What do you think?
Rate this book
Ροζάριο
Η ποιητική συλλογή της Άννας Αχμάτοβα "Ροζάριο" γράφτηκε παραμονές του Α' Παγκοσμίου πολέμου.
Πρόκειται για μια σπουδή πάνω στον έρωτα και την απώλεια. Ο μεστός νοημάτων λόγος της δεν αποκαλύπτει επ' ουδενί πως η ποιήτρια ήταν μόλις 24 ετών, όταν πρωτοδημοσιεύθηκαν και της εξασφάλισαν μια ζηλευτή θέση στο πάνθεον των μεγάλων ποιητών του 20ού αιώνα.
Στα Προλεγόμενα δημοσιεύεται η Κριτική του Νικολάι Γκουμιλιόφ πάνω στο έργο της, ο οποίος ήταν ο πρώτος της σύζυγος και πατέρας του μονάκριβου παιδιού τους, του Λεβ Γκουμιλιόφ.
Η έκδοση συνοδεύεται από σκίτσα της Άννας Αχμάτοβα που φιλοτέχνησε ο ζωγράφος Αμεντέο Μοντιλιάνι τον οποίο η ποιήτρια γνώρισε στο Παρίσι το 1910.
Σύγχυση ~ Περίπατος ~ Εσπέραν ~ Απόσπασμα ~ Αϋπνία ~ Εξομολόγηση ~ Βενετία ~ Επισκέπτης
Πρόκειται για μια σπουδή πάνω στον έρωτα και την απώλεια. Ο μεστός νοημάτων λόγος της δεν αποκαλύπτει επ' ουδενί πως η ποιήτρια ήταν μόλις 24 ετών, όταν πρωτοδημοσιεύθηκαν και της εξασφάλισαν μια ζηλευτή θέση στο πάνθεον των μεγάλων ποιητών του 20ού αιώνα.
Στα Προλεγόμενα δημοσιεύεται η Κριτική του Νικολάι Γκουμιλιόφ πάνω στο έργο της, ο οποίος ήταν ο πρώτος της σύζυγος και πατέρας του μονάκριβου παιδιού τους, του Λεβ Γκουμιλιόφ.
Η έκδοση συνοδεύεται από σκίτσα της Άννας Αχμάτοβα που φιλοτέχνησε ο ζωγράφος Αμεντέο Μοντιλιάνι τον οποίο η ποιήτρια γνώρισε στο Παρίσι το 1910.
Σύγχυση ~ Περίπατος ~ Εσπέραν ~ Απόσπασμα ~ Αϋπνία ~ Εξομολόγηση ~ Βενετία ~ Επισκέπτης
127 pages, Paperback
First published January 1, 1914
28 people are currently reading
219 people want to read
About the author
Anna Akhmatova
429 books955 followersalso known as: Анна Ахматова
Personal themes characterize lyrical beauty of noted work of Russian poet Anna Akhmatova, pseudonym of Anna Andreevna Gorenko; the Soviet government banned her books between 1946 and 1958.
People credit this modernist of the most acclaimed writers in the canon.
Her writing ranges from short lyrics to universalized, ingeniously structured cycles, such as Requiem (1935-40), her tragic masterpiece about the Stalinist terror. Her work addresses a variety of themes including time and memory, the fate of creative women, and the difficulties of living and writing in the shadow of Stalinism. She has been widely translated into many languages, and is one of the best-known Russian poets of 20th century.
In 1910, she married the poet, Nikolay Gumilyov, who very soon left her for lion hunting in Africa, the battlefields of World War I, and the society of Parisian grisettes. Her husband did not take her poems seriously, and was shocked when Alexander Blok declared to him that he preferred her poems to his. Their son, Lev, born in 1912, was to become a famous Neo-Eurasianist historian.
Nikolay Gumilyov was executed in 1921 for activities considered anti-Soviet; Akhmatova then married a prominent Assyriologist Vladimir Shilejko, and then an art scholar, Nikolay Punin, who died in the Stalinist Gulag camps. After that, she spurned several proposals from the married poet, Boris Pasternak.
After 1922, Akhmatova was condemned as a bourgeois element, and from 1925 to 1940, her poetry was banned from publication. She earned her living by translating Leopardi and publishing essays, including some brilliant essays on Pushkin, in scholarly periodicals. All of her friends either emigrated or were repressed.
Her son spent his youth in Stalinist gulags, and she even resorted to publishing several poems in praise of Stalin to secure his release. Their relations remained strained, however. Akhmatova died at the age of 76 in St. Peterburg. She was interred at Komarovo Cemetery.
There is a museum devoted to Akhmatova at the apartment where she lived with Nikolai Punin at the garden wing of the Fountain House (more properly known as the Sheremetev Palace) on the Fontanka Embankment, where Akhmatova lived from the mid 1920s until 1952.
Personal themes characterize lyrical beauty of noted work of Russian poet Anna Akhmatova, pseudonym of Anna Andreevna Gorenko; the Soviet government banned her books between 1946 and 1958.
People credit this modernist of the most acclaimed writers in the canon.
Her writing ranges from short lyrics to universalized, ingeniously structured cycles, such as Requiem (1935-40), her tragic masterpiece about the Stalinist terror. Her work addresses a variety of themes including time and memory, the fate of creative women, and the difficulties of living and writing in the shadow of Stalinism. She has been widely translated into many languages, and is one of the best-known Russian poets of 20th century.
In 1910, she married the poet, Nikolay Gumilyov, who very soon left her for lion hunting in Africa, the battlefields of World War I, and the society of Parisian grisettes. Her husband did not take her poems seriously, and was shocked when Alexander Blok declared to him that he preferred her poems to his. Their son, Lev, born in 1912, was to become a famous Neo-Eurasianist historian.
Nikolay Gumilyov was executed in 1921 for activities considered anti-Soviet; Akhmatova then married a prominent Assyriologist Vladimir Shilejko, and then an art scholar, Nikolay Punin, who died in the Stalinist Gulag camps. After that, she spurned several proposals from the married poet, Boris Pasternak.
After 1922, Akhmatova was condemned as a bourgeois element, and from 1925 to 1940, her poetry was banned from publication. She earned her living by translating Leopardi and publishing essays, including some brilliant essays on Pushkin, in scholarly periodicals. All of her friends either emigrated or were repressed.
Her son spent his youth in Stalinist gulags, and she even resorted to publishing several poems in praise of Stalin to secure his release. Their relations remained strained, however. Akhmatova died at the age of 76 in St. Peterburg. She was interred at Komarovo Cemetery.
There is a museum devoted to Akhmatova at the apartment where she lived with Nikolai Punin at the garden wing of the Fountain House (more properly known as the Sheremetev Palace) on the Fontanka Embankment, where Akhmatova lived from the mid 1920s until 1952.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 32 reviews
July 7, 2024
Rosary is Anna Akhmatova's second collection of poems, following closely after "Evening". These poignant poems have been sensitively translated here by Andrey Kneller, who calls her, "One of the forefront leaders of the Acmeist movement which focused on rigorous form and directness of words".
Immediately it was published, Akhmatova's poetry was well received. One critic said, "The strong and clear leading female voice struck a new chord in Russian poetry". Along with Nikolai Gumilev and other poets from the "Guild of Poets", they developed the influential Acmeist anti-symbolist school, concurrent with the growth of Imagism in Europe and America.
In 1910, Akhmatova married Gumilev. As mentioned in my review of "Evening", link here , she wrote many of those poems while Gumilev was away, which followed shortly after the marriage. Gumilev travelled alone to Abyssinia, leaving her behind. Akhmatova's son Lev, who went on to become a renowned historian, was also born in 1912. Akhmatova and Gumilev however, were to divorce in 1918.
"Evening" proved to be a very popular book, and as a result of this Akhmatova became a cult figure and part of the literary scene in St. Petersburg. This second collection, Rosary (1914), otherwise known as "Beads", was critically acclaimed and established her reputation. She was known as the "Soul of the Silver Age" because of her artistic integrity, and "Queen of the Neva" because of her aristocratic manners. Thousands of women composed poems in honour of Akhmatova, mimicking her style in Rosary. Akhmatova herself wryly commented,
"I taught our women how to speak, but don't know how to make them silent."
Until the emergence of Acmeism, Symbolism, with its romantic mysticism had dominated the Russian literary scene of the period. Acmeism used clear and vivid images, classical diction and detailed elaboration. As in "Evening", these poems are psychologically acute and very direct. There is a precise portrayal of pictures and significant details, with much use of colour and imagery. One critic has said,
"An expression of the inner world through the outer, very often using contrast and resembling a psychological prose, the dotted action and the presence of characters and even small dialogues - all these characterize Akhmatova's poetry style."
These poems are still very much from the early part of her oeuvre, and are very similar in feel to "Evening", but perhaps a little more bitter. The voice of this poet has had a little more experience of life. The optimism, the forward-looking of earlier poems has progressed to sadness and regret. It is beautifully expressed in the famous poem,
"I've learned to live now wisely and simply,
Look to the sky and pray upon my knees,
And wander quietly outside each evening
To beat the useless feeling of unease."
Or these wistful, bitterly sorrowful words,
"I've lived my life and know no other,
Only waited, sang my song"
Or read the utter devastation on her recognition of apathy in these,
"So much rule, so much power is his
As he seeks no affection to gain"
Some poems here are imbued with a religious sensibility, which again is a new development in this collection. Akhmatova seems to be turning to God to make sense of her feelings of loss and sadness,
"My youth was hard to endure
With so much sorrow to bear
How can a soul this poor
Be returned to You rich and fair?"
Another new slant comes with the verses about St Petersberg,
"The new capital does not please
The sovereign"
This poem was marked November 14th 1913. Russia seemed to be continuing in repeated periods of political unrest. There had been a revolution in 1905; a wave of mass political and social unrest that spread through vast areas of the Russian Empire. Some of it was directed against the government; some was undirected. It included strikes by workers, peasant unrest, and military mutinies. It led to the establishment of limited constitutional monarchy, the multi-party system, and the Russian Constitution of 1906.
On August 1st 1914, Germany declared war on Russia, marking the start of a "dark storm" of world war, civil war, revolution and totalitarian repression for Russia. During the Silver Age Akhmatova had published two strikingly original collections of poetry, but by 1914 it had all come to an end.
These years leading up to the Russian Revolution of 1917 were fraught with tensions for the Russian people. Akhmatova published her third collection of poetry in 1917. Then in only a few short years Nicholas II, the Emperor and last tsar of Russia, would be forced to abdicate and then executed by the Bolsheviks. His reign had seen Imperial Russia go from being one of the foremost great powers of the world to economic and military collapse.
"the frigid frozen smile
Of the Emperor up high"
indicates a wariness, a sense of caution which must have been familiar to all Russian people.
Akhmatova's poetry can be divided into early works from 1912 onwards (to 1925) and her later work, from about 1936 until her death. In the intervening years she wrote very little, her work having been condemned and censored by the Stalinist authorities. This is all in her future, but the poems in "Rosary" fall squarely into her early period of short lyric pieces. They are strikingly original and distinctive, and extremely poignant to read.
Immediately it was published, Akhmatova's poetry was well received. One critic said, "The strong and clear leading female voice struck a new chord in Russian poetry". Along with Nikolai Gumilev and other poets from the "Guild of Poets", they developed the influential Acmeist anti-symbolist school, concurrent with the growth of Imagism in Europe and America.
In 1910, Akhmatova married Gumilev. As mentioned in my review of "Evening", link here , she wrote many of those poems while Gumilev was away, which followed shortly after the marriage. Gumilev travelled alone to Abyssinia, leaving her behind. Akhmatova's son Lev, who went on to become a renowned historian, was also born in 1912. Akhmatova and Gumilev however, were to divorce in 1918.
"Evening" proved to be a very popular book, and as a result of this Akhmatova became a cult figure and part of the literary scene in St. Petersburg. This second collection, Rosary (1914), otherwise known as "Beads", was critically acclaimed and established her reputation. She was known as the "Soul of the Silver Age" because of her artistic integrity, and "Queen of the Neva" because of her aristocratic manners. Thousands of women composed poems in honour of Akhmatova, mimicking her style in Rosary. Akhmatova herself wryly commented,
"I taught our women how to speak, but don't know how to make them silent."
Until the emergence of Acmeism, Symbolism, with its romantic mysticism had dominated the Russian literary scene of the period. Acmeism used clear and vivid images, classical diction and detailed elaboration. As in "Evening", these poems are psychologically acute and very direct. There is a precise portrayal of pictures and significant details, with much use of colour and imagery. One critic has said,
"An expression of the inner world through the outer, very often using contrast and resembling a psychological prose, the dotted action and the presence of characters and even small dialogues - all these characterize Akhmatova's poetry style."
These poems are still very much from the early part of her oeuvre, and are very similar in feel to "Evening", but perhaps a little more bitter. The voice of this poet has had a little more experience of life. The optimism, the forward-looking of earlier poems has progressed to sadness and regret. It is beautifully expressed in the famous poem,
"I've learned to live now wisely and simply,
Look to the sky and pray upon my knees,
And wander quietly outside each evening
To beat the useless feeling of unease."
Or these wistful, bitterly sorrowful words,
"I've lived my life and know no other,
Only waited, sang my song"
Or read the utter devastation on her recognition of apathy in these,
"So much rule, so much power is his
As he seeks no affection to gain"
Some poems here are imbued with a religious sensibility, which again is a new development in this collection. Akhmatova seems to be turning to God to make sense of her feelings of loss and sadness,
"My youth was hard to endure
With so much sorrow to bear
How can a soul this poor
Be returned to You rich and fair?"
Another new slant comes with the verses about St Petersberg,
"The new capital does not please
The sovereign"
This poem was marked November 14th 1913. Russia seemed to be continuing in repeated periods of political unrest. There had been a revolution in 1905; a wave of mass political and social unrest that spread through vast areas of the Russian Empire. Some of it was directed against the government; some was undirected. It included strikes by workers, peasant unrest, and military mutinies. It led to the establishment of limited constitutional monarchy, the multi-party system, and the Russian Constitution of 1906.
On August 1st 1914, Germany declared war on Russia, marking the start of a "dark storm" of world war, civil war, revolution and totalitarian repression for Russia. During the Silver Age Akhmatova had published two strikingly original collections of poetry, but by 1914 it had all come to an end.
These years leading up to the Russian Revolution of 1917 were fraught with tensions for the Russian people. Akhmatova published her third collection of poetry in 1917. Then in only a few short years Nicholas II, the Emperor and last tsar of Russia, would be forced to abdicate and then executed by the Bolsheviks. His reign had seen Imperial Russia go from being one of the foremost great powers of the world to economic and military collapse.
"the frigid frozen smile
Of the Emperor up high"
indicates a wariness, a sense of caution which must have been familiar to all Russian people.
Akhmatova's poetry can be divided into early works from 1912 onwards (to 1925) and her later work, from about 1936 until her death. In the intervening years she wrote very little, her work having been condemned and censored by the Stalinist authorities. This is all in her future, but the poems in "Rosary" fall squarely into her early period of short lyric pieces. They are strikingly original and distinctive, and extremely poignant to read.
January 8, 2021
“All ten years of my trepidations,
Each and every sleepless night,
I placed them all in a quiet word
And I voiced it – in vain, unsure.
You walked off and with order restored,
My soul was empty and pure.
- From "Confusion", Anna Akhmatova, Rosary
I am reading, in 2021, The Complete Poems of Anna Akhmatova, translated by Judith Hemschemeyer, and I have already read and reviewed Evening. As I read Chetki, or Rosary (or Beads), her second book, I also have the translation by Andrey Kneller, for comparison, for fun, both good. Rosary is one of her most popular collections. After its publication, she became one of Russia’s most beloved poets, and in many ways remains that way today. Rosary is also one of the pre-WWI volumes, mostly short lyrical poems about love, descriptive and passionate, the emotions of love and anguish in a heightened, almost classical state and form.
She writes here of her anguish:
“Let love become the gravestone
That lies upon my life.”
She writes of “the poisoner, love.”
During the time Akhmatova wrote these poems she married (in 1910) Gumilev and gave birth to their only son, Lev. They divorced in 1918 but he would always have an impact on her life and work until his untimely death. In August 1914, Germany declared war on Russia ending, among many other things, this period of poetry for her.
But before that, it was lyrical images:
“And the voices of the mournful violins
Sing through the drifting smoke.”
And she writes of other men, such as the symbolist poet Alexander Blok. I prefer the later poetry of Akhmatova, but this had such an impact on Russian poetry, spurring many imitators, so I was glad to read it.
Each and every sleepless night,
I placed them all in a quiet word
And I voiced it – in vain, unsure.
You walked off and with order restored,
My soul was empty and pure.
- From "Confusion", Anna Akhmatova, Rosary
I am reading, in 2021, The Complete Poems of Anna Akhmatova, translated by Judith Hemschemeyer, and I have already read and reviewed Evening. As I read Chetki, or Rosary (or Beads), her second book, I also have the translation by Andrey Kneller, for comparison, for fun, both good. Rosary is one of her most popular collections. After its publication, she became one of Russia’s most beloved poets, and in many ways remains that way today. Rosary is also one of the pre-WWI volumes, mostly short lyrical poems about love, descriptive and passionate, the emotions of love and anguish in a heightened, almost classical state and form.
She writes here of her anguish:
“Let love become the gravestone
That lies upon my life.”
She writes of “the poisoner, love.”
During the time Akhmatova wrote these poems she married (in 1910) Gumilev and gave birth to their only son, Lev. They divorced in 1918 but he would always have an impact on her life and work until his untimely death. In August 1914, Germany declared war on Russia ending, among many other things, this period of poetry for her.
But before that, it was lyrical images:
“And the voices of the mournful violins
Sing through the drifting smoke.”
And she writes of other men, such as the symbolist poet Alexander Blok. I prefer the later poetry of Akhmatova, but this had such an impact on Russian poetry, spurring many imitators, so I was glad to read it.
March 29, 2016
Another wonderful volume of short poems. Clear, precise and poignant.
It follows many of the same themes as the other Akhmatova book that I read recently and enjoyed immensely Evening - youth, love, loss, yearning amongst other foibles.
Four stars, shading 4.5 - it did not touch me quite as much as Evening did. Not sure why - perhaps I am inured to its effect.
It follows many of the same themes as the other Akhmatova book that I read recently and enjoyed immensely Evening - youth, love, loss, yearning amongst other foibles.
Four stars, shading 4.5 - it did not touch me quite as much as Evening did. Not sure why - perhaps I am inured to its effect.
March 21, 2019
Another lovely collection of poems by this Russian poet that I recently discovered and recommend.
March 20, 2016
He marked with coal, as I languished,
A target on my left side
To shoot and free the bird - my anguish
Into the empty night.
Your hand won't tremble in the least,
My dear! I won't suffer long.
The bird - my anguish will soar, released,
To perch and sing its song.
This will cause him to speak aloud,
The one who is home and content:
"A familiar voice, but I can't make it out," -
And lower his eyes again.
A target on my left side
To shoot and free the bird - my anguish
Into the empty night.
Your hand won't tremble in the least,
My dear! I won't suffer long.
The bird - my anguish will soar, released,
To perch and sing its song.
This will cause him to speak aloud,
The one who is home and content:
"A familiar voice, but I can't make it out," -
And lower his eyes again.
June 15, 2018
Real tenderness can’t be confused,
It’s quiet and can’t be heard.
Don’t bother, there’s really no use
In wrapping my shoulders with fur.
In vain you whisper sweet lies
Of falling under love’s spell,
Your stubborn and hungry eyes -
I’m afraid, I know them too well!
1913
It’s quiet and can’t be heard.
Don’t bother, there’s really no use
In wrapping my shoulders with fur.
In vain you whisper sweet lies
Of falling under love’s spell,
Your stubborn and hungry eyes -
I’m afraid, I know them too well!
1913
August 27, 2021
" 'You've come to put me in the grave.
Where is your shovel and your spade?
You're just carrying a flute.
I'm not going to blame you,
Sadly a long time ago
My voice fell mute"
Where is your shovel and your spade?
You're just carrying a flute.
I'm not going to blame you,
Sadly a long time ago
My voice fell mute"
February 8, 2018
une des plus belles poésies que j’ai pu lire, chaque poème est bouleversant et je veux baigner dans ces mots 💙
mon avis sur le blog : https://nightthoughtsandartefacts.wor...
mon avis sur le blog : https://nightthoughtsandartefacts.wor...
August 25, 2014
Akhmatova seems to be speaking personally to us. Her poetry is so vibrant and individual. Andrey Kneller's translation is seamlessly non-intrusive so I bought his edition of my other favorite Russian poet, Marina Tsvetaeva. I am looking forward to reading his translations of other poets in the future.
March 2, 2014
The second of her collection. Thank you to my friend, Andrey, for the collection. I enjoyed it very much. I felt like her voice is getting just slightly darker. Her poetry was always raw but I felt like this work concentrated on how we hurt each other than Evening.
July 8, 2016
Such an interesting perspective conveyed by this early 20th century Russian female poet. Awash with references to the cold and to the Neva, it was nonetheless hot with emotion. The poetry was all pre-revolution, and retains the humanity of the Golden Age of Russian literature. I think Anna Akhmatova was a trail-blazer, and her account of human experience certainly resonated with me.
July 9, 2016
This volume of poetry is *beautiful*, with the original Russian on the left page, and the English translation on the right. Anna Akhmatova writes with all the humanity, tenderness and timeless insight of the 19th century Russians who preceded her, and who I love so much. Her poetry is very easy to read, and wonderful to read aloud.
April 27, 2022
I really loved this little collection of poems, especially the first one. However, I can't help but be upset with the fact that what I've read is a translation since I don't speak Russian. I keep wondering about all the meanings I lost because I couldn't understand the original. However, the translator did an amazing job translating and rhyming the poems.
Read
April 10, 2017New to me
Anna Ahkmatova and her poetry are new to me. Not knowing Russian, i can only speak to the translation. Her poetry reminds me somewhat of Dickinson in her ability to invest the homely and the diurnal with deep emotion and rich meaning.
Anna Ahkmatova and her poetry are new to me. Not knowing Russian, i can only speak to the translation. Her poetry reminds me somewhat of Dickinson in her ability to invest the homely and the diurnal with deep emotion and rich meaning.
September 18, 2015
One of my favorites. Akhmatova really gets it.
Read
March 25, 2021“Guest
Everything’s the same: the snow
Falls, across the window sweeping,
And I’m no different than before,
Though a man had come to see me.
I asked him then: “What are you after?”
“To be in hell with you,” he said.
And I replied to him with laughter,
“You’re dooming both of us, my friend.”
But reaching with his slender hand,
He brushed the petals of my flowers:
“Tell me how you’re kissed and then
Tell me how you kiss the others.”
His eyes stared at my ring, uncouth,
Never shifting his dull blank gaze,
That instant, not a muscle moved
On his translucently-wicked face.
O, I know: he will only be pleased
When everything’s clear and lucid,
When there’s nothing at all he needs,
When there’s nothing for me to refuse him.
January 1, 1914”
Excerpt From
Rosary: Poetry of Anna Akhmatova
Anna Akhmatova
This material may be protected by copyright.
Everything’s the same: the snow
Falls, across the window sweeping,
And I’m no different than before,
Though a man had come to see me.
I asked him then: “What are you after?”
“To be in hell with you,” he said.
And I replied to him with laughter,
“You’re dooming both of us, my friend.”
But reaching with his slender hand,
He brushed the petals of my flowers:
“Tell me how you’re kissed and then
Tell me how you kiss the others.”
His eyes stared at my ring, uncouth,
Never shifting his dull blank gaze,
That instant, not a muscle moved
On his translucently-wicked face.
O, I know: he will only be pleased
When everything’s clear and lucid,
When there’s nothing at all he needs,
When there’s nothing for me to refuse him.
January 1, 1914”
Excerpt From
Rosary: Poetry of Anna Akhmatova
Anna Akhmatova
This material may be protected by copyright.
This entire review has been hidden because of spoilers.
February 24, 2021
" And if I die, who will compose
My poetry to you, I wonder,
Is there another who could cause
The still unspoken words to thunder?"
"Do not crumble my letter, my angel.
Keep on reading until it’s complete.
I’m so tired of being a stranger,
An outsider you happened to meet."
"You’ll live happy, evil-free,
You will judge and reign,
With your darling you will see
All that your sons attain.
You’ll succeed without trying,
Get respect and praise,
You won’t know that I’m, from crying,
Losing track of days."
My poetry to you, I wonder,
Is there another who could cause
The still unspoken words to thunder?"
"Do not crumble my letter, my angel.
Keep on reading until it’s complete.
I’m so tired of being a stranger,
An outsider you happened to meet."
"You’ll live happy, evil-free,
You will judge and reign,
With your darling you will see
All that your sons attain.
You’ll succeed without trying,
Get respect and praise,
You won’t know that I’m, from crying,
Losing track of days."
April 16, 2020
Book of nice poetry
March 16, 2025
Maestría métrica. Es una delicia leer estos poemas, que en su sencillez hacen mucho.
January 18, 2018
I love Anna Akhmatova's poetry. However, none of the poems in this collection stood out to me the way others have in the past. That being said, Mr. Kneller's translation is fantastic as usual.
August 17, 2017
Your words were a delightful lullaby:
They’ve kept me up for three months in a row.
They’ve kept me up for three months in a row.
March 24, 2025
Kyseessä on Ahmatovan toinen runokokoelma ”Rukousnauha”. Luin tästä Anneli Heliön suomennoksen, joka löytyi kokoelmasta ”Olen äänenne - kootut runot 1904-1966”. Ahmatovan kieli on oma universuminsa, mystisyyden, Pietari-myytin ja jonkun menneen tyyssija. Ahmatova irtautui myöhemmin akmeistien runousopeista, mutta tässä ryhmän taidekäsitys näkyy vielä -hyvällä tavalla siis! Akmeisteilla oli tapana korostaa konkreettisuutta. Kaikelle sisäiselle oli löydettävä ulkoinen tapa kuvata se. Jotain tällaista on Rukousnauhankin kielessä. Konkreettisuus vie lyriikoita hienosti pois abstraktiudesta, synnyttäen tarkan, yksityiskohtaisen ja kouriintuntuvan maailman. Itse pidin eniten viittauksista Pietari Suureen, sekä tämän hylkäämään ja luostariin lähettämään vaimoon Jevdokiaan. Jevdokia, joka legendan mukaan kirosi Pietarin kaupungin, samaistuu Rukousnauhan rakkaudessa pettyneeseen puhujaan. Ah mikä ihana musta mystisyyden verkko!!
January 8, 2022
Mostly featuring love poems but of a precision I had never experienced. This are her early poems, and it was my first time reading both Russian poetry and a Russian female author. There are some really beautiful lines, it's a shame I don't know Russian to see how well this translation compares to the original intention of the author, but rhyme and musicality are preserved in some instances.
November 21, 2022
Três coisas me chamaram muito a atenção aqui. A quantidade de poemas, a consistência do tema e também a preocupação com rimas, deve ter dado muito trabalho pra tradução. É um tanto sentimental e sofrido, gosto muito quando ela fala do frio, ou indiretamente dos conflitos, guerra. Preciso ler um tanto mais, mas pela amostra, é uma poeta gigante.
April 15, 2021
mostly okay, vague love poems. There are some I almost loved that had a haunting and feminist vibe that stood in opposition to an oppressive frigid USSR, but they always seemed to stop short, like an unfinished story.
November 6, 2024
A brief compilation of Anna Akhmatova's poems, featuring a side-by-side comparison of the original and translated versions. While I personally (!!!) feel that this selection may not represent her finest work, I appreciate several of the themes, particularly those centered around love or heartbreak.
March 21, 2019
Her dry lips were tightly closed up.
Three thousand candles swayed.
Three thousand candles swayed.
July 17, 2019
And as he touched my knees again,
His hand was almost steady.
His hand was almost steady.
November 13, 2019
Some wonderful poetry with insight and emotion but it left me a little cold in places. I preferred some of her other work but we'll worth a read.
September 9, 2020
i know akhmatova is an amazing writer, but i've read a few of the poems in this collection before and kneller's translations just didn't measure up for me personally :(
Displaying 1 - 30 of 32 reviews