Mandelshtam immortalized Akhmatovas performance at the cabaret in a short poem, titled Akhmatova (1914). Having become a heap of camp dust, Feinstein 2005: p. 11). As her father, however, did not want her to publish any verses under his respectable name, she chose to adopt her grandmothers distinctly Tatar name Akhmatova as a pen name. Where an inconsolable shade looks for me, But here, where I stood for three hundred hours, Born near the Black Sea in 1888, Anna Akhmatova (originally Anna Andreyevna Gorenko) found herself in a time when Russia still had tsars. The couple spent their honeymoon in Paris, where Akhmatova was introduced to Amedeo Modigliani, at the time an unknown and struggling Italian painter. During that period from 1925 to 1940 which is called the Era of silence all of Akhmatovas writing was unofficially banned and none of her works were published. . But her heroine rejects the new name and identity that the voice has used to entice her: But calmly and indifferently, / I covered my ears with my hands, / So that my sorrowing spirit / Would not be stained by those shameful words. Rather than staining her conscience, she is determined to preserve the bloodstains on her hands as a sign of common destiny and of her personal responsibility in order to protect the memory of those dramatic days. And not winged freedom, . The lines were originally written in Russian, meaning that any rhyme scheme or intended metrical pattern is mostly lost through the translation into English. Her works were very well received and earned her a great deal of praise, and soon she became one of the central figures in the Acmeist movement. Akhmatovas style is concise; rather than resorting to a lengthy exposition of feelings, she provides psychologically concrete details to represent internal drama. Akhmatova experienced dramatic repercussions. Personal memories of St. Petersburg and the Crimea are woven into this uncanny panorama of the past.
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