anna akhmatova poems analysis

. For instance, the poem Kogda v toske samoubiistva (translated as When in suicidal anguish, 1990), published in Volia naroda on April 12, 1918 and included in Podorozhnik, routinely appeared in Soviet editions without several of its opening lines, in which Akhmatova conveys her understanding of brutality and the loss of the traditional values that held sway in Russia during the time of revolutionary turmoil; this period was When the capital by the Neva, / Forgetting her greatness, / Like a drunken prostitute / Did not know who would take her next. A biblical source has been offered by Roman Davidovich Timenchik for her comparison between the Russian imperial capital and a drunken prostitute. The image of the reed originates in an Oriental tale about a girl killed by her siblings on the seashore. . . They had corresponded regularly during Akhmatovas stay in Central Asia, and Garshin had proposed marriage in one of his letters. Ronald Hingley, Nightingale Fever: Russian Poets in Revolution (1981), defines the historical and . After giving a brief survey of her biography, as well as a short summary about her work and style in general, I am going to analyze some parts of her poetry in particular, using selected pieces of work. To what extent did her biographical circumstances and, even more importantly, the political situation in Russia influence her writing? You should appear less often in my dreams by Anna Akhmatova describes the difference between a dream relationship and the one that exists in real life. [POEM]Love this, but it seems to fit with the 'Instapoets' style of seemingly pointless line breaks. Without doubt she is to be considered as one of the most acclaimed writers in the Russian canon, and her work still has an impact today. Since all literary production in the Soviet Union was now regulated and funded by the state, she was cut off from her most immediate source of income. Akhmatova stayed in Paris for several weeks that time, renting an apartment near the church of St. Sulpice and exploring the parks, museums, and cafs of Paris with her enigmatic companion. . Her interest in poetry began in her youth; but when her father found out about her aspirations, he told her not to shame the family name by becoming a "decadent poetess.". Feinstein, p. 7 et seq.). Source: Poetry (May 1973) This theme has proven consistently popular in European literature over the past two millennia, and Pushkins Ia pamiatnik sebe vozdvig nerukotvornyi (My monument Ive raised, not wrought by human hands, 1836) was its best known adaptation in Russian verse. After Stalin's death her poetry began to be published again. . Her first collection of poetry, Evening, was published in 1912, and from that date she began to publish regularly. Although she did not fancy Gumilev at first, they developed a collaborative relationship around poetry. . In Chast vtoraia: Intermetstso. My last tie with the sea is broken. . After Stalin's death her poetry began to be . . . / Ive put on my tight skirt / To make myself look still more svelte. This poem, precisely depicting the cabaret atmosphere, also underlines the motifs of sin and guilt, which eventually demand repentance. Her most important poetry volume also came out during this period. Like my squandered inheritance. Akhmatovas firm stance against emigration was rooted in her deep belief that a poet can sustain his art only in his native country. Through a mutual acquaintance, Berlin arranged two private visits to Akhmatova in the fall of 1945 and saw her again in January 1946. (Cf. May 1973. The walls of the cellar were painted in a bright pattern of flowers and birds by the theatrical designer Sergei Iurevich Sudeikin. Akhmatova lived in Russia during Stalin's reign of terror. Just as her life seemed to be improving, however, she fell victim to another fierce government attack. Poems. She was buried in Komarovo, located in the suburbs of Leningrad and best known as a vacation spot; in the 1960s she had lived in Komarovo in a small summer house provided by Literaturnyi fond (Literary Fund). Critical analysis . Akhmatovas romantic involvement with Punin dates approximately to this same year, and for the next several years she often lived in his study for extended periods of time. Although it is possible to identify repeated motifs and images and a certain common style in Akhmatovas poetry, her work from the later period, however, differs from the earlier both formally and thematically. Though Akhmatova continued to write during this time, the prohibition lasted a decade. Tails) of Poema bez geroia the narrator argues with her editor, who complains that the work is too obscure, and then directly addresses the poema as a character and interlocutor. Although she lived a long life, it was darkened disproportionately by calamitous moments. The artistic elite routinely gathered in the smoky cabaret to enjoy music, poetry readings, or the occasional improvised performance of a star ballet dancer. At the end of September 1941 she left Leningrad; along with many other writers, she was evacuated to Central Asia. During these prewar years, between 1911 and 1915, the epicenter of St. Petersburg bohemian life was the cabaret Brodiachaia sobaka (The Stray Dog), housed in the abandoned cellar of a wine shop in the Dashkov mansion on one of the central squares of the city. . but here Death is already chalking doors with crosses. Inevitably, it served as the setting for many of her works. The movement has its origin in St. Petersburg and basically never found its way outside the city. / Ive put out the light and opened the door / For you, so simple and miraculous.. Critics began referring to Akhmatova as a relic of the past and an anachronism. She was criticized on aesthetic grounds by fellow poets who had taken advantage of the radical social changes by experimenting with new styles and subject matters; they spurned Akhmatovas more traditional approach. Having become a terrifying fairy tale, In the lyric Tot gorod, mnoi liubimyi s detstva (translated as The city, beloved by me since childhood, 1990), written in 1929 and published in Iz shesti knig, she pictures herself as a foreigner in her hometown, Tsarskoe Selo, a place that is now beyond recognition: Tot gorod, mnoi liubimyi s detstva, 4.2. Reset Courage by Anna Akhmatova A ia byla ego zhenoi. This first encounter made a much stronger impression on Gumilev than on Gorenko, and he wooed her persistently for years. . A talented historian, Lev spent much of the time between 1935 and 1956 in forced-labor campshis only crime was being the son of counterrevolutionary Gumilev. . In doing so, I discovered that the way she wrote about love, war, and suffering transcends time. Nor in the tsars garden near the cherished pine stump, . . . Anna Akhmatova is regarded as one of Russias greatest poets. In the epilogue, visualizing a monument that may be erected to her in the future, Akhmatova evokes a theme that harks back to Horaces ode Exegi monumentum aere perennius (I Erected a Monument More Solid than Bronze, 23 BCE). Before he was eventually dispatched to the camps, Lev was first kept in Kresty along with hundreds of other victims of the regime. Although Kniazevs suicide is the central event of the poema, he is not a true hero, since his death comes not on the battlefield but in a moment of emotional weakness. In February and March 1911 several of Akhmatovas poems appeared in the journals Vseobshchii zhurnal (Universal Journal), Gaudeamus, and Apollon. Gorenko began writing verse as a teenager. . Segodnia pokazalsia mne. In Putem vseia zemli Akhmatova assumes a similar role and speaks like a wise, experienced teacher instructing her compatriots. Very little of Akhmatova's poetry was published between 1923 and 1941. The heroine laments her husbands desire to leave the simple pleasures of the hearth for faraway, exotic lands: On liubil tri veshchi na svete: The pen name came from family lore that one of her maternal ancestors was Khan Akhmat, the last Tatar chieftain to accept tribute from Russian rulers. In a Communist Party resolution of August 14, 1946 two magazines, Zvezda and Leningrad, were singled out and criticized for publishing works by Akhmatova and the writer Mikhail Mikhailovich Zoshchenkoworks deemed unworthy and decadent. Ni okolo moria, gde ia rodilas; - Anna Akhmatova, Selected Poems . . As Akhmatova states in a short prose preface to the work, Rekviem was conceived while she was standing in line before the central prison in Leningrad, popularly known as Kresty, waiting to hear word of her sons fate. In Pamiati 19 iiulia 1914 (translated as In Memoriam, July 19, 1914, 1990), first published in the newspaper Vo imia svobody (In the Name of Freedom) on May 25, 1917, Akhmatova suggests that personal memory must from now on give way to historical memory: Like a burden henceforth unnecessary, / The shadows of passion and songs vanished from my memory. In a poem addressed to her lover Boris Vasilevich Anrep, Net, tsarevich, ia ne ta (translated as No, tsarevich, I am not the one, 1990), which initially came out in Severnye zapiski (Northern Notes, 1915), she registers her change from a woman in love to a prophetess: And no longer do my lips / Kissthey prophesy. Born on St. Johns Eve, a special day in the Slavic folk calendar, when witches and demons were believed to roam freely, Akhmatova believed herself clairvoyant. Then, in 1935, her son Lev was imprisoned because of his personal connections. Anna Akhmatova's work is generally associated with the Acmeist movement. Most of these poets lived throughout a period of many changes changes concerning literary movements, like, for instance, the transition from romanticism to realism. A ne krylatuiu svododu, For Akhmatova, this palace was associated with prerevolutionary culture; she was quite aware that many 19th-century poets had socialized there, including Aleksander Sergeevich Pushkin and Petr Andreevich Viazemsky. Golosa letiat. Born near the Black Sea in 1888, Anna Akhmatova (originally Anna Andreyevna Gorenko) found herself in a time when Russia still had tsars. . You will raise your sons. Courage by Anna Akhmatova is a passionate poem about courage in the face of war. Moser 1989: p. 426 et seq.). . For example, in Liubov (translated as Love, 1990), a snake and white dove stand for love: Now, like a little snake, it curls into a ball, / Bewitching your heart, / Then for days it will coo like a dove / On the little white windowsill.. Vilenkin and V. A. Chernykh, eds.. Sergei Dediulin and Gabriel Superfin, eds.. Boris A. Kats and Roman Davidovich Timenchik. . . . Analysis of selected works. Amanda Haight, Anna Akhmatova: A Poetic Pilgrimage (1976), is a critical biography analyzing the relation of the poet's life to her poetry. In what way is her work representative of Acmeism? . The encounter was perhaps one of the most extraordinary events of Akhmatovas youth. In addition to poetry, she wrote prose including memoirs, autobiographical pieces, and literary scholarship on Russian writers such as Aleksandr Sergeevich Pushkin. . Just like readers during Akhmatovas lifetime, we could use that aching bittersweetness now. Specifically, Akhmatova was writing about World War II. The altars burn, In Tashkent, Akhmatova often recited verse at literary gatherings, in hospitals, and at the Frunze Military Academy. Finally, as befits a modern narrative poem, Akhmatovas most complex work includes metapoetic content. In its December silence I wonder if she found it a dark coincidence to die of heart issues afterthat organ was repeatedly broken for so many years. Anna Akhmatova was born on the 23th June 1889 in Bolyhoy Fontan, near the Black Sea port of Odessa, as Anna Andreyevna Gorenko. . This narrative poem is Akhmatovas most complex. In fact, Akhmatova transformed personal experience in her work through a series of masks and mystifications. Like Gumilev and Shileiko, Akhmatovas first two husbands, Punin was a poet; his verse had been published in the Acmeist journal Apollon. . So svoei podrugoi tikhoi . Is it ok because he's shown an ability to express himself so many different ways?Wanna hear thoughts . 2. She paid a high price for these moments of happiness and freedom. As the German blockade tightened around the city, many writers, musicians, and intellectuals addressed their fellow residents in a series of special radio transmissions organized by the literary critic Georgii Panteleimonovich Makagonenko. In 1965, Akhmativa received a honorary degree of Literature at the University of Oxford. . I dont know which year . Her mother, Inna Erazmovna Stogova, belonged to a powerful clan of landowners, while her father, Andrei Antonovich Gorenko, had received his title from his own father, who had been created a hereditary noble for service in the royal navy. . ). Later, in 1938 Akhmatova meanwhile had a second marriage and then a third was imprisoned as well and kept in the Gulag until the death of Stalin in 1956. You will govern, you will judge. V samom serdtse taigi dremuchei Her poem The Last Toast was the first poem I ever willing memorized. Akhmatova uses Poema bez geroia in part to express her attitude toward some of these people; for instance, she turns the homosexual poet Mikhail Alekseevich Kuzmin, who had criticized her verse in the 1920s, into Satan and the arch-sinner of her generation. . Accordingly, she uses very clear and direct expressions by means of images and a very simple poetic language. Because of his invaluable contribution to scholarship, Shileiko was assigned rooms in Sheremetev Palace, where he and Akhmatova stayed between 1918 and 1920. During an interview with Berlin in Oxford in 1965, when asked if she was planning to annotate the work, Akhmatova replied that it would be buried with her and her centurythat it was not written for eternity or posterity but for those who still remembered the world she described in it. He was shot as an alleged counter-revolutionary in 1921. She always believed in the poets holy trade; she wrote in Nashe sviashchennoe Remeslo (Our Holy Trade, 1944; first published in Znamia, 1945) Our holy trade / Has existed for a thousand years / With it even a world without light would be bright. She also believed in the common poetic lot. By the time the volume was published, she had become a favorite of the St. Petersburg literary beau monde and was reputed for her striking beauty and charismatic personality. Akhmatova, well versed in Christian beliefs, reinterprets this legend to reflect her own role as a redeemer of her people; she weaves a mantle that will protect the memory of the victims and thus ensure historical continuity. Stavshii skazkoi iz strashnoi byli, 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. . Every single person that visits Poem Analysis has helped contribute, so thank you for your support. Acmeism rose in opposition to the preceding literary school, Symbolism, which was in decline after dominating the Russian literary scene for almost two decades. Acmeism was a transient poetic movement which emerged in Russia in 1910 and lasted until 1917. Lev was released from prison in 1956, and several volumes of her verse, though censored, were published in the late 1950s and the 1960s. An estimated 600,000 people, including Akhmatovas friends and literary colleagues, were killed in the Purge. . Her style, characterised by its economy and emotional restraint, was strikingly inventive and distinctive to her fellow poets. . She was expelled from the Union of Soviet Writers; the loss of this membership meant severe hardship, as food supplies were scarce at the time and only Union members were entitled to food-ration cards. Sign up to receive Check Your Shelf, the Librarian's One-Stop Shop For News, Book Lists, And More. . He forced her to take a pen name, and she chose the last name of her maternal great . And indeed, this predication became a reality: she is still remembered today, and not only remembered as some poet of the 20th century, but as an outstanding artist and an extraordinary woman. The principle themes of her works are meditations on time and memory as well as the difficulties arising from of living and writing under Stalinism. The help she received from her entourage likely enabled her to survive the tribulations of these years. When she published her first collection, Vecher (1912; translated as Evening, 1990), fame followed immediately. 3.1. During a career lasting more than half a century starting to write and publish poetry in the pre-revolutionary era, and becoming a key figure of the Silver Age in the first quarter of the 20th century she witnessed revolution, civil war, two Worls Wars, the purges and the Thaw. One of the leitmotivs in this work is the direct link between the past, present, and future: As the future ripens in the past, / So the past rots in the future The scenes from 1913 are followed by passages in Chast tretia: Epilog (Part Three: Epilogue) that describe the present horror of war and prison camps, a retribution for a sinful past: A za provolokoi koliuchei, She was born Anna Andreevna Gorenko on June 11, 1889 in Bolshoi Fontan, near the Black Sea, the third of six children in an upper-class family. In her lifetime Akhmatova experienced both prerevolutionary and Soviet Russia, yet her verse extended and preserved classical Russian culture during periods of avant-garde radicalism and formal experimentation, as well as the suffocating ideological strictures of socialist realism. By Anna Akhmatova. Anna Akhmatovas work is generally associated with the Acmeist movement. . Despite the noise and the general uneasiness of the situation, Akhmatova did not seem to mind communal living and managed to retain her regal persona even in a cramped, unkempt, and poorly furnished room. They decide to erect a monument to me, I consent to that honor Self-conscious in her new civic role, she announces in a poemwritten on the day Germany declared war on Russiathat she must purge her memory of the amorous adventures she used to describe in order to record the terrible events to come. The city of St. Petersburg was not only the center of the movement, but also the topic of many of the Acmeists poems especially of those of Akhmatova and Mandelstam. . 'He loved three things, alive:' by Anna Akhmatova is a short poem in which the speaker describes her husband's likes and dislikes. Eventually, however, she took the pseudonym Akhmatova. . . Important literary idols for the Acmeist movement were e.g. Many perceived the year 1913 as the last peaceful timethe end of the sophisticated, light-hearted fin de sicle period. Akhmatova suggests that while the poet is at the mercy of the dictator and vulnerable to persecution, intimidation, and death, his art ultimately transcends all oppression and conveys truth. . But with a strangers curiosity, From this point of view, the title Trostnik is symbolic of the poets word, which can never be silenced. Anna Akhmatova was born in 1889 in Odessa on the Black Sea coast. Anna Akhmatova is one of the most famous and acclaimed female poets in the Russian canon. When, in 1924, he was allocated two rooms in the Marble Palace, she moved in with him and lived there until 1926. Her only son, Lev Nikolaevich Gumilev, was born on September 18, 1912. Both Akhmatova and her husband were heavy smokers; she would start every day by running out from her unheated palace room into the street to ask a passerby for a light. There is something, perhaps, not entirely sane about learning a language for the sake of poetry. . In the concise lines of this piece, the poet's speaker takes the reader through three likes her husband "had" and three dislikes he "had." The following questions are going to lead me throughout the whole essay: what is so specific about Akhmatovas poetry? In Tsarskoe Selo, Gorenko attended the womens Mariinskaia gymnasium yet completed her final year at Fundukleevskaia gymnasium in Kiev, where she graduated in May 1907; she and her mother had moved to Kiev after Inna Erazmovnas separation from Andrei Antonovich. . Akhmatovas poetry, 4. Akhmatova reluctantly returned to live at Sheremetev Palace. Akhmatova was eleven years old when she started writing poetry and by then gravely sick herself; later she would name that sickness as the trigger for her to write her first poem (Cf. Anna Akhmatova's poem "Requiem" can be difficult to fully grasp. Leonard Cohen's work is diverse and this is not his only style-I was curious what the sub thinks. / I pulled the glove for my left hand / Onto my right. Likewise, abstract notions are revealed through familiar concrete objects or creatures. Her earlier manner, intimate and colloquial, gradually gave way to a more classical severity, apparent in her volumes The White Flock (1917) and Anno Domini MCMXXI (1922); and, beyond that, there is an identifiable shift away from a fairly homogenous body of early lyrics miniatures to the more diverse and complex work of her later phase. For years Akhmatova shared her quarters with Punins first wife, daughter, and granddaughter; after her separation from Punin at the end of the 1930s, she then lived with his next wife. (And from behind barbed wire, . In addition to poetry, Anna Akhmatova (ak-MAH-tuh-vuh) wrote an unfinished play and many essays on Russian writers. By that time, when not only her son and her husband, but also many of her friends remained in prison, she did not even dare to put down her poems on paper at times. Her poetic voice, which had grown more epic and philosophical during the prewar years, acquired a well-defined civic cadence in her wartime verse. Anna Akhmatova was born in Ukraine in 1889 to an upper-class family. by Stanley Burnshaw), Lot's Wife (Tr. This intriguing poem, Lots Wife, by Anna Akhmatova, translated by Richard Wilbur, takes an age-old story that has been passed down from generation to generation and tells it from a new perspective, that of Lots wife. He hated it when children cried, Such lauding of the executioner by his victim, however, dressed as it was in Akhmatovas refined classical meter, did not convince even Stalin himself. anna akhmatova. Akhmatova knew that Poema bez geroia would be considered esoteric in form and content, but she deliberately refused to provide any clarification. Akhmatovas son was arrested again in 1949 and sentenced to 10 years labor in a Siberian prison camp. I watched how the sleds skimmed, Offering words in a time when words will never be enough. Unlike many of her literary contemporaries, though, she never considered flight into exile. JSTOR and the Poetry Foundation are collaborating to digitize, preserve, and extend access to Poetry. Vozdvignut zadumaiut pamiatnik mne, Soglase na eto daiu torzhestvo, Very little of Akhmatova's poetry was published between 1923 and 1941. Well into her 70s by this time, she was allowed to make two trips abroad: in 1964 she traveled to Italy to receive the Etna Taormina International Prize in Poetry, and in 1965 she went to England, where she was awarded an honorary doctorate from Oxford University. / An early fall has strung / The elms with yellow flags. Modigliani made 16 drawings of Akhmatova in the nude, one of which remained with her until her death; it always hung above her sofa in whatever room she occupied during her frequently unsettled life. In 1956, when Berlin was on a short trip to Russia, Akhmatova refused to receive him, presumably out of fear for Lev, who had just been released from prison. The most important ones were Nikolay Gumilev, Anna Akhmatova, Osip Mandelstam and Sergey Gorodeckij. . In a condemnatory speech the party secretary dismissed Akhmatovas verse as pessimistic and as rooted in bourgeois culture; she was denounced as a nun and a whore, her Communist critics borrowing the terms from Eikhenbaums 1923 monograph. In an attempt to gain his release, she began to write more positive propaganda for the USSR. . Anna Akhmatova is regarded as one of Russia's greatest poets. The souls of all my dears have flown to the stars. Before the revolution Punin was a scholar of Byzantine art and had helped create the Department of Icon Painting at the Russian Museum. For many younger writers she was seen as both the represantative of a lost cultural context that is to say early Russian modernism and a contemporary poet. When Anna Akhmatova began working on her long poem Requiem sometime in the 1930s, she knew that she would not be allowed to publish it. The two themes, sin and penitence, recur in Akhmatovas early verse. . Mandelshtam pursued Akhmatova, albeit unsuccessfully, for quite some time; she was more inclined, however, to conduct a dialogue with him in verse, and eventually they spent less time together. Around this time Gumilev emerged as the leader of an eclectic and loosely knit literary group, ambitiously dubbed Acmeism (from the Greek akme, meaning pinnacle, or the time of flowering). 3. V ego dekabrskoi tishine And not winged freedom, The era of purges is characterized in Rekviem as a time when, like a useless appendage, Leningrad / Swung from its prisons. Akhmatova dedicated the poem to the memory of all who shared her fatewho had seen loved ones dragged away in the middle of the night to be crushed by acts of torture and repression: They led you away at dawn, / I followed you like a mourner , Without a unifying or consistent meter, and broken into stanzas of various lengths and rhyme patterns, Rekviem expresses a disintegration of self and world. The masks of the guests are associated with several prominent artistic figures from the modernist period. . Akhmatovas cycle Shipovnik tsvetet (published in Beg vremeni; translated as Sweetbriar in Blossom, 1990), which treats the meetings with Berlin in 1945-1946 and the nonmeeting of 1956, shares many cross-references with Poema bez geroia. . (No one wants to help us In Stalinist Russia, all artists were expected to advocate the Communist cause, and for many the occasional application of their talents to this end was the only path to survival. . This new translation of Anna Akhmatova's poetic cycle by Stephen Capus is available in print in Cardinal Points, vol. Akhmatovas third collection, Belaia staia (White Flock, 1917), includes not only love lyrics but also many poems of strong patriotic sentiment. (And if ever in this country invented word/ Am I really a note or a flower? Akhmatovas poetry is also known for its pattern of ellipsis, another example of a break or pause in speech, as exemplified in Ia ne liubvi tvoei proshu (translated as Im not asking for your love, 1990), written in 1914 and first published in the journal Zvezda (The Star) in 1946: Im not asking for your love/ Its in a safe place now The meaning of unrequited love in Akhmatovas lyrics is twofold, because the speaker alternately suffers and makes others suffer. Personal memories of St. Petersburg and the Crimea are woven into this uncanny panorama of the past. . . . They lived separately most of the time; one of Gumilevs strongest passions was travel, and he participated in many expeditions to Africa. . And for us, descending into the vale, This poem is written by the Ukrainian poet Anna Akhmatova. Lots Wife (translated by Richard Wilbur), You should appear less often in my dreams, Poems covered in the Educational Syllabus. She also translated Italian, French, Armenian, and Korean poetry. Among the exiled Russian poets that Akhmatova mentions are Pushkin; Mikhail Iurevich Lermontov, who was sent to the faraway Caucasus by the tsar; and her friend and contemporary Mandelshtam, who was confined, on Stalins orders, to the provincial city of Voronezh. Modigliani wrote her letters throughout the winter, and they met again when she returned to Paris in 1911. Akhmatova entrusted her newborn son to the care of her mother-in-law, Anna Ivanovna Gumileva, who lived in the town of Bezhetsk, and the poet returned to her bohemian life in St. Petersburg. After Stalin's death her poetry began to be published again. Requiem Not under foreign skies Nor under foreign wings protected - I shared all this with my own people There, where misfortune had abandoned us. In the poem Tyotstupnik: za ostrov zelenyi (from Podorozhnik; translated as You are an apostate: for a green island, 1990), first published in Volia naroda (The Peoples Will) on April 13, 1918, for example, she reproaches her lover Anrep for abandoning Russia for the green island of England. Word Count: 75. In contrast Gumilev and his fellow Acmeists turned to the visible world in all its triumphant materiality. She lamented the culture of the past, the departure of her friends, and the personal loss of love and happinessall of which were at odds with the upbeat Bolshevik ideology. Akhmatovas style is concise; rather than resorting to a lengthy exposition of feelings, she provides psychologically concrete details to represent internal drama. . In "Prologue," she writes "that [Stalin's Great Purge] was a time when only the dead could smile" (Prologue, Line 1), which suggests it was preferable to die than to live and emphasizes her . Her memory transports her to the turn of the century and leads her through the sites of the most important military confrontationsincluding the Boer War, the annihilation of the Russian navy at Tsushima, and World War I, all of which foreshadowed disaster for Europe.
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