No Comment — November 14, 2007, 6:00 am

From Akhmatova’s ‘Requiem’

akhmatova

????????

«?? ????? ????, ????,
?? ????? ?????».

1

??? ??????? ??????? ??? ?????????,
? ?????? ???????????? ? ????.
???? ??????: «????? ???? ????????»
? ??????: «?, ?? ????? ????…»

2

????????? ?????? ? ??????,
?????? ??????? ???????,
? ????, ??? ????? ???? ??????,
??? ????? ????????? ? ?? ??????.

??????

1

?????? ?, ??? ??????? ????,
??? ??-??? ??? ??????????? ?????,
??? ????????? ??????? ????????
????????? ??????? ?? ?????,
??? ?????? ?? ????????? ? ??????
??????????? ???????? ?????,

?????? ????? ?? ????? ????????,
? ? ????????? ?????? ?????? ?????.
? ? ?????? ?? ? ???? ?????,
? ??? ????, ??? ??? ????? ?? ????,
? ? ????? ?????, ? ? ???????? ????,
??? ??????? ???????? ??????.

2

????? ??????????? ??????????? ???.
? ????, ? ?????, ? ???????? ???:
? ??, ??? ???? ?? ???? ??????,
? ??, ??? ??????? ?? ?????? ?????,
? ??, ??? ???????? ??????? ???????,
???????: «???? ???????, ??? ?????».
???????? ?? ???? ???????? ???????,
?? ?????? ??????, ? ????? ??????.
??? ??? ??????? ? ??????? ??????
?? ??????, ? ??? ?? ???????????? ????.
? ??? ????????? ?????? ? ?????,
? ??? ?? ?????? ? ? ????? ????,
? ???? ?????? ??? ?????????? ???,
??????? ?????? ???????????? ?????,
????? ??? ?? ??? ???????? ????
? ????? ????? ????????????? ???.
? ???? ?????-?????? ? ???? ??????
??????????? ???????? ???????? ???,
???????? ?? ??? ??? ?????????,
?? ?????? ? ????????: ?? ??????? ???
?? ????? ????, ??? ? ????????
(????????? ? ????? ????????? ?????),
?? ? ??????? ???? ? ????????? ???,
??? ???? ?????????? ???? ????,
? ?????, ??? ?????? ? ?????? ?????
? ??? ??? ???? ?? ??????? ?????.
?????, ??? ? ? ?????? ????????? ?????
?????? ?????????? ?????? ??????,
??????, ??? ???????? ??????? ?????
? ???? ???????, ??? ??????? ?????.
? ????? ? ??????????? ? ????????? ???
??? ????? ???????? ?????????? ????,
? ?????? ???????? ????? ????? ?????,
? ???? ???? ?? ???? ???????.

????? 10 ????? 1940,
????????? ???

CRUCIFIXION

“Weep not for me, mother.
I am alive in my grave.”

1

A choir of angels glorified the greatest hour,
The heavens melted into flames.
To his father he said, ‘Why hast thou forsaken me!’
But to his mother, ‘Weep not for me. . .’
[1940. Fontannyi Dom]

2

Magdalena smote herself and wept,
The favourite disciple turned to stone,
But there, where the mother stood silent,
Not one person dared to look.
[1943. Tashkent]

EPILOGUE

1
I have learned how faces fall,
How terror can escape from lowered eyes,
How suffering can etch cruel pages
Of cuneiform-like marks upon the cheeks.
I know how dark or ash-blond strands of hair
Can suddenly turn white. I’ve learned to recognise
The fading smiles upon submissive lips,
The trembling fear inside a hollow laugh.
That’s why I pray not for myself
But all of you who stood there with me
Through fiercest cold and scorching July heat
Under a towering, completely blind red wall.

2
The hour has come to remember the dead.
I see you, I hear you, I feel you:
The one who resisted the long drag to the open window;
The one who could no longer feel the kick of familiar
soil beneath her feet;
The one who, with a sudden flick of her head, replied,

‘I arrive here as if I’ve come home!’
I’d like to name you all by name, but the list
Has been removed and there is nowhere else to look.
So,
I have woven you this wide shroud out of the humble
words
I overheard you use. Everywhere, forever and always,
I will never forget one single thing. Even in new
grief.
Even if they clamp shut my tormented mouth
Through which one hundred million people scream;
That’s how I wish them to remember me when I am dead
On the eve of my remembrance day.
If someone someday in this country
Decides to raise a memorial to me,
I give my consent to this festivity
But only on this condition – do not build it
By the sea where I was born,
I have severed my last ties with the sea;
Nor in the Tsar’s Park by the hallowed stump
Where an inconsolable shadow looks for me;
Build it here where I stood for three hundred hours
And no-one slid open the bolt.
Listen, even in blissful death I fear
That I will forget the Black Marias,
Forget how hatefully the door slammed and an old woman
Howled like a wounded beast.
Let the thawing ice flow like tears
From my immovable bronze eyelids
And let the prison dove coo in the distance
While ships sail quietly along the river.
[March 1940. Fontannyi Dom]

Anna Akhmatova, “Crucifixion” and “Epilogue” from Requiem (1935-40)(trans. Sasha Soldatow)

Listen to Anna Akhmatova read Requiem here

Share
Single Page

More from Scott Horton:

Conversation March 30, 2016, 3:44 pm

Burn Pits

Joseph Hickman discusses his new book, The Burn Pits, which tells the story of thousands of U.S. soldiers who, after returning from Iraq and Afghanistan, have developed rare cancers and respiratory diseases.

Context, No Comment August 28, 2015, 12:16 pm

Beltway Secrecy

In five easy lessons

From the April 2015 issue

Company Men

Torture, treachery, and the CIA

Get access to 165 years of
Harper’s for only $45.99

United States Canada

CATEGORIES

THE CURRENT ISSUE

June 2016

Trump’s People

= Subscribers only.
Sign in here.
Subscribe here.

The Old Man

= Subscribers only.
Sign in here.
Subscribe here.

The Long Rescue

= Subscribers only.
Sign in here.
Subscribe here.

New Television

= Subscribers only.
Sign in here.
Subscribe here.

The Improbability Party

= Subscribers only.
Sign in here.
Subscribe here.

view Table Content

FEATURED ON HARPERS.ORG

Post
Helen Ouyang on the cost of crowd-sourcing drugs, Paul Wood on Trump's supporters, Walter Kirn on political predictions, Sonia Faleiro on a man's search for his kidnapped children, and Rivka Galchen on The People v. O. J. Simpson.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

Photograph (detail) © Eve Arnold/Magnum Photos
Article
Trump’s People·

= Subscribers only.
Sign in here.
Subscribe here.

"All our friends are saying, load up with plenty of ammunition, because after the stores don’t have no food they’re gonna be hitting houses. They’re going to take over America, put their flag on the Capitol.” “Who?” I asked. “ISIS. Oh yeah.”
Photograph by Mark Abramson for Harper's Magazine (detail)
Article
The Long Rescue·

= Subscribers only.
Sign in here.
Subscribe here.

He made them groom and feed the half-dozen horses used to transport the raw bricks to the furnace. Like the horses, the children were beaten with whips.
Photograph (detail) © Narendra Shrestha/EPA/Newscom
Article
The Old Man·

= Subscribers only.
Sign in here.
Subscribe here.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

Illustration (detail) by Jen Renninger
Article
New Television·

= Subscribers only.
Sign in here.
Subscribe here.

With its lens shifting from the courtroom to the newsroom to people’s back yards, the series evokes the way in which, for a brief, delusory moment, the O. J. verdict seemed to deliver justice for all black men.
Still from The People vs. OJ Simpson: American Crime Story © FX Networks

Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:

$62,000

Kentucky is the saddest state.

An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.

Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!

HARPER’S FINEST

Mississippi Drift

By

Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'

Subscribe Today