkin 1922 fate.

Petersburg

In St. Petersburg, monuments to Akhmatova are erected in the courtyard of the Philological Faculty of the State University and in the garden in front of the school on Povstannya Street.

Before you arrive, you need to register 1 month<яц>do not leave the house, but go to the window so that you can see me from the garden. They placed lava in the garden under my window, and the agents were kissing on it.

She lived at the Fontanny Budinka, where the Akhmatova Literary and Memorial Museum is located, for 30 years, and called the garden of the Budinka “magical.” Behind these words, “shades of St. Petersburg history come here”.

Muzej Akhmatovoj Fontannyj Dom.jpg

Museum of Annie Akhmatova at the Fountain Budinka (entrance
from Livarny Avenue)

Muzej Akhmatovoj v Fontanogom Dome.jpg

Museum of Annie Akhmatova at the Fountain House

Sad Fontannogo Doma 01.jpg

Garden of the Fountain Budinka

Sad Fontannogo Doma 02.jpg

Garden of the Fountain Budinka

Dver Punina Fontannyj Dom.jpg

Doors of apartment No. 44
at the Fountain Budinka,
Where did M. Punin live?
A. Akhmatova

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Lava of informers near the garden of the Fountain Budinka. Architect V. B. Bukhaev. 2006

Moscow

On the wall there is a booth where Ganna Akhmatova stood, coming to Moscow (Velika Ordinka Street, 17, building 1., Viktor Ardov’s apartment), and there is a memorial plaque; In the courtyard there is a monument commemorating the baby of Amadeo Modigliani. In 2011, an initiative group of Muscovites, united by Oleksiy Batalov and Mikhail Ardov, came up with a proposal to open an apartment-museum of Annie Akhmatova here.

Bezhetsk

Tashkent

Cinematography

On the 10th of February 1966 in Leningrad, an unauthorized funeral service, a huge funeral service and a funeral for Annie Akhmatova were held in Leningrad. The organizer of these events is director S. D. Aranovich. You were assisted by cameraman A.D. Shafran, assistant cameraman V.A. Petrov and others. In 1989, materials were collected by S. D. Aranovich from the documentary film “Specialist on the Right Anni Akhmatova”

In 2007, the biographical series “A Month at the Zenith” was filmed based on the motives of Akhmatova’s unfinished song “Prologue, or the Dream is a Dream.” The leading role is played by Svetlana Kryuchkova. The role of Akhmatova in dreams is played by Svetlana Svirko.

2012 on the screen of Viyshov the series “Hanna Herman. The prison of the white angel." In the episode of the series, which depicts the life of the sleeping family in Tashkent, Annie's mother's mother and her poetes were shown. The role of Anni Akhmatova is played by Yulia Rutberg.

Otherwise

The Akhmatova crater on Venus and the double-deck passenger motor ship of Project 305 “Danube”, launched in 1959 in Ugorshchina, are named after Annie Akhmatova (the name “Volodymyr Monomakh” is correct).

Bibliography

Lived Vidannya

The most important posthumous sightings

• Akhmatova A. Vibrane / Order. that entrance Art. M. Bannikova. - M: Artistic literature, 1974.
• Akhmatova A. Vershy and prose. / Order. B. G. Druyan; entry article by D. T. Khrenkova; prepared texts by E. G. Gershtein and B. G. Druyan. – L.: Lenizdat, 1977. – 616 p.
• Akhmatova A. Vershi and eat. / Arrangement, preparation of the text and notes by V. M. Zhirmunsky. – L.: Rad writer, 1976. – 558 p. Circulation 40,000 copies. (Library of the poet. Great series. Another vision)
• Akhmatova A. Virshi / Order. that entrance Art. M. Bannikova. - M: Glad. Russia, 1977. – 528 p. (Russia is poetic)
• Akhmatova A. Vershi and eat / Order., entry. Art., straight. A. S. Kryukova. - Voronezh: Central-Chornozem. book view, 1990. – 543 p.
• Akhmatova A. Create: U 2 vols. / Order. and preparation of the text by M. M. Kralin. – M.: Pravda, 1990. – 448 + 432 p.
• Akhmatova A. Collection of works: U 6 vols. / Order. and preparation of the text by N.V. Korolova. - M: Ellis Lak, 1998-2002.
• Akhmatova A. - M. - Torino: Einaudi, 1996.

Make music

• Opera "Akhmatova", premiere in Paris at the Opéra Bastille on 28 February 2011. Music by Bruno Mantovani
• “Chitki”: vocal cycle by A. Lur’ie, 1914
• “The Five Verses of A. Akhmatova”, vocal cycle by Z. Z. Prokofiev, op. 27, 1916 (No. 1 “The sun filled the room”; No. 2 “Spiritual tenderness...”; No. 3 “Memory of the sun...”; No. 4 “Good day!”; No. 5 “The Gray-Eyed King”)
• “Venice” - a song from the album Masquerade of the Caprice group, dedicated to the poets of the Srebny century. 2010
• “Anna”: ballet-mono-opera in two acts (music and libretto - Olena Poplyanova. 2012)
• “White Stone” is a vocal cycle by M. M. Chistova. 2003
• “Chaklunka” (“No, Tsarevich, I’m not the same...”) (music - Zlata Razdolina), Vikonian - Nina Shatska ()
• “Zbentezhennya” (music – David Tukhmanov, Vikonavik – Lyudmila Barikina, album “According to my memory”, 1976)
• “I stopped laughing” (music and music – Oleksandr Matyukhin)
• “My heart beats”, verse “Bachu, Bachu my month-old” (music – Volodymyr Yevzerov, Vikonavets – Aziza)
• “The place of wisdom is justice, freshness” (music and victorious music – Oleksandr Matyukhin)
• “Vinnik”, verse “And the sickle flowers have jasmine” (music – Volodymyr Yevzerov, Vikonian – Valery Leontyev)
• “Dear Mandrivnik”, verse “Dear Mandrivnik, you are far away” (Vykonovets - “Surganova and Orchestra”)
• “Ah, I didn’t fix the doors” (music and music – Oleksandr Matyukhin)
• “Self-ness” (music -?, Vikonavets - trio “Meridian”)
• “The Gray-faced King” (music and vikonavets - Oleksandr Vertinsky)
• “It would be better if I had a part of the zaderikuvato vyklikati” (music and vikonavets - Oleksandr Vertinsky)
• “Zbentezhennya” (music – David Tukhmanov, vikonovets – Irina Allegrova)
• “How to command is simple monstrosity” (music and vikonavets - Oleksandr Matyukhin)
• “I fell in love, about the wonderful lad” (music - Volodymyr Davidenko, Vikonavets - Karina Gabriel, song from the TV series "Captain's Children")
• “The Sirkay King” (music and royalty - Oleksandr Matyukhin)
• “Those Nights” (music – V. Yevzerov, Vikonaviets – Valery Leontyev)
• “Zbentezhennya” (music and vikonavets – Oleksandr Matyukhin)
• “The Shepherd”, verse “Over the Water” (music – N. Andrianov, Vikonaviets – Russian folk metal band “Kalevala”)
• “I’m not completely dependent” (music and music – Oleksandr Matyukhin)
• “Above the Water”, “Garden” (music and music – Andriy Vinogradov)
• “You are my leaf, dear, not your breasts” (music and vikonavets - Oleksandr Matyukhin)
• “Oh, life without tomorrow” (music – Oleksiy Ribnikov, Wikonovets – Diana Polentova)
• “Khannya supports deceitfully” (music and vikonavets – Oleksandr Matyukhin)
• “Don’t turn around” (music – David Tukhmanov, vikonavets – Lyudmila Gurchenko)
• “Requiem” (music by Zlata Razdolina, Vikonian Nina Shatska)
• “Requiem” (music – Volodymyr Dashkevich, Vikonavets – Olena Kamburova)
• “The Sirkay King” (music and royalty - Lola Tatlyan)
• “Dudochka”, verse “Over the Water” (music – V. Malezhik, Vikonavet – Russian ethno-pop singer Varvara)
• “Come and marvel at me” (music by V. Bibergan, Vikonavets – Olena Kamburova)

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Literature

• Eikhenbaum, B.. Pg., 1923
• Vinogradov, V. St. About the poetry of Annie Akhmatova (stylistic drawings). - L., 1925.
• Ozeriv, L. Melodica. Plastic. Dumka // Literary Russia. - 1964. - 21 sickles.
• Pavlovsky, O. Anna Akhmatova. Drawing creativity. - L., 1966.
• Tarasenkov, O. M. Russian songs of the XX century. 1900–1955. Bibliography. - M., 1966.
• Dobin, E. WITH. Poetry of Annie Akhmatova. – L., 1968.
• Eikhenbaum, B. Statistics about poetry. - L., 1969.
• Zhirmunsky, St. M. The creativity of Anni Akhmatova. - L., 1973.
• Chukovska, L. Do. Notes about Anna Akhmatova. y 3 t. – Paris: YMCA-Press, 1976.
• About Anna Akhmatova: Vershi, ese, guess, leaves. L.: Lenizdat, 1990. – 576 p., ill. ISBN 5-289-00618-4
• Tell me about Anna Akhmatova. - M., Rad. writer, 1991. – 720 pp., 100,000 approx. ISBN 5-265-01227-3
• Babaev E. G.// Secrets of craft. Akhmativsky reading room. VIP. 2. - M.: Spadshchina, 1992. - P. 198-228. - ISBN 5-201-13180-8.

• Losievsky, I. I. Anna of Russia: Life of Annie Akhmatova. – Kharkiv: Oko, 1996.
• Kozak St. Lexicon of Russian literature of the 20th century = Lexikon der russischen Literatur ab 1917 / [Trans. with him.]. -M. : RIC “Culture”, 1996. – XVIII, 491, p. - 5000 copies. - ISBN 5-8334-0019-8.
• Zhovkivsky, A. K.// Zirka. - . - No. 9. - pp. 211-227.
• Kikhney, L. G. Poetry of Annie Akhmatova. Secrets of craft. – M.: “Dialogue MDU”, 1997. – 145 p. ISBN 5-89209-092-2
• Katz, B., Timenchik, R .
• Reminders of culture. New insights. 1979. – L., 1980 (shorichnik).
• Goncharova, N.M."Fate of the Libels" by Annie Akhmatova. - M.-St. Petersburg: Summer Garden; Russian State Library, 2000. - 680 p.
• Trotsik, O. A. The Bible in the artistic world of Annie Akhmatova. - Poltava: POIPPO, 2001.
• Timenchik, R. D. Anna Akhmatova in the 1960s. - M: Aquarius Publishers; Toronto: University of Toronto (Toronto Slavic Library. Volume 2), 2005. – 784 p.
• Mandelstam, N.M. About Akhmatova. - M: Nove Vidavnitstvo, 2007.

Was born near Odessa (Great Fountain). Daughter of mechanical engineer Andriy Antonovich Gorenka and Inni Erazmovna, nee Stogovaya. As a poetic pseudonym, Anna Andrievna took the nickname of her great-grandmother Tatar Akhmatova.

1890 rub. Gorenko's homeland moved to Tsarskoye Selo near St. Petersburg, and Anna lived until she was 16. It began at the Tsarskoye Selo gymnasium, in one of the classes of which the future man Mikola Gumilyov began. U 1905 r. My family moved to Evpatoria, and then to Kiev, de Ganna completed her gymnasium course at the Funduklia Gymnasium.

Akhmatova's first crown was worn in Paris in 1907. from the magazine “Sirius”, which seems to be Russian. 1912 r. Vershy’s first book “Evening” was published. At that time, she was already signing under the pseudonym Akhmatov.

The 1910s have rocks. Akhmatova’s creativity was closely connected with the poetic group of acmeists that took shape in the spring of 1912. The founders of acmeism were Sergey Gorodetsky and Mikola Gumiliov, born in 1910. becoming Akhmatova’s man.

Because of her bright personality, talent, and witty intelligence, Ganna Andrievna earned the respect of the poets who were dedicated to her, the artists who painted her portraits (N. Altman, K. Petrov-Vodkin, Yu. Annenkov , M. Sar'yan then) . . Composers created music on this work (S. Prokof'ev, A. Lur'ie, A. Vertinsky, etc.).

1910 rub. She visited Paris, where she became acquainted with the artist A. Modigliani, who painted a number of her portraits.

Along with her great fame, she had the opportunity to experience many special tragedies: in 1921. Gumilyov's man was shot in the spring of 1924. A resolution was issued by the Central Committee of the All-Union Communist Party of Bolsheviks, which actually defended Akhmatova’s fight against each other. The 1930s have rocks. Repressions did not hit all of our friends and like-minded people. The stench touched the people closest to them: first of all the arrests and exiles of their son Lev Gumiliov, then another man, the mystical scientist Mikola Mikolayovich Punin.

With the rest of her life, while living near Leningrad, Akhmatova worked extensively and actively: in addition to completing her works, she was engaged in translations, wrote memoirs, etc., preparing a book about A.S. Pushkin. The recognition of the poet’s great services to world culture was awarded in 1964. International Poetry Prize "Etna Taormina", and his scientific work was awarded the honorary degree of Doctor of Letters from the University of Oxford.

Akhmatova died at a sanatorium near Moscow. She was buried near the village of Komarov near Leningrad.

And not just a simple khan, but Akhmat himself - the remaining khan of the Golden Horde, Genghis Khan's successor. This popular myth began to be created by the most poetic even in the 1900s, when there was a need for a literary pseudonym (Akhmatova’s proper nickname is Gorenko). “And even a seventeen-year-old girl could have taken the Tatar nickname for Russian poetry...” Lydia Chukovskaya recalled her words. A similar move for the era of the Sreebny century would not be so reckless: the hour would see the emergence of new writers of artistic behavior, vivid biographies and rich names. In whose sense the name of Ganna Akhmatova miraculously met all the criteria (the poetic ones - it created a rhythmic baby, a subversive dactyl, and little assonance on “a”, and the life-creators wore a flair of secrecy).

Before the legend about the Tatar Khan, it was formed later. The real family, without investing in the poetic legend, Akhmatova remade it. Here you can see the biographical and mythological plan. The biographical point lies in the fact that the Akhmatovs were actively present in the poet’s family: Paraska Fedosievna Akhmatova was a great-grandmother on her mother’s side. At the top, the line of devotion is close (the marvelous cob of “The Tale of the Black Ring”: “Men like a Tatar grandmother / There were rare gifts; / And now I am baptized, / The yonder rotted bitterly”). The legendary plan is associated with the Ordina princes. As shown by the successor Vadim Chornikh, Paraska Akhmatova was not a Tatar princess, but a Russian noblewoman (“The Akhmatovs are an old noble family, which, perhaps, resembled the serving Tatars, but were Russified a long time ago”). There is no current information about the march of the Akhmatov family from Khan Akhmat or the rise of the Chingizid Khan family.

Another myth: Akhmatova was famously beautiful

There are a lot of memoirs that contain buried memories about the life of the young Akhmatova (“Hanna Akhmatova remembered most beautifully. Thin, tall, string, with a proud turn of her small head, wrapped in a colorful shawl, Akhmatova Bula looked like Gitana... without falling in love with her" , - thought Ariadna Tirkova; “She was even more beautiful, everyone on the street was staring at her,” writes Nadiya Chulkova).

Those close to her wrote that the woman was not incredibly beautiful, but rather impressive, with charm to remember, and a special charm. “...You can’t call her beautiful, / But all her happiness is mine,” Gumilyov wrote about Akhmatova. Critic Georgy Adamovich said:

“Now, in the rumors about her, they sometimes call her the beautiful one: no, she was not the beautiful one. Ale she was bigger, less beautiful, more beautiful, less beautiful. “I have never had the opportunity to show off a woman, exposing the whole image of her everywhere, among all the beauties, revealing her virility, indescribable spirituality, which immediately attracted respect.”

Akhmatova herself assessed herself this way: “All my life I could look at the beautiful women, from their beauty to their virgo.”

Myth three: Akhmatova brought the mischief-maker to suicide, which she then described at the top

Please confirm this with a quote from Akhmativ’s poem “The high crypt of the church...”: “The high crypt of the church / The blue, lower heavenly firmament... / Forgive me, joyful lad, / That I brought you death...”

Everything is both true and untrue at the same time. As the investigator Natalia Kraineva showed, Akhmatova, in truth, had “her own” self-destructor - Mikhailo Lindeberg, who ended his life through unfortunate death until death on the 22nd of 1911. Ale Versh “High Crypt to the Church...” written in 1913 due to the hostility of another young man, Vsevolod Knyazev, who was suddenly married to Akhmatova’s friend, dancer Olga Glebova-Sudeikina. This episode will be repeated in other vertices, for example in "". In “A Sing without a Hero” Akhmatov depicts Knyazev’s suicide as one of the key episodes of the work. The sophistication of the soul that married friends, in Akhmatova’s historical and philosophical concept, could all be combined into one guess: it is not without reason that in the margins of the autograph of the “ballet libretto” before “Sing” there appears a badge with Linde’s name berg and the date of his death.

Myth of the fourth: Akhmatova was subjected to an unlucky misfortune

This is the kind of insight that comes to mind after reading any book of great poetry. Along with the lyrical heroine who deprives her khans to her powerful will, the tops also have a lyrical mask of a woman who suffers from an undivided khan (“Today they didn’t bring me leaves...”, “Evenings”, the cycle “Zbentezhen”) nya" too) d.). The proto-lyrical outline of the books of the past always reflects the biography of the author: they like Boris Anrep, Arthur Lurie, Mikola Punin, Volodymyr Garshin and others like them in return.

Myth of the fifth: Gumilyov is Akhmatova’s one khan

Akhmatova's love affair with the singer Mikola Gumiliov. In 1918 to 1921, Bula washed with an amplifier asyrologist Volodimyr Shileik (OFICIO STONITH RASELATED in 1926 Rotsi), and to 1922 to 1938 RIK excited from the cyvy gateway to Misetza Puniy. The third, without formal registration, sent through the specifics of the time of his birth: after separation, the girlfriend continued to live in the same communal apartment (in different rooms) - and finally after the death of Punin, staying in Leningrad, Akhmatova continued to live with her homeland.

Gumilyov also re-befriended 1918 fate - with Anna Engelhardt. But in the 1950s and 60s, when “Requiem” gradually reached readers (in 1963 the poem was published in Munich) and the interest of Gumiliov, who was exiled in the USSR, became discarded, Akhmatova took upon herself the “mission” of the poet’s widow (Engelhardt until that hour was also not alive). A similar role was played by Nadiya Mandelstam, Olena Bulgakova and other squads of writers who went on preserving their archives and caring about posthumous memory.

Myth of the Great: Gumilyov vs. Akhmatova

Such a concept has been attempted more than once by both modern readers and contemporary poets. It’s not surprising: perhaps the third top of the poet was recognized in the cruelty of the man and the kohan: “...My man is a cat, and his house is a relationship,” “It’s all the same, you’re lewd and evil...”, “We’re pointing at the left side with charcoal.” / A place where to shoot, / To let the bird out - my tightness / The desert will never again. / Mily! don't shake your hand. / And I don’t have to endure much...", ", / With a folded belt" and so on.

Poet Irina Odoevtseva, in her memoirs “On the Banks of the Neva,” recalls Gumilyov’s storm from this drive:

“Vin [sings Mikhailo Lozinsky] told me that the studios would gradually drink him up, and it’s true that I respected Akhmatova’s friendship from the very beginning... Lozinsky, of course, tried to overcome them.
<…>
<…>Singingly, and you, like everyone stinks, they repeated: Akhmatova is a martyr, and Gumilyov is an inhuman.
<…>
Lord, what a fool!<…>...When I realize how talented I am, I will harm myself by constantly hanging in the first place.
<…>
How many rocks have passed, but I still feel the image and the pain. How unfair and vile this is! So, of course, there were vertices that I didn’t want her to fight, and that’s all. I would like axle:
The man splashes in me with our eyes,
Double fold the belt.
Even if I think about it, through the ranks I have become known as a sadist. About me, they let a bit about me, I put the tailcoat (and in the Men Torka Todi Shchelo) і Tsilindre (Tsilindr at Men, True, Buv), the head of the vezerunim, the firm with the belt is not the tilki - Akhmatov, but the young young people the sneaky one, who first stripped them naked.”

It is noticeable that after the separation from Gumilyov and after the love affair with Shileik, the “beatings” did not stop: “In the face of your mysterious love, / As in pain, I scream, / Became yellow and fitful, / I drag my feet like ice,” “And into the oven i The dragon has no mercy, no law. / And hang on the batig station, / So that they don’t sing my song” - and so on.

Myth: Akhmatova was an important opponent of emigration

This myth of creation itself is sung and actively supported by the school canon. In the spring of 1917, the Gumily family saw the possibility of moving beyond the cordon for Akhmatova, informing her about it from London. Let's go from Petrograd and Boris Anrep. On this proposition, Akhmatova confirmed the verse we know in the school curriculum as “I have a voice...”.

Fans of Akhmatova’s creativity know that this text is actually another part of the truth, less unambiguous behind its place - “If in the ace of self-destruction...”, where the poet reveals not only about her principled choice, but also about her desires, upon which decisions are made .

“I think I can’t describe how much I really want to come to you. I ask you - please, let me know that you are my friend...
I’m healthy, I’m already getting around in the village and I’m thinking with longing about the winter in Bezhetsk.<…>How wonderful it is for me to remember that the winter of 1907 rock you in the skin leaf clicking me to Paris, but now I don’t know at all what you want me to do. Let me always remember that I remember you already, I love you so much, and that without you I will never be happy. I am deeply amazed at what is happening in Russia now, God is severely punishing our land.”

Apparently, Gumilyov’s main leaf is not a proposition before leaving the cordon, but a response to its passage.

After I tried to leave, Akhmatova soon decided to give up and never changed her thoughts, which can be seen in other verses (for example, “You are the defender: for the island of greens...”, “Zarozumili there is the spirit of your darkness..."), and in according to daily reports. According to rumors, in 1922, Akhmatova again appears to be able to leave the country: Arthur Lure, who lived in Paris, lightly called her there, but she also sees (in her arms, according to the testimony of Confidant A Khmatova Pavel Luknitsky, there were 17 leaves z tsim prohannyam) .

Myth eight: Stalin killed Akhmatova

The poetess itself and many of its contemporary writers praised the appearance of the 1946 resolution of the Central Committee “About the magazines “Zirka” and “Leningrad””, where Akhmatova and Zoshchenko were defamed, according to what happened at one literary evening. ““I earn praise for this,” said Akhmatova about the photograph taken at one of the evenings that took place in Moscow in the spring of 1946.<…>Immediately, Stalin became angry with the harsh approach that Akhmatova’s rumors gave. In one version, Stalin asked after a certain evening: “Who organized the rise?” Nika Glen guessed. Lydia Chukovskaya adds: “Akhmatova respected that... Stalin was jealous of their ovation... Standing splashes fell on Stalin’s reconciliation, to you alone - and the rapt immediately commanded the ovation of such a cry.”

As we all know, this plot is characterized by typical guarding (“behind the sensibilities,” “respected,” etc.), which is a clear sign of premise. Stalin’s reaction, like the “quoted” phrase about “getting up”, lacks documentary evidence and reality, so this episode should not be viewed as an absolute truth, but as one of the popular, universally accepted, but not completely confirmed versions.

Myth nine: Akhmatova did not love her son

І tse negarazd. The complex story of the relationship between Akhmatova and Lev Gumiliev has many aspects. The early lyric of the poet created the image of a frail mother (“...I am a mother’s bastard,” “... Take away both the child and the friend...”, “Why, having abandoned the friend / And the curly-haired child...”), in which there was a part of biography: Childhood and Youth Lev Gumilyov lived not with his fathers, but with his grandmother, Ganna Gumilova, his mother and father came to them more than once. At the end of the 1920s, Lev moved to the Fontanny Budinka, into the family of Akhmatova and Punina.

Serious welding began after Lev Gumilyov left the camp in 1956. He could not blame his mother, as it seemed to him, of his easy-going behavior in 1946 (wonderful myth of the eighth) and such poetic egoism. However, for the sake of no one, Akhmatova not only “stood for three hundred years” in the prison chambers with the transfer and asked the most important person of her acquaintance to help the prisoners from the camp, but she went to hell, so as not to say anything about hisism: having crossed her ї perekonannya, For the sake of freedom, Akhmatova’s son wrote and published the cycle “Glory to the World!”, where she glorified the Radyan system Since Akhmatova’s first book after a significant break was published in 1958, in the author’s examples she stuck the sides with the tops of this cycle..

Throughout her life, Akhmatova repeatedly spoke to her loved ones about the importance of getting rid of hundreds of hundreds of pounds from her sons. Emma Gerstein writes:

“... she told me: “I would like to make peace with Lvoya.” I confirmed that I probably don’t want anything, but I’m afraid of supernatural praise both for her and for myself, as explained. “You don’t need to explain yourself,” Ganna Andrievna retorted bitterly. - Ishov came and said: “Mom, send me a gudzik.”

Evidently, the experience of welding with blues greatly hastened the death of the poet. In the remaining days of her life in Akhmatova’s medical ward, a theatrical performance flared up: her relatives debated whether to let Lev Mikolayovich see his mother or not to bring her son closer to singing. Akhmatova died without reconciling with her son.

Myth ten: Akhmatova sings, she cannot be called a poet

Often discussions of Akhmatova’s creativity and other aspects of her biography end in arcane terminological superlatives – “sings” and “poetsa”. They emphatically pay attention to the thought of Akhmatova herself, who proudly called herself a poet (which has been recorded by many memoirists), and urges to continue to cherish this very tradition.

However, it is important to remember the context of the life of these people since centuries ago. Poetry written by women only began to appear in Russia, and before it was rarely put into serious use (wonderful characteristic titles of reviews of books by women poets from the beginning of the 1910s: “The Wife of Handicraft”, “The Handicraft of Doubts”). That’s why there are a lot of female writers who have chosen pseudonyms for themselves (Sergiy Gedroyts. Pseudonym Viri Gedroits., Anton Krainy The pseudonym under which Zinaida Gippius wrote critical articles., Andriy Polyanin Name, taken by Sophia Parnok for publication of criticism.), or they wrote under the name of the person (Zinaida Gippius, Polixena Solovyova). The creativity of Akhmatova (and, in many ways, Tsvetaeva) has completely changed the production to poetry created by women, as to the “inferior” directly. As early as 1914, the review of “The Rosary” by Gumilyov began to make a symbolic gesture. Having called Akhmatova a poet a number of times, she finally hears her song: “That connection with the light, which I have spoken about above all, and which is the share of the skin-related poet, Akhmatova may have reached.”

In the current situation, when the merits of the poetry created by women no longer need to be conveyed to anyone, in literary studies it is customary to call Akhmatova’s poetry, apparently in line with the illegally accepted norms of Russian language.

One of the most beautiful, original and talented poets of the Srebny century, Ganna Gorenko, best known to her friends as Akhmatova, lived for a long time and was saturated with the tragic aspects of life. This proud and at the same time ambitious woman has witnessed two revolutions and two world wars. Her soul was seared by repression and the death of those closest to her. The biography of Anni Akhmatova is similar to the novel and film adaptation, which was repeatedly worked on by both her companions and later generations of playwrights, directors and writers.

Ganna Gorenko was born in 1889 in the family of a wealthy nobleman and a retired mechanical engineer for the fleet, Andriy Andriyovich Gorenko, and Inni Erazmovna Stogova, who lived before the creative elite of Odessa. The girl was born in the middle part of the town, in a budinka that grew up in the area of ​​the Great Fountain. Vaughn appeared third in seniority out of sixty children.

When the children grew up, their fathers moved to St. Petersburg, where the head of the family abandoned the rank of wheeled assessor and became an official of the State Control for special darlings. My family settled in Tsarskoe Selo, with which all the children of Akhmatova’s legacy are connected. The nanny took the girl for a walk to Tsarskosilsky Park and other places, as they still remembered. Children were taught secular etiquette. Read Anya learned the alphabet, and learned French language in her early childhood, hearing how the teacher taught it to the older children.

The light of the future of poetry was taking place at the Mariinsky Women's Gymnasium. Anna Akhmatova began to write verses, following her affirmations, at 11 rocks. It is noticeable that poetry for her was inspired not by the works of Alexander Pushkin and, whom she fell in love with much later, but by the great odes of Gabriel Derzhavin and the verse “Frost, Red Bear,” as her mother recited.

Yuna Gorenko went to St. Petersburg the other day and considered it the main place of her life. She was already busy with streets, parks and the Neva River when she had the chance to travel with her mother to Evpatoria, and then to Kiev. The fathers separated when the girls turned 16.

She completed her last class at home, with Evpatoria, and finished the remaining class at the Kiev Fundukle Gymnasium. After completing her studies, Gorenko becomes a student of the Higher Women's Courses, having chosen the Faculty of Law. If Latin and the history of law aroused her keen interest, then jurisprudence became boring until the end, so the girl continued to study in her beloved St. Petersburg, at the historical and literary women's courses of N. P. Raev .

Vershi

With the Gorenko family, I hope not to do anything, “as far as I can tell.” My mother Inny Stogova also knew a distant relative, Ganna Bunin, a translator and poet. Father did not praise Donka’s buried poetry and asked him not to spoil his nickname. Therefore, Ganna Akhmatova never signed her masters with the proper nickname. In her family tree, she found a Tatar great-grandmother who had been in line with the Khan of Orda, Akhmat, and thus became Akhmatova.

In her early youth, when the girl began her studies at the Mariinskaya Gymnasium, she met a talented boy, known to the singer Mikola Gumilyov. Both in Evpatoria and in Kiev the girl was flirting with him. In the spring of 1910, the smell ended at the St. Nicholas Church, which today stands near the village of Mykylska Slobidka near Kiev. At that time, Gumilyov was already a singer and was known in literary circles.

The young people celebrated their honeymoon holiday before Paris. This was Akhmatova’s first meeting with Europe. After returning, the man saw his talented squad in the literary and artistic stake of St. Petersburg, and they were immediately noted. From the very beginning, everyone was struck by the unprecedented, majestic beauty of that royal setting. Smagly, with a prominent hump on her nose, the “Ordinary” appearance of Anni Akhmatova captivated the literary bohemia.

Invariably, St. Petersburg writers embrace the fullness of creativity and its own beauty. Anna Akhmatova’s verses about khannya, she herself seemed to have lived through her entire life, writing about the crisis of symbolism during the hours. Young singers try themselves in other trends that have come into fashion - futurism and acmeism. Gumilova-Akhmatova is gaining popularity as an Acmeist.

The year 1912 marks a breakthrough in her biography. The only son of the poet, Lev Gumiliov, remembers this memorable fate, and his first collection is published in a small edition under the title “Evening”. On the slope of fate, a woman who has gone through the entire period in which she was born and created, called her first creations, “with the poor vertices of an empty girl.” It was then that Akhmatova’s leaders found the first of their rogues and brought her popularity.

After 2 days, a friend’s collection comes out, called “Chitki”. And this is already a true triumph. Fans and critics are eager to admire her creativity, elevating it to the rank of fashionable poetry of the hour. Akhmatova does not need human protection. Their names sound louder than those of Gumilyov. In the revolutionary year of 1917, Anna released her third book, “Bila Zgraya.” It will be published in a significant circulation of 2 thousand copies. The couple separates in the turbulent 1918.

And Mikola Gumilov, a young man born in 1921, was shot. Akhmatova was very concerned about the death of her son’s father, the man who introduced poetry to the world.

In the mid-1920s, important times were approaching for poetry. There under the sawing respect of the NKVS. Don't be upset. Akhmatova’s verses are written “at the table”. Many of them were lost during the hour of moving. The last collection was published in 1924. “Provocative”, “decadent”, “anti-communist” ideas – such a brand on creativity cost Ganna Andrievna dearly.

The new stage of her creativity is closely related to her soul-crushing worries for her family. In front of us, for our son Lovushka. In the late autumn of 1935, the first alarm bell rang for the woman: another man, Mikola Punina, and her son were immediately arrested. They are released for a few days, but there will be no more peace in life. From this moment you can feel how the ring of re-examination is shrinking around her.

After 3 years, Sina was arrested. He was sentenced to 5 years of legal labor camps. Why the terrible fate did the lovers of Anni Andrievna and Mikoli Punina fall into? The mother was born to carry the transfer to her sons in Chresti. The famous “Requiem” by Annie Akhmatova is coming out.

In order to make his son’s life easier and get him out of the camps, a poem just before the war, in 1940 he published a collection of “Six Books.” Here are collected old censored ideas and new ones, “correct” according to the ruling ideology.

Ganna Andrievna spent the Great Vietnamese War in evacuation, in Tashkent. Immediately after the victory, she turned to liberated and destroyed Leningrad. The stars are constantly moving to Moscow.

Ale gloomy, when the ice parted above his head - the son was released from the camp - the thickening began again. In 1946, her creativity was crushed at the final meeting of the Writers' Assembly, and in 1949, Lev Gumilyov was arrested again. How many times was he sentenced to 10 years of imprisonment? The evil wife is unfortunate. Look at the lament and repentance of the Politburo, but no one hears them.

After coming out of this illness, the relationships between my mother and son became strained for a long time: Lev respected that his mother put creativity first, which she loved more than anything else. He moves away from her.

The dark clouds over the head of this famous, but deeply unfortunate woman will only dissipate towards the end of her life. In 1951, it was reinstated in the Spiltsa of Writers. Versha Akhmatova is fighting. In the mid-1960s, Anna Andrievna won the prestigious Italian prize and released a new collection, “The Time is Running.” And as you know, Oxford University offers a doctorate degree.

As luck would have it, the poet and the writer found their own home with their lights. The Leningrad "Literary Fund" saw her modest wooden dacha in Komarovoye. This is a crappy little little building, which consists of a veranda, a corridor and one room.

All the “furniture” is very light, as the legs were folded, the table, the door frames, the little Modigliani on the wall and the old icon that belonged to the first man.

Special life

This royal woman has little wondrous power over the people. In her youth, Hanna was a fantastic little beast. It seemed like she could easily bend over backwards, with her head exposed. Once upon a time, Mariinka’s ballerinas opposed this incredible natural plasticity. And she also had marvelous eyes that changed color. Some said that the eyes were like Akhmatova’s sulphur, others insisted that they were green, and still others sang that the stench was sky-blue.

Mikola Gumilyov began to laugh at Gannu Gorenko at first sight. But the girl was divine in the eyes of Volodimir Golenishchev-Kutuzov, a student who did not waste his greedy respect on her. The young high school student was suffering and still wanted to hang herself from a flower. Luckily, it licked out of the clay wall.

It seems that the daughter took away from her mother’s misfortunes. Marriage to three official men did not bring happiness. In particular, the life of Ganni Akhmatova was chaotic and, I think, disorganized. They celebrated her, they celebrated her. The first man carried love to Annie throughout his short life, and then an amorous child appeared, as everyone knew. Moreover, Mikola Gumilyov did not understand why the Kohan’s squad, in his opinion, is not at all a poetic genius, calls out such burying and exaltation among the youth. Annie Akhmatova’s poems about the farm seemed too long and overwhelming.

Zhreshta stinks parted.

After the separation from Anna Andrievna, there was no love from the rogues. Count Valentin Zubov gave her the pieces of expensive trojans and thirds as one of his presence, but the beauty was given to Mikola Nedobrovo. However, without ever changing Boris Anrepa.

Another marriage to Volodymyr Shileik tormented Hanna so much that she let in: “Separation... How can I feel this!”

Through the river after the death of the first person, she separates from the other. And after a while they become friends. Mikola Punin is a mysticist. Unfortunately, Annie Akhmatova’s life did not work out for him.

The intercessor of the People's Commissar for Lunacharsky is Punin, who gave shelter to the homeless Akhmatova after separation, without making her happy. The new squad lived near the apartment together with a large squad of Punin and his daughter, giving pennies until the end of the day. Son Leo, having arrived at his grandmother’s, settled down for the night in the cold corridor and felt like an orphan, forever deprived of respect.

The life of Annie Akhmatova will change little after her relationship with the doctor-pathologist Garshin, but before the party itself, he had heard of his late mother, who told her not to take the chaklunka into the cabin. The friends were pinched.

Death

The death of Annie Akhmatova on February 5, 1966 seems to have shocked everyone. Although at that time she had already achieved 76 deaths. She had been ill for a long time and seriously. The poet died at a sanatorium near Domodedovo near Moscow. Before her death, she asked to bring her the New Testament, the texts of which she wanted to compare with the texts of the Qumran manuscripts.

They rushed to transport Akhmatova’s body from Moscow to Leningrad: the government had no patience with dissident thieves. Pokhovali їїї on Komarіvsky tsvintari. Before their death, the sons and mothers could not reconcile: the stench did not clump together for a long time.

At the grave of his mother, Lev Gumiliov placed a stone wall with an end, which symbolizes the wall in Khresty, where she carried her transfer. A wooden cross stood on top of the grave, as Ganna Andrievna requested. Already in 1969 the cross appeared.

The Annie Akhmatova Museum is located near St. Petersburg on Avtovsky Street. Another discovery at the fountain booth, she lived for 30 years. Later museums, memorial plaques and bas-reliefs appeared in Moscow, Tashkent, Kiev, Odessa and many other places where the muse lived.

Vershi

• 1912 – “Evening”
• 1914 – “Chitki”
• 1922 – “Bila Zgraya”
• 1921 – “Plantain”
• 1923 - "Anno Domini MCMXXI"
• 1940 – “Three Six Books”
• 1943 - “Anna Akhmatova. Vibran"
• 1958 – “Anna Akhmatova. Vershi"
• 1963 – “Requiem”
• 1965 – “Big Time”

Phaedra with shalyu, chaklunka, princess of the sea...
Nathan Altman. Portrait of Anni Akhmatova

At the beginning of the last century, not all men loved female singers. Some people don’t like them, as if they were more modest, for those who dare to write vertices. This destroyed all patriarchal traditions and bonton attitudes. About one of these friends, the elder Akhmatova wrote the following: “When we talked about summer and about those who sing, the women are stupidity.” . Possibly, none other than the first person of the author of “Chitok” – Mikola Gumilyov. We think so, because we have also become overwhelmed when we see ladies with embroidery - those who claim honor to high poetry. The culprits worked only for Irina Odoevtseva, and only for the fact that she was once his student, whatever that meant, only God knows.

But Akhmatova and Gumiliova had nothing but surprises: to turn back from the heroic fields of Abyssinia, and here - right on the platform - a squad with embroidered clothes. “Did you write?” - Pitav sings traditionally. “I wrote, Kolya,” the three-man squad said. I don’t prefer you, I don’t drink tea from the samovar - listen to the squad declaring loudly. Perhaps, it was disgraceful in front of the nasty servicemen that we could not rein in the squad. Ale Gumiliov was not without reason a gallant warrior - he fought hard to fight his teeth.

Ale tse buli sooner shanuvalniks of a poetic human. Zasudzhuvachi vershovyh viginіv. And there were also those who wished, so to speak, of bodily hidden virgins - and they all strove to discreetly that there was no need to see the ladies' side. Ivan Bunin, for example, burst into flames as if he had escaped from the Lancsug. If you don’t love a woman, if you don’t love her, what else should you indiscriminately despise? Having recognized this axis, they did not hesitate, writing: “The love affair with Akhmatova will soon end in trouble. If you don’t rob a lady like that, you’ll lose your daughter.”

First of all, it’s all a guess. We say this with a smile, because, according to the evidence of those who live in the world, Ivan Oleksiyovich did not love such people with Akhmatova. And I didn’t spit up anything there, no matter what I wanted.

Otherwise, this is a strange thing and there is no confirmation from reality. No one else said anything like that. About dead birds and chakluns - how many souls are in love. About Phaedra and her shawl - be kind. The story from the White Nothing was repeated. And from a dog.

We ask you not to be afraid of such an unforeseen leveling - all this was seen by another person of Annie Akhmatova, the asyrologist Voldemar Shileiko. After I broke up with the author of “The White Land”, I respected everything, but I couldn’t even compare the singer with the dog. So having said: Having said that, I had a place in my house for all the stray dogs, from and for Anya I knew. Having said guidota, zagalom. Ale, maybe, tse vin mav on the respect of a bohemian kublo under the obscene name “Stray Dog”, who will figure it out... And then Akhmatova herself did not hesitate to talk about this guide (she is still married to this master of cuneiform!). Vaughn, in a melodious voice, foresaw such verses in her mind: “In the face of your mysterious love, like in pain, I scream out loud. She became like a yellow woman, with seizures, and I was dragging my legs with ice.” Fu, damn it, let's just say, why is it possible to drive a woman like that? And we will not be entirely right. It’s not for nothing that the Russian people say: two fight, don’t respect the third. Let's not judge, dad.

And the axis was also art critic Mikola Punin, the third person. He is also of considerable size. He loved Akhmatova and called her “the sea princess.” We’re not talking about any “hidden virgins” to grow in size in public without getting ready - but for nothing, that’s always worth it. I would like to know that Akhmatova, through her rank, made her life “different.” And it’s a little too much for us.

It’s true that we shouldn’t be afraid to make friends, but, for example, professor-pathologist Volodymyr Garshin felt like he was at the end of his day. Perhaps, the greatness of the author of “Requiem” was angry. Akhmatova was already angry with him and in her anger she said: “I haven’t forgotten such people yet, I forgot, I’ll see you again.” It sounds unpleasant and seemingly disrespectful. Whatever you sow here, you will reap. Particularly when it comes to female singers.

But everything is so brilliant with us, so move on, let those who already loved Akhmatova pass by, and if so, they will pass by.

But the one whom Akhmatova herself loved was two foreign people - and to speak of this, the annitrochs were not confused.

First (behind the hour) was the composer Arthur Lurie. It was, of course, in 1922 that fate emigrated to somewhere from the Kraiina Rad (and having done it correctly), but it did not inspire the author of “Eat Without a Hero” to write such elaborate lines: “And in my dreams it seemed to me that I was writing a libretto for Arthur, and in with each other there is no music” And our composer, having fallen asleep behind the cordon, also wrote a lot: watching, making music before eating, one can say, appearing as one of their heroes. (I would like to call the song “Without a Hero,” but there are so many heroes there that it’s simply impossible to tell us about them all.)

Another famous person, apparently, is Ser Isaiah Berlin, an Englishman, a soldier at the embassy and a philosopher. In the poem, the story itself is seen as a “guest from the future,” and the words “nezhe” and “truth” can still be heard – obviously, a marvelous word. True, I did not manage to reach the poetic myth, which I myself recognized. Since Gumilyov was the “proud swan”, Shileiko was the “dragon with a father”, and Punin, according to the witnesses, was “the third of the poet’s matrimonial misfortunes”, then Sir Isaiah is a catastrophe, according to Akhmatova, who carried She will cover her love " infection." Ser Isaiah himself, in a similar role, appeared to be both minded and burned in no sheltered khann until the author of “Big Hour” did not want to be recognized.

I am stupidly timid. Myth is power. Especially those myths about the khan of various goddesses. Well, the stinkers of the nearby rogues don’t hesitate: they can get stuck with dogs (not stray ones, but mischievous ones) and why do they do that. Also, the love of celestials is an accessible thing. It’s better to say it, otherwise it’s as if nothing happened.