Genre Specific Character of Lyrical Communication of Anna Akhmatova

Transcription

1 Indian Journal of Science and Technology, Vol 9(36), DOI: /ijst/2016/v9i36/102015, September 2016 ISSN (Print) : ISSN (Online) : Genre Specific Character of Lyrical Communication of Anna Akhmatova Elena Vladimirovna Merkel 1, Lyubov Gennadievna Kihney 2, Tatiana Sergeevna Kruglova 3 and Dmitry Nikolayevich Zhatkin 3 * 1 Department of Russian Philology, Technical Institute (branch) of the North-Eastern Federal University, Neryungri, Russian Federation; ev.merkel@s-vfu.ru 2. Department of History of Journalism and Literature, The Institute of International Law and Economics named after A. S. Griboyedov, Moscow, Russian Federation; lgkihney@yandex.ru 3 Department of Translation and Methods of Translation, Penza State Technological University, Penza, Russian Federation; tatjana.sk@mail.ru, ivb40@yandex.ru Abstract Objectives: The article aims at understanding the features of Anna Akhmatova s lyrical addressing, focusing on the specific authorized poetic address, the recipients of which were the people from her inner circle and contemporary poets. Methods: In terms of methodology the study is based on the study of the phenomenon of dialogism of Russian poetry in general and of the Silver Age on articles and dissertations devoted to the study of literary, genetic and biographical relations of Anna Akhmatova, on the genre characteristics of her poetry, on her aesthetic concept and dialogic tactics. The analysis used the socio-cultural, biographical, comparative-historical, typological and specific historical methods of research. Findings: In the early works of Anna Akhmatova the poetological issues are resolved both in her narrow professional dialogue and in her dialogue with the reader, in which the poet acts a mentor who hasn t grasped the depth of the transcendental, but clearly sees the life as a unity of beauty and ugliness and teaches to take it as it really is. In this period Anna Akhmatova hardly enters the poetological field and does not use imperatives and invectives. The polemical pathos of the poet has enhanced significantly after the October Revolution, especially at a time when the state apparatus begins to establish total control over not only the external manifestations of life, but also on the way of thinking and hence on artistic creation. Under this condition of totalitarianism the activity of poetic communications is being increased and some kind of encryption technology is being developed, e.g. conversation in a whisper between the poets, the topic of which often becomes a reflection of the artist s choice and fate in the face of fierce pressure from outside. In the era of the Great Terror Anna Akhmatova builds several related communication strategies, depending on the type and the conditions of existence of the recipient of the text. The first strategy is implemented in a strictly secret addressing created without the inner censor and intended, first, to the providence of the reader the reader of the future; and secondly to a very narrow circle of close friends who can be trusted (for example, the poem A little bit of geography and They took you away at daybreak... addressed to the exiled Mandelstam). The second strategy was realized in the verses intended for printing; when creating them she used the restrictive mechanisms to overcome the censorship obstacles, these became the principles of the artistic structuring of texts. Novelty: The foreground of Akhmatova s poems does not contradict the generally accepted ideological canons but the second hidden background associated with forbidden political taboos or containing anti-totalitarian assessment and interpretation is understandable and accessible to the reader. Keywords: A. A. Akhmatova, Intercultural Communication, Lyrical Dialogue, Lyrics, Poetics, Silver Age of Russian Poetry, Tradition *Author for correspondence

2 Genre Specific Character of Lyrical Communication of Anna Akhmatova 1. Introduction Anna Akhmatova was actively and in different forms building a dialogue with lyrical addressees, many of which lay outside the Silver Age in the context of the big time. This purpose was caused, on the one hand, by understanding of the poet as a craftsman, who inherited the great achievements of past epochs and on the other hand as a providential interlocutor. Throughout creativity Akhmatova constantly appeals to generalized rhetoric interlocutors. For example, in the poem To the Artist (1924) 1 she develops the central image through creations of a craftsman, through the landscape embodied by him. The peculiarity of Akhmatova s poetry is that quite often the landscape (and in general a description of the surrounding) becomes an expression of the person of the lyrical interlocutor. Akhmatova even addresses to another generalized mythological companion to the Muse. In the foreground of the homonymous poem (on the first line Musesister looked in the face... 2 ) there is the conflict between creation and love and the Muse takes away happiness to be with her beloved. Similarly Akhmatova will tackle this theme further and in her late lyrics she often addresses to the Muse and other creative personalities with her reproaches ( Muse 3, To the verse 4 ; To Music 5 ). Finally, the third generalized rhetorical recipient of Anna Akhmatova is the Russian people, the generation that suffered much during the Great Terror. In short, a certain group of people united by common historical, social and spiritual clips. The generalized recipient of this type appears for example, in Requiem. It is dedicated to the women of the prison queues in Leningrad, with whom Akhmatova spent three hundred hours : Where are now my unwitting girlfriends/of two years of rabid?/ What do they fancy in a Siberian blizzard, /What do they view in a lunar circle?/to them I send my farewell greetings 6. In the epilogue of Requiem there appears another generalized recipient to whom Akhmatova addresses the descendants, who may ever conceive to erect a monument to her. Akhmatova has become almost the first mourners for the victims of Stalinist repression in Russian literature. The angle of Akhmatova s collective appeal can be as wide as possible: Abused, praised,/your voices are easy and wild./you are untranslatable/to no one language./ You will enter the oblivion,/like people enter the temple. /My blessing/i will give you to this 7. Who are these verses about? About poets? About Generation? About everybody living in Russia? This question can hardly have a definite answer. Addressing to the transcendental entities, to abstract interlocutors, personifying the sphere of art (artist, muse, poetry), to a certain mass, ideological/geographical/sociologically differentiated community of people (Londoners, immigrants, compatriots, friends or girlfriends by misfortune), Akhmatova often thought of a recipient as of a sufficiently broad and, most importantly, a modern author readership. 2. Results The main body of Akhmatova s poetological appeals may be referred to as specifically-authorized. Addressees of these poems can be divided into two major groups: relatives / neighbors who have a particular biographical connection with Akhmatova and fellow writers. Among the first are Vera Ivanova-Shvarsalon, the wife of Vyacheslav Ivanov ( The Park was filled with light fog... 8 ), Olga Glebova- Sudeikina actress and dancer ( The Voice of Memory 9 ; You prophesy, poor thing and drop your hands ), Valeria Sreznevskaya the girlfriend of her childhood ( Instead of wisdom experience, insipid 11 ), Olga Kuzmina-Karavaeva, in marriage Obolenskaya greatniece of Nikolay Gumilyov ( Escape 12 ), Nadezhda Chulkova, the wife of the writer George Chulkov ( Before the spring, there are the days ), the actress Valentina Shchegoleva ( Wailing 14 ), Natalia Rykova, the wife of the literary scholar Gregory Gukovsky ( Everything is plundered, betrayed, sold ), composer Alexei Kozlovsky ( Mother of pearl and agate ), ballet dancer Tatiana Vecheslova ( Inscription on the portrait 17 ) and others). The poems addressed to contemporary poets are of the greatest interest in terms of poetological perspective. As genre is concerned the following texts of works of Anna Akhmatova can be assigned to this group: In straps the pencil case and books were (with a dedication N.S.G<umilyov>), There is some cherished feature in close proximity of people (dedicated to N.V.N<edobrovo>), They fly. They are still on the go (dedicated to M.L.Lozinsky), As a white stone in the depths of the well (with a dedication B.V.A<nrep>) Tsarskoselskaya statue 22 (with a dedication to N.V.N<edobrovo>), Boris Pasternak 23, Voronezh 24 (with a dedication to O.E.M<andelstam>), A little bit of geography 25 with a dedication to O.E.M<andelstam>), 2 Indian Journal of Science and Technology

3 Elena Vladimirovna Merkel, Lyubov Gennadievna Kihney, Tatiana Sergeevna Kruglova and Dmitry Nikolayevich Zhatkin No, with herd persecuted by Leninka (With a dedication to O.E.M<andelstam>), Mayakovsky in , And again autumn brings down like Tamerlane ( with dedication to B.L.P<asternak>), It all belongs to you by right (with a dedication to B.L.P<asternak>), as well as the series Three Poems, dedicated to A.A. Bloc ( He s right... 30, And in the black memory of... 31, It s time to forget ). For example, in 1940, Akhmatova wrote the poem Mayakovsky in 1913, where the features of biographical image can be found (developing into a biographical myth) that had already formed around the poet. Among them are: his loud voice ( In your verses the sounds grow stronger, Every word hits his sentence,... Revocable hum of tide/is heard when you read to us 27 ), his creative and vital activity ( Young hands were not lazy,/you built a formidable forest 27 ), but at the same time his loneliness, dissatisfaction with the present ( Lonely and often unhappy 27 ) and the aspiration for a better future ( He eagerly hurried his destiny 27 ), his visionary gift ( I knew that soon you would go out cheerful and free / For your great struggle 27 ). It is important to note that, despite the objectified title that contains no reference to the addressee, still the formal and meaningful structure of a poem is done in the genre of epistles. Poetic epistles of Akhmatova tend to have direct or veiled ( esoteric ) quoting from the works of the person who she addresses. Often only the prepared reader can determine the source of foreign words of Akhmatova. Thus, the phrase You started the furious dispute with the city 27 probably dates back to the poem Terrible Hell of a City 33 by Mayakovsky, which was written in Pretext abounds infernal images of Mayakovsky s modern city. Among the specific addressable requests there should be mentioned the separate subtype of the so-called negative messages. Among these there is a poem You are an apostate: For the green island... 34, addressed to B. V. Anrep who left Russia just on the eve of the October Revolution. Akhmatova had personal relations with him and his departure caused her indignation. This text may be perceived as a love poem (as if continuing the tradition of the ancient Heroides) and as a polemical message in the spirit of philosophical and ideological and aesthetic debate of the Symbolists. Akhmatova considered that having remained at home she had a moral right to debate with those who left the country. According to her logic, the departure into exile was a kind of apostasy: You are an apostate: for the green island/you gave away your native country,/our songs, our icons,/and a quiet pine over the lake 34. One can mention the religious overtones of the message: Akhmatova depicts the escape from the native country as the death of the soul, the loss of the grace. The topic of voluntary rupture with the homeland often appears in Akhmatova s poems over the years. And often there is a reproach to those who broke away from the historical roots and one can see the idea that you need to share all the historical trials with your country. For example, in the poem I heard a voice. He called consoling... 35, implicitly addressed to B.V. Anrep, she speaks about temptation ( Leave Russia forever ) and overcoming it ( But calmly and quietly / My Hands closed my ears ). The poem I am not with those who threw away the Land 36 is performed with the similar pathos. The epistles in the event can be allocated as a separate subtype. As a rule, they are written in the early 1910s and they are a kind of poetic response to the lyrical recourse to the poet. Such works arise in the context of a friendly correspondence, for example, poem in bubbly handwriting write, Lise addressed to G. V. Ivanov. Akhmatova has two Answers, the first of which, created in 1913, is addressed to B. A. Sadovsky 38, the recipient is marked by an epigraph, taken from his poem addressed to the poet. The second Answer is a lyrical message addressed to the poet V.A. Komarovsky 39. There are not many similar poems in the event in the creation of Akhmatova and from an artistic point of view they do not occupy a significant place in her heritage. The main genre of dialogue in Akhmatova s creation becomes a dedication. As compared, for example, with a message, it is auto communicative : it is more important for the poet to show her own lyrical experience, rather than to call a person for a lyrical dialogue. However, in the creation of Akhmatova the border between the message and dedication is often blurred: This happens when the addressee is clearly present, but dialogism is manifested in the latent phase; in such cases it is advisable to use the non-strict term message-dedication. Epistlesdedications can be recognized by indirect signs, for example, an acquaintance of the author and addressee with the unique situation presented in the poem. There is another subtype of Akhmatova s specifically addressed poems these are epitaphs. In Akhmatova s works they usually have dialogical connotations due to the fact that they imply a certain transcendental response. Indian Journal of Science and Technology 3

4 Genre Specific Character of Lyrical Communication of Anna Akhmatova Akhmatova, whose works can be called Christianoriented, often carries the idea that death is not the end point of being but merely a transition to eternity. This position is within the Christian (or rather Orthodox) understanding of death: God does not have dead. She calls her addressees (O. E. Mandelstam, N. S. Gumilyov) prophets and visionaries, and herself the mourner. And the dialogue can be stretched for decades. For example, M. I. Tsvetaeva wrote a poetic message to Akhmatova in 1916 and called her The Muse of crying 40. The answer to this appeal followed only in 1940, when Akhmatova responded already to the death of M. I. Tsvetaeva. Akhmatova had a similar lyrical dialogue lasting for several decades with N. S. Gumilyov and O. E. Mandelstam. At the heart of these relations there were totalitarian problems: The tragic fate of the artist during the Great Terror. And the theme of the poet, the mourning poet, most of all a contemporary, was a common place in the works of other authors, who came from the Silver Age O. E. Mandelstam ( Memory verses of Andrei Bely 41 ), M. I. Tsvetaeva ( To Mayakovsky 42 ) and the like. This tradition will be continued by the poets of a later period, for example, Alexander Galich will publish The writer s bridges 43. The theme of terror could be expanded by poets through analogy to the great predecessors, who were also victims of State. And lyrical discussion about different models of behavior of the poet during Terror (and its analogues exile, the prisons and an approaching destruction) could be conducted. The most diverse figures could arise: From Ovid (Mandelstam) to Dante (Akhmatova). They and some other legendary writers can be called archetypes of exiled poets whose fates are repeated, but in some other historical conditions. who witnessed many poets of the Silver Age going to the other world, in due course began to feel the responsibility towards them. With time the tendencies of commemoration and epitaphs begin to become more and more important to the poet. As a result of many years of reflection on this subject becomes the cycle Wreath to the dead 44. Poems included in it began to appear as early as in the thirties and the final form the cycle acquired only in the sixties. The name of the cycle bears two meanings: On the one hand, this is an indication of one way of lyrical cyclization (compare, e.g, a wreath of sonnets ), on the other hand, it is an allusion of the construction of branches and flowers put to the grave. Thus, in terms of genre this cycle can be called a collection of epitaphs. Akhmatova tends to pay a poetic tribute to the people who played an important role in her life: beginning with her literary teachers (I. F. Annensky) and ending with the close people (N. N. Punin). The poet feels that she stayed alive in terrible years of terror and war in order to be a witness of the great change and the guardian of the memory: And you, my friends of the last call! To weep for you, my life is saved... ( In memoriam ) 45. The Wreath to the dead contains a dozen of poems, Master 46 with a dedication: In Memory of Innocenty Annensky, De profundis! My generation... 47, Four of us (Komarovsky outline) 48, I bow down over them as above the cup with a dedication to O. Mandelstam, A late response 50 with a dedication: M.TS<vetaeva>, And again autumn brings down like Tamerlane with a dedication to Boris Pasternak, the cycle of In memory of Boris Pasternak (1-2) 51, Only you will unravel all these with a dedication: In memory of Boris Pilnyak, My heart will no longer respond with dedication to N.P<unin>, As if to a distant voice I give ear 54 with a dedication to M.Z<oschenko>, In memory of Anta 55, Here am I to you, instead of burial roses with a dedication: In memory of Mikhail Bulgakov. Many of these epitaphs are not quite traditional. Akhmatova speaks with the departed as with living, as if expecting their response. This intense dialog is inspired by the fact that poet in her epitaphs relies on Orthodox tradition, postulating the immortality of the soul and the general resurrection. Perhaps the main marker of the expected response is a lyrical appeal to the other party in the second person. This pro-nominal position is found in about one third of poems of the cycle. Akhmatova refers to Bulgakov, Pilniak, Mandelstam, Punin and Tsvetaeva in the first person (as to thou). Virtually all of the addresses of messages in Wreath to the dead entered the life of Anna Akhmatova not only as relatives and friends but also as artists, whose word had played an important role in her development as a poet. This creative community is embodied in the cycle through all sorts of intertexts: Beginning with epigraphs and ending with quotations and allusions. For example, in a poem dedicated to O. E. Mandelstam Akhmatova seeks to restore his artistic style, as well as to enter a number of important images of his work to the text. Already in the first quatrain there appears news, 4 Indian Journal of Science and Technology

5 Elena Vladimirovna Merkel, Lyubov Gennadievna Kihney, Tatiana Sergeevna Kruglova and Dmitry Nikolayevich Zhatkin having two strange adjectives black delicate in it. This is quite in the style of Mandelstam, who loved to paradoxically bring together remote notions and give some unusual definitions of the noun. And ancient myths are not accidental, for example Eurydice (compare Mandelstam: Do not worry, darling Eurydice 57 ), the bull-zeus, carrying Europe (compare Mandelstam: With soft lips bearing pink foam of weariness / furiously digs the bull the green waves / <...> / Gentle hands of Europe take everything! 58 ). 3. Discussion It is especially necessary to mention another type of poems, which are adjacent to the already considered lyric addressing namely the form of imitations. These are, on the one hand, mental conversations with the master, a teacher, who you imitate and from whom you learn. On the other hand, these poems are also auto addressing. For example, in Imitation of I. F. Annensky 59 a lyrical subject of Akhmatova changes its gender status and becomes somebody She. Of course, we are not speaking about the poem with biographical overtones (that is, the work about Akhmatova and Annensky). Dialogue between the two poets is implicit and takes metaposition towards the events hidden more in the plot structure, imagery and style. Half a century after this lyrical dialogue with I. F. Annensky she wrote Imitation of Kafka 60. Akhmatova does not mention the great work of absurdist she refers to, but it is obvious that it is the novel Process. The Poet, basing on recognizable realities of Kafka s phantasmagoria, creates a picture of long-term (often veiled) persecution by the authorities. Akhmatova not only lived ten years under the revolver, but moreover half a century: The faces of convoy were changing, / and the sixth Attorney got myocardial 60. It is interesting to note that in the Soviet Union after the introduction of the position of the public prosecutor of the USSR (later renamed the Attorney General) just six people retired: In 1960 this position was occupied by the seventh Roman Rudenko. Among the poems of the considered genre there are non-specific names: These are Imitation of the Armenian 61 and Imitation of the Korean 62. In the first of these Akhmatova uses her favorite technique: The present event mimics as mythological, historical or fictional. This poem is only the event-driven matrix, in which Akhmatova puts her own content namely, arrests of her son, which began in the thirties. It makes sense to focus on the Poem Without a Hero 63, which has united almost all of the above types of addressees. This work is in fact the final and one of the most difficult to interpret. Here is what she says about herself in the preamble to the poem ( Instead of a Preface ): I often hear rumors about the perverse and absurd interpretations of the Poem Without a Hero. And someone even advises me to make the poem more intelligible. I will refrain from this 63. It is appropriate to make a brief digression to the cryptographic techniques of Akhmatova, which she often used and due to censorship and auto-censorship reasons did not directly named the real recipients of her lyrical references. Sometimes through a complex organization of intertexts the message was rededicated not to the present addressee but to someone hidden in the subtext. In such cases the supposed lyrical interlocutors, with varying degrees of probability, can be detected also from a biographical context. For example, the poem Londoners 64 is addressed, in fact, not to the British but to the countrymen that was convincingly showed by L. G. Kihney 65. Poem Without a Hero is a set of messages and dedications both implicit and explicate, generalized rhetoric and concrete authorized. And in the center of this addressing there is a certain archetype of the poet the late Acmeist myth of the artist of the word, a prophet in his native land that cannot be understood in his time and is doomed to death. An example is the figure of the mythical Cassandra, with which Akhmatova associates her contemporary women; they are a collective lyrical subject With blue clenched lips / Mad Hecubas / And Cassandras from Chukhloma / burst into a silent chorus 63. Does the author refer to the poem Cassandra 66 by O. E. Mandelstam, where the image of a mythical prophetess is associated with Akhmatova s future fate and is mated with the creative genius of Pushkin? It is interesting to note that in some sources Cassandra has the second name Alexandra. Both in Mandelstam s and Akhmatova s works Pushkin becomes the archetype of the poet and his fate becomes the sign of the fate of Russian literary artists of all times. The center of events in the Poem Without a Hero becomes the Poet s death, the archetypal situation which unfolds exactly as the fate of contemporary poets (N. Indian Journal of Science and Technology 5

6 Genre Specific Character of Lyrical Communication of Anna Akhmatova S. Gumilyov, O. E. Mandelstam, V. G. Knyazev, N. V. Nedobrovo, A. A. Bloc, Mayakovsky, V. Khlebnikov, I. F. Annensky) and as the examples of the tragic fate of the poets of past eras (not by chance, for example, in the poem there is a reference to the situation of the death of Shelley and his funeral arranged by Byron). Akhmatova encrypts the names of her lyrical interlocutors via dedications, plot situations, retreats, reminiscences, allusions (including epigraphs), etc. Returning to the typology of Akhmatova s address in the Poem Without a Hero, we note that the dedication addressee here is generalized and rhetoric: I dedicate this poem to the memory of her first listeners my friends and fellow citizens who died in Leningrad during the siege ( Instead of a Preface ) 63. However, the poem is dedicated to a number of specific and (at least at first glance) lyric addressees. So, the first Dedication discerns the features of Mandelstam:... And as if a snowflake in the hand/melts trustingly and without reproach./and dark lashes of Antinous/rose suddenly and there is green smoke behind them,/and the wind brought the native spirit 63. Akhmatova remembered her first meeting with the poet: He was a lean boy with may-lily in his buttonhole, with a head thrown back, with glowing eyes and lashes of half the cheek 63. The main proof that we are talking about Mandelstam is the date of dedication: December 27, 1940 the anniversary of the death of the poet. And unlike other dedications she puts the data here before the text but not in the end of it. Such a strong position stresses the particular importance of the date. Finally, there is not only the biographical but also textual evidence of relatedness of the hero of dedication with Mandelstam. Thus, there is the image of the grave needles in Mandelstam s poem Not with powdery white butterfly... : Whoops of dark green needles,/wreaths of the depth of well/draw the precious Life and Time/Leaning on death machines /Hoops of the Red Banner needles/ Elementary, large wreaths! 67 But why did not she at least label the initials of the addressee? Possibly, in order to give greater breadth of interpretations. 68,69 N. Ya. Mandelstam did not doubt that the dedication was addressed to her husband; but she still had to admit that Akhmatova, apparently, decided to merge Knyazev and Mandelstam in the end, having passed them through a literary grinder It is about a young poet, who committed suicide in 1913 because of unrequited love for O. Glebova-Sudeikina (Akhmatova spoke about him in the Poem Without a Hero : The third had lived only twenty years 63 ). The researchers M. Kralin, and B. Vilenkin call Vs. Knyazev the addressee of the first dedication. The latter pointed to a number of loans from the verses of Vs. Knyazev. So, Akhmatova uses his lines as an epigraph to the poem (... Love is gone and it became clear / the traits of death are close... the epigraph to the fourth chapter of the first part), she quotes verses of Knyazev the kissable shoulders, fawn curl, road to Damascus. We can assume that here we have the same cryptographic technique : Akhmatova wanted to make a secret of the true addressee and these also makes the possibility of double (and, perhaps, triple...) reading. But the next dedication is already specific: The initials OS point to Olga Glebova-Sudeikina, who, by the way, Anna Akhmatova dedicated some of the poems to ( The Voice of Memory 9 ; You prophesy, poor thing and drop your hands ). But here Akhmatova offers the reader an invisible ink. In the second chapter of the first part we have the following lines: Satin coat flung open!/do not be cross with me, Dove,/That I touched this cup:/not you but myself do I blame 63. L. Losev notes that here the addressee, who the poet calls the thou, is quite clear this is a beautiful, dramatic actress and dancer, from the first chapter, Olga Glebova-Sudeikina;, she is also Psyche, Confusion (according to her roles). But twelve lines below, we do not immediately understand that thou addressed to ballerina, does not refer to Glebova-Sudeikina: But she flies, smiling imaginary,/above the Mariinsky stage, a prima,/thou is our incomprehensible swan.... Thou Sudeikina has turned into thou Pavlova because as a dancer Sudeikina was rather mediocre, but Anna Pavlova was a prima of the Mariinsky stage and that s about her dying swan does Akhmatova recall 71. So, maybe and the second dedication is addressed not only to O.S.? 4. Conclusions As one can see, with a few exceptions the addressees of dedications and messages in Akhmatova s verses are specifically authorized. As the recipients there have been chosen the close people of Akhmatova, her literary workshop fellows, the dialogue with whom essentially takes place only after the revolution. This is due to the fact that in terms of persecution or total isolation of writers who did not share the proletarian ideology, the dialogue with the like-minded people for Akhmatova became not only of a creative necessity, but also of vital importance. 6 Indian Journal of Science and Technology

7 Elena Vladimirovna Merkel, Lyubov Gennadievna Kihney, Tatiana Sergeevna Kruglova and Dmitry Nikolayevich Zhatkin Akhmatova developed a number of encryption techniques that became cryptographic techniques (cf. Enigmatic ciphers are used in dedications in Voronezh and Dante ). Especially vividly these cryptographic techniques in poetics are implemented by Akhmatova in the Poem Without a Hero. The genre of epitaph is of great importance in works of Akhmatova. The first years of Soviet Power were marked by a number of deaths of leading figures of Russian modernism. The survived Akhmatova addressed to these dear shadows, feeling insecurity, fragility of her own life too. This dialogue could be conducted not only with the Acmeists, but also with representatives of other streams. Poets from different schools in the conditions of terror were united by a single denominator belonging to the arts, but narrow craft relations no longer played a significant role and that is why the Acmeists made an active epitaph dialogue with representatives of other movements (A. A. Bloc, A. Bely, V. V.Mayakovsky, M. I. Tsvetaeva ). The peculiarity of epitaph usage in the works of Akhmatova is that the poet refers to the deceased (N. S. Gumilyov, M. A. Bulgakov, Boris Pasternak, M. I. Tsvetaeva, B. A. Pilnyak, O. E. Mandelstam) exclusively as to alive interlocutors. Thanks to her communicative settings Akhmatova not only did perpetuate the memory of deceased colleagues, including the victims of political repression (the memory of which at that time was being systematically destroyed in the public mind), but also preserved forever their live voices for future generations. Memory of departed fellow writers is becoming one of the key and increasingly important subjects that not only inspire the emergence of epitaphic cycles, but of dialogically oriented poems ( Requiem, Poem Without a Hero ). It is important to note that in the Poem Without a Hero the personal communication is transformed into a dialog of texts, which plays a key role in the semiotic space of culture and history reconstructed by Akhmatova. 5. References 1. Akhmatova AA To the Artist Collected Works: 6 vol. (9 books). Vol 1. Moscow: Ellis Lak; Akhmatova AA Muse-sister looked in the face Collected Works: 6 vol. (9 books). Vol 1. Moscow: Ellis Lak; Akhmatova AA Muse Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA To the verse Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA To Music Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA Requiem , 1957, Collected Works: 6 vol. (9 books). Vol. 3. Moscow: Ellis Lak; Akhmatova AA Abused, praised Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA The Park was filled with light fog Lak; Akhmatova AA The Voice of Memory Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA You prophesy, poor thing, and drop your hands Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Instead of wisdom experience, insipid Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Escape Collected Works: I6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Before the spring, there are the days Lak; Akhmatova AA Wailing Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Everything is plundered, betrayed, sold Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Mother of pearl and agate Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Akhmatova AA Inscription on the portrait Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Akhmatova AA In straps the pencil case and books were Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA There is some cherished feature in close proximity of people Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA They fly. They are still on the go Lak; Akhmatova AA As a white stone in the depths of the well Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Tsarskoselskaya statue Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Indian Journal of Science and Technology 7

8 Genre Specific Character of Lyrical Communication of Anna Akhmatova 23. Akhmatova AA Boris Pasternak Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Voronezh Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA A little bit of geography Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA No, with herd persecuted by Leninka ies. Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA Mayakovsky in Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA And again autumn brings down like Tamerlane Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Akhmatova AA It all belongs to you by right , Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Akhmatova AA He s right Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA And in the black memory of Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA It s time to forget Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Mayakovsky VV Terrible Hell of a City Collected Works: 20 vol. Vol. 1. Moscow: Science; Akhmatova AA You are an apostate: for the green island Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA I heard a voice. He called consoling Lak; Akhmatova AA I am not with those who threw away the Land Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA In bubbly handwriting write, Lise Lak; Akhmatova AA Answer Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Answer Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Tsvetaeva MI The Muse of crying Collected Works: 7 vol. Vol. 1. Moscow: Ellis Lak; Mandelstam OE Memory verses of Andrei Bely Collected Works: 3 vol. Vol. 1. Moscow: Progress-Plejada; Tsvetaeva MI To Mayakovsky Collected Works: In 7 vol. Vol. 2. Moscow: Ellis Lak; Galich AA The writer s bridges ies. Poems. St. Petersburg: Academic project; Akhmatova AA Wreath to the dead Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA In memoriam Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Akhmatova AA Master Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA De profundis! My generation Lak; Akhmatova AA Four of us Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA I bow down over them as above the cup Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA A late response Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA In memory of Boris Pasternak Lak; Akhmatova AA Only you will unravel all these Lak; Akhmatova AA My heart will no longer respond Lak; Akhmatova AA As if to a distant voice I give ear Lak; Akhmatova AA In memory of Anta Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Akhmatova AA Here am I to you, instead of burial roses Collected Works: 6 vol. (9 books). Vol. 4. Moscow: Ellis Lak; Mandelstam OE Slightly the illusive scene flickers Collected Works: 3 vol. Vol. 1. Moscow: Progress-Plejada; Mandelstam OE With soft lips bearing pink foam of weariness Collected Works: 3 vol. Vol. 1. Moscow: Progress-Plejada; Akhmatova AA Imitation of I.F. Annensky Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Akhmatova AA Imitation of Kafka Collected Works: 6 vol. (9 books). Vol. 2(2). Moscow: Ellis Lak; Akhmatova AA Imitation of the Armenian Lak; Indian Journal of Science and Technology

9 Elena Vladimirovna Merkel, Lyubov Gennadievna Kihney, Tatiana Sergeevna Kruglova and Dmitry Nikolayevich Zhatkin 62. Akhmatova AA Imitation of the Korean Collected Works: 6 vol. (9 books). Vol. 2(1). Moscow: Ellis Lak; Akhmatova AA Poem Without a Hero Collected Works: 6 vol. (9 books). Vol. 3. Moscow: Ellis Lak; Akhmatova AA Londoners Collected Works: 6 vol. (9 books). Vol. 1. Moscow: Ellis Lak; Kihney LG Poetry of Anna Akhmatova: Crafts Secrets. Moscow: Dialog Moscow State University Press; Mandelstam OE Cassandra Collected Works: 3 vol. Vol. 1. Moscow: Progress-Plejada; Mandelstam OE Not with powdery white butterfly Collected Works: 3 vol. Vol. 1. Moscow: Progress-Plejada; Zhatkin DN, Kruglova TS, Milotaeva OS. Russia and Europe: Dialogue of cultures and universal values in Lidiya Chukovskaya s Perception. IJST. 2016; 9(27). DOI: /ijst/2016/v9i27/ Atamanova N. Poetic sound picture of the world: Theoretical basis and approaches to practical investigations. IJST. 2015; 8(10). DOI: /ijst/2015/v8is(10)/ Mandelstam NY. The Second Book. Moscow: Moscovsky Rabochiy; Losev LV The hero of Poem Without a Hero : Collection of Akhmatova / comp. by Dedyulin S and Superfin G Paris: Institute for Slavic Studies Press; Zhatkin DN, Ryabova AA. Russian Reception of Christopher Marlowe s Creative Work in the s. Mediterranean Journal of Social Sciences. 2015; 6(3). DOI: /mjss.2015.v6n3s3p Zhatkin DN, Kruglova TS, Milotaeva OS. Russia and Europe: Dialogue of Cultures and Universal Values in Lidiya Chukovskaya s Perception. IJST. 2016; 9(27). DOI: /ijst/2016/v9i27/ Yashina TA, Zhatkin DN. Thomas Moore and the Russian Literature of the Years. Mediterranean Journal of Social Sciences, 2015; 6(2). 75. Zhatkin DN, Milotaeva OS. To the History of Studying of Evolution of the Russian Poetic Translation of the 19th Century. IJST. 2015; 8(S10). DOI: /ijst/2015/ v8is10/ Zhatkin DN. From Ivan Kozlov to Evgeny Feldman: To the History of the Russian Translation Reception of the Poetry of Robert Burns. IJST, 2016, 9(14). DOI: / ijst/2016/v9i14/ Indian Journal of Science and Technology 9