For many years Anna Akhmatova's poetry appeared to her contemporaries as if it had frozen within the restricted limits laid down by her first books: Evening, Rosary, White Flock…. It seemed that the poetess, submerged in the past, in the world of intimate reminiscences and in her own tradition of versification, would never tear herself away from the captivity of her beloved themes, familiar images, and established intonations. Even in the twenties critics had written that Anna Akhmatova was doomed to "repeat herself," and, unfortunately, such a view of her poetry is still current even today in her readers' minds.
If one turns, however, to the Akhmatova of today and reads carefully everything that she has produced during the last three decades, then extraordinary, at times decidedly new notes are perceptible, and unexpectedly bold developments and turns are noticeable in a lyrical view which was fully developed long ago and of which we are still quite conscious. (p. 72)
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