Reflect on the conclusion made by m and Tsvetaeva. "Features of the artistic rhetoric of M. Tsvetaeva". Conversation on the work of M.I. Tsvetaeva

In 1934, one of the program articles by M. I. Tsvetaeva “Poets with history and poets without history” was published. In this work, she divides all artists of the word into two categories. The first includes the poets of the “arrow”, i.e., thoughts and developments that reflect the changes in the world and change with the passage of time - these are “poets with history”. The second category of creators - "pure lyric poets", poets of feeling, "circles" - these are "poets without history". She referred herself and many of her beloved contemporaries to the latter, in the first place Pasternak.

One of the features of the "poets of the circle", according to Tsvetaeva, is lyrical self-absorption and, accordingly, detachment from both real life and historical events. True lyrics, she believes, are closed on themselves and therefore “do not develop”: “Pure lyrics live with feelings. Feelings are always the same. Feelings have no development, no logic. They are inconsistent. They are given to us all at once, all the feelings that we are ever destined to experience; they, like the flame of a torch, are born squeezed into our chest.

Amazing personal fullness, depth of feelings and power of imagination allowed M. I. Tsvetaeva throughout her life - and she is characterized by a romantic feeling of the unity of life and creativity - to draw poetic inspiration from the boundless, unpredictable and at the same time constant, like the sea, her own soul . In other words, from birth to death, from the first lines of poetry to the last breath, she remained, according to her own definition, "a pure lyricist."

One of the main features of this "pure lyricist" is self-sufficiency, creative individualism and even egocentrism. Individualism and egocentrism in her case are not synonymous with egoism; they are manifested in the constant feeling of one's own dissimilarity to others, the isolation of one's being in the world of other - uncreative - people, in the world of everyday life. In early poems, this is the isolation of a brilliant child-poet, who knows his own truth, from the world of adults:

We know, we know a lot

What they don't know!
(“In the hall”, 1908-1910)

In youth - the isolation of the "immeasurable" soul in the vulgarized "world of measures." This is the first step towards creative and worldly antagonism between "I" and "they" (or "you"), between the lyrical heroine and the whole world:

you walking past me
To not mine and dubious charms, -
If you knew how much fire
So much wasted life...
... How much dark and formidable melancholy
In my blonde head...
("You walking past me...", 1913)

An early awareness of the confrontation between the poet and "the rest of the world" was reflected in the work of the young Tsvetaeva in the use of a favorite technique of contrast. This is a contrast between the eternal and the momentary, being and everyday life: someone else's ("not mine") charms are "doubtful", because they are aliens, therefore, "my" charms are true. This straightforward opposition is complicated by the fact that it is complemented by the contrast of darkness and light (“dark and formidable melancholy” - “fair-haired head”), and the heroine herself turns out to be the source of contradictions and the bearer of the contrast.

The originality of Tsvetaeva's position is also in the fact that her lyrical heroine is always absolutely identical to the personality of the poet: Tsvetaeva stood up for the utmost sincerity of poetry, so any "I" of poems should, in her opinion, fully represent the biographical "I", with its moods, feelings and whole worldview.

Tsvetaeva's poetry is above all a challenge to the world. Of her love for her husband, she will say in an early poem: “I defiantly wear his ring!”; reflecting on the frailty of earthly life and earthly passions, he will ardently declare: “I know the truth! All former truths are lies!”; in the cycle “Poems about Moscow” he will present himself as dead and oppose the world of the living, who bury her:

Through the streets of abandoned Moscow
I will go, and you will wander.
And not one will fall behind the road,
And the first lump on the lid of the coffin will burst, -
And finally it will be allowed
Selfish, lonely dream.
(“The day will come, - sad, they say! ..”, 1916)

In the poems of the emigrant years, Tsvetaeva's opposition to the world and her programmatic individualism receive a more concrete justification: in an era of trials and temptations, the poet sees himself among the few who have preserved the direct path of honor and courage, utmost sincerity and incorruptibility:

Some, without curvature, -
Life is expensive.
("Some - not the law ...", 1922)

The tragedy of losing one's homeland is expressed in Tsvetaeva's emigrant poetry in opposition to herself - Russian - to everything non-Russian and therefore alien. The individual “I” here becomes part of a single Russian “we”, recognizable “by excessively large hearts”. In this “we”, the richness of Tsvetaev’s “I” appears, to which “your Paris” seems “boring and ugly” in comparison with Russian memory:

My Russia, Russia
Why are you burning so brightly?
("Luchina", 1931)

But the main confrontation in the world of Tsvetaeva is the eternal confrontation between the poet and the mob, the creator and the tradesman. Tsvetaeva affirms the creator's right to his own world, the right to creativity. Emphasizing the eternity of confrontation, she turns to history, myth, tradition, filling them with her own feelings and her own worldview. Recall that the lyrical heroine of Marina Tsvetaeva is always equal to her personality. Therefore, many plots of world culture, included in her poetry, become illustrations for her lyrical reflections, and the heroes of world history and culture become a means of embodying the individual "I".

This is how the poem "The Pied Piper" is born, the plot of which is based on a German legend, which, under the poet's pen, received a different interpretation - the struggle between creativity and philistinism. This is how the image of Orpheus, torn by the Bacchantes, appears in the verses - the motive of the tragic fate of the poet, his incompatibility with the real world, the doom of the creator in the "world of measures" is intensified. Tsvetaeva recognizes herself as the “interlocutor and heiress” of tragic singers:

Blood silver, silver

Blood trail double leah
Along the dying Gebra -
My gentle brother! My sister!
("Orpheus", 1921)

Tsvetaeva's poetry is characterized by a wide emotional range. O. Mandelstam in "A Conversation about Dante" quoted Tsvetaev's expression "compliance in Russian speech", raising the etymology of the word "compliance" to "ledge". Indeed, Tsvetaeva's poetry is built on the contrast of the used colloquial or folklore speech elements (her poem "Alleys", for example, is entirely built on the melody of a conspiracy) and complicated vocabulary. Such a contrast enhances the individual emotional mood of each poem. The complication of vocabulary is achieved by the inclusion of rarely used, often obsolete words or word forms that evoke the “high calm” of the past. In her poems, for example, the words “mouth”, “eyes”, “face”, “nereid”, “azure”, etc. are found; unexpected grammatical forms like the occasionalism "liya" already familiar to us. The contrast of the everyday situation and everyday vocabulary with the "high calm" enhances the solemnity and pathos of Tsvetaev's style.

Lexical contrast is often achieved by using foreign words and expressions that rhyme with Russian words:

O-de-co-lones

family, sewing

Happiness (kleinwenig!)
Have you got a coffee pot?
("Train of Life", 1923)

Tsvetaeva is also characterized by unexpected definitions and emotionally expressive epithets. In "Orpheus" alone - "retreating distance", "blood-silver, silver-blood trail double", "radiant remains". The emotional intensity of the poem is increased by inversions (“my gentle brother”, “the pace slowed down the head”), pathetic appeals and exclamations:

And the lyre assured: - peace!
And lips repeated: - it is a pity!
...Ho the lyre assured: - by!
And her lips followed her: - alas!
... Wave salty - answer!

In general, in Tsvetaeva's poetry, the traditions of late romanticism come to life with its inherent techniques of poetic rhetoric. In Orpheus, rhetoric enhances the mournful, solemn and angry mood of the poet.

True, the rhetorical majesty, usually accompanied by semantic certainty, does not make her lyrics semantically clear and transparent. The dominant personal principle of Tsvetaeva's poetry often changes the semantics of generally accepted expressions, giving them new semantic shades. In "Orpheus" we will meet with an unexpected personification "Along the dying Gebra." Gebr - the river on the banks of which, according to mythological legend, Orpheus died - in the poem takes on part of the author's emotional state and "dies", like a grieving person. The image of the “salty wave” in the last quatrain also acquires an additional “sorrowful” emotional coloring, by analogy with a salty tear. The personal dominant is also manifested in the use of lexical means: Tsvetaeva often creates original occasionalisms - new words and expressions for solving one specific artistic task. Such images are based on commonly used neutral words (“In a far-flung headboard // Moved like a crown ...”).

The expressiveness of the poem is achieved with the help of an ellipsis (ellipsis - omission, default). Tsvetaev's "broken phrase", not formally completed by a thought, makes the reader freeze at the height of the emotional climax:

So, stairs descending

River - in the cradle of swells,
So, to the island where it is sweeter,
Than anywhere - the nightingale lies ...

And then a contrasting break in moods: the mournfully solemn tonality of the picture, the “radiant remains”, floating away “along the dying Gebra”, is replaced by bitterness and angry irony in relation to the world of everyday life, in which no one cares about the death of the singer:

Where are the shone remains?
Salty wave, answer!

A distinctive feature of Tsvetaeva's lyrics is a unique poetic intonation created by the skillful use of pauses, breaking up the lyrical flow into expressive independent segments, varying the tempo and volume of speech. Tsvetaeva's intonation often finds a distinct graphic embodiment. So, the poetess likes to highlight emotionally and semantically significant words and expressions with the help of numerous dashes, often resorting to exclamation and question marks. Pauses are transmitted using multiple ellipses and semicolons. In addition, the selection of key words is facilitated by transfers that are “incorrect” from the point of view of tradition, which often split up words and phrases, reinforcing the already tense emotionality:

Blood silver, silver
Blood trail double li...

As you can see, images, symbols and concepts acquire a rather specific coloring in Tsvetaeva's poems. This non-traditional semantics is recognized by readers as uniquely “Tsvetaeva”, as a sign of her artistic world.

The same can be largely attributed to the color symbolism. Tsvetaeva loves contrasting tones: silver and fire are especially close to her rebellious lyrical heroine. Fiery colors are an attribute of many of her images: this is a burning brush of mountain ash, and gold of hair, and a blush, etc. Often in her poems light and darkness, day and night, black and white oppose each other. The colors of Marina Tsvetaeva are distinguished by semantic richness. So, night and black color are both a traditional attribute of death, and a sign of deep inner concentration, a feeling of being alone with the world and the universe (“Insomnia”). Black color can serve as a sign of rejection of the world that killed the poet. So, in a poem of 1916, she emphasizes the tragic intransigence of the poet and the mob, as if foreseeing the death of Blok:

Thought it was a man!
And forced to die.
Died now. Forever.
- Cry for the dead angel!
... Black reads the reader,
Idle people trample...
- Dead lies the singer
And Sunday is celebrated.
("Thought - a man!")

The poet, the "light-bearing sun", is killed by everyday life, the world of everyday life, which put him only "three wax candles." The image of the Poet in Tsvetaeva's poems always corresponds to "winged" symbols: an eagle or an eagle, a seraphim (Mandelstam); swan, angel (Block). Tsvetaeva also constantly sees herself as “winged”: her soul is a “pilot”, she is “in flight // Her own - constantly broken.”

The poetic gift, according to Tsvetaeva, makes a person winged, elevates him above the vanity of life, above time and space, endows him with divine power over minds and souls. According to Tsvetaeva, the gods speak through the mouths of poets, raising them to eternity. But the same poetic gift also takes away a lot: it takes away from the God-chosen person his real earthly life, makes the simple joys of everyday life impossible for him. Harmony with the world is initially impossible for a poet:

mercilessly and succinctly formulates Tsvetaeva in the 1935 poem "There are lucky ones ...".

The reconciliation of the poet with the world is possible only if he refuses the poetic gift, from his "specialness". Therefore, from her youth, Tsvetaeva rebels against the ordinary world, against forgetfulness, dullness and death:

Hide everything so that people forget
Like melted snow and a candle?
To be in the future only a handful of dust
Under the grave cross? I want!
(“Literary prosecutors”, 1911-1912)

In her poet's rebellion against the mob, in asserting herself as a poet, Tsvetaeva defies even death. She creates an imaginary picture of choice - and prefers to repentance and forgiveness the share of the poet rejected by the world and rejecting the world:

Gently taking away the unkissed cross with a gentle hand,
I will rush to the generous sky for the last greetings.

Cut through the dawn - and a reciprocal smile cut through ...
- I will remain a poet even in my dying hiccups!
(“I know, I will die at dawn!..”, 1920)

Reflecting on her place in Russian poetry, Tsvetaeva by no means belittles her own merits. So, she naturally considers herself a "great-granddaughter" and "comrade" of Pushkin, if not equal to him, then standing in the same poetic row:

All his science
Power. Light - I look:
Pushkin's hand
I chew, not lick.
(Cycle "Poems to Pushkin", 1931)

Tsvetaeva also sees her kinship with Pushkin in her approach to the essence of the creative process. The poet, in her opinion, is always a worker, a creator of the new, in this respect she compares Pushkin with Peter the Great, she also sees herself as a worker.

But with all the closeness to Pushkin, seen, of course, in Tsvetaev's subjective way, with the "Pushkin" approach to the theme of death and creativity - Tsvetaeva remains original. Where Pushkin has a bright harmony of wisdom and understanding, she has tragic discord, anguish, rebellion. Pushkin's "peace and freedom" - outside of her artistic world. Tsvetaevsky discord stems from the contradiction between the love of life, the denial of death and the simultaneous desire for non-existence. Her own death is one of the constant themes of her work (“Prayer”, “Oh, how many of them fell into this abyss ...”, “You are walking, like me ...”, “The day will come - sad, they say ... "," More and more - songs ...", "What, my Muse? Is she still alive? ...", "Table", etc.). Her favorite images are Orpheus and Ophelia, who became symbols of song and death in verse:

So - unselfish

A sacrifice to the world
Ophelia - leaves,

Orpheus - his lyre...
- And I?
(“Along the embankments, where the gray trees...”, 1923)

There is an interesting feature in Tsvetaeva's work: often large themes turn into miniature poems, which are a kind of quintessence of her feelings and lyrical reflections. Such a poem can be called “Opened the veins: unstoppable ...” (1934), which merged both the comparison of the creative act with suicide and the motive of the artist’s eternal conflict with the “flat” world that does not understand him. In the same miniature - the awareness of the eternal cycle of being - death that nourishes the earth - from which the reed grows - nourishes the future life, just as each "spilled" verse nourishes the creativity of the present and future. In addition, the miniature also reveals Tsvetaeva's idea of ​​"coexistence" of times (past and future) - in the present, the idea of ​​creation in the name of the future, often - past the present, despite today's misunderstanding ("over the edge - and past").

Even Tsvetaeva's passion is conveyed here, but not through fragmentation of the phrase, but with the help of repetitions that give emotional intensity to the action - the "outburst" of life and verse ("unstoppable", "irrecoverable", etc.). Moreover, the same words, referring both to life and to verse, emphasize the inseparability of life, creativity and death of the artist, who always lives on his last breath. Emotional tension is also achieved by graphic means - highlighting key words using punctuation marks:

Opened the veins: unstoppable,

Irreversibly gushing life.

Bring bowls and plates!
Every plate will be small,
The bowl is flat.
Over the edge - and past -
Into the black earth, feed the reeds.

Irrevocable, unstoppable
Irreversibly whipping verse.

One of the most characteristic states of Tsvetaeva the poet is the state of absolute loneliness. It is caused by constant confrontation with the world, as well as the internal conflict characteristic of Tsvetaeva between everyday life and being.

This conflict permeates all her work and takes on a variety of shades: it is the incompatibility of heaven and earth, hell and paradise, demonic and angelic principles in man; high chosenness of the poet with his worldly existence. And at the center of this conflict is Marina Tsvetaeva herself, who combines both demonism and the angelic principle. Sometimes she sees the resolution of the conflict in her own death: the “newly deceased bolyarina Marina” through her everyday face “will show through the face”. In 1925, Tsvetaeva reveals the essence of her eternal internal confrontation:

Alive, not dead
Demon in me!
In the body - as in the hold,
In itself - as in prison.

... In the body - as in the extreme

Iron masks.
("Alive, not dead...")

Tsvetaeva's eternal conflict between the mundane and the existential could not but give rise to a romantic dual world in her poetry. Tsvetaeva did not love her era, often looking for spiritual harmony in turning to the past: “Glory to languid great-grandmothers, // Houses of old Moscow” in her world confront modern “freak-five-story freaks”, and the 20th century, in which Tsvetaeva was difficult, is romantic past XVII-XVIII centuries. This is how Casanova (the drama "Phoenix"), Cavalier de Grieux and Don Juan come to her artistic world, to whom she, to each in her own way, confesses her personal love. The 19th century is represented by the heroes of the Patriotic War of 1812; The time of troubles in Russian history is embodied in the images of False Dmitry and Marina Mnishek; Phaedra, Orpheus, the Maid of Orleans, the heroes of Hamlet, etc., remind of antiquity, the Middle Ages and the Renaissance. Tsvetaeva affirms in her poems the ideal of male chivalry, hence her desire for heroic and suffering natures, hence her passion for romantic artistic details. Frequent attributes of her works are a sword (sword, dagger, blade) and a cloak. These are multidimensional artistic images that have become signs of chivalry, honor and courage. The sword acquires the additional meaning of the unity of opposites (double-edged blade): love and hate, connectedness and disunity within the framework of a single lyrical situation:

Double-edged blade - roznit?
He brings it down! Break through the cloak!
So bring us together, formidable guardian,
Wound to wound and cartilage to cartilage!
("Blade", 1923)

A cloak is an invariable attribute of high discipleship and service, love and devotion, a cloak is a kind of lyrical "space at home", protecting "from all insults, from all earthly resentment", a cloak is a true heart and militancy (cycle "Student", 1921).

The loneliness of the lyrical heroine Tsvetaeva is revealed in different ways. This is the loneliness of unfulfilled love or friendship, the loneliness of a poet who opposes the world. The lyrical situation of orphanhood is filled with symbolic significance in Tsvetaeva's poetry (the cycles "Student", "Trees", "Poems to the Orphan", etc.).

In understanding the loneliness of the creator, Tsvetaeva follows the tradition of Baratynsky, who addressed the "reader in posterity." Ho - and this is the originality of Tsvetaeva - the position of extreme individualism and self-absorption deprived her of "a friend in the generation." Earthly friendship could not melt her loneliness. In the poem "Roland's Horn" (1921), she gives herself an expressive description: "One of all - for all - against all!" She addresses her call to descendants, readers of the future.

“The revolution taught me Russia,” the mature Tsvetaeva will say. Russia has always been in her blood - with its history, rebellious heroines, gypsies, churches and Moscow. Far from her homeland, Tsvetaeva writes many of her most Russian things: poems based on folklore material and the style of folk song speech (“Lane”, “Good job”); numerous poems, prose works ("My Pushkin", "Pushkin and Pugachev", "Natalia Goncharova. Life and Work"). The Russianness of Tsvetaeva acquires in emigration the tragic sound of the loss of the motherland, orphanhood: “Through the slums of the earth's latitudes // We were shoved away like orphans.” Excommunication from the homeland, according to Tsvetaeva, is fatal for a Russian: “Doctors recognize us in the morgue // For excessively large hearts.”

The tragedy of Tsvetaeva's longing for Russia is intensified by the fact that the poet, again, yearns for the unfulfilled, for "That Russia - no, / Like that me." The sign of that - Tsvetaeva - Russia in the late lyrics remains the mountain ash, beloved from youth - the last salvation in a strange world:

Every house is alien to me, every temple is empty to me,
And everything is the same, and everything is one.
Ho if on the way - a bush
It rises, especially the mountain ash ...
("Longing for the Motherland!", 1934)

Since childhood, Marina Tsvetaeva dreamed of a bright, fulfilling life. She confesses in Prayer (1909):

I thirst at once - all roads!
I want everything: with the soul of a gypsy
Go to the songs for robbery,
For all to suffer to the sound of the organ
And an Amazon to rush into battle ...

From this youthful thirst for the fullness of being, her heroine will take on a variety of guises: rebels, sufferers, gypsies, wanderers, women striving for cozy family happiness.

All her works are extremely lyrical, whether they are actually lyrical genres, poems or genres of writing, essays, articles. Everything is subject to a personal, subjective beginning. She gave the essay about Pushkin a "lyrical" title - "My Pushkin" - and conveyed in it an emphatically personal vision and understanding of the great poet and his works. The style of Tsvetaeva's articles is close to poetry in that it focuses on emotionally expressive colloquial speech. Even the punctuation of Tsvetaeva's prose of any genre is completely subjective.

Tsvetaeva's articles are the most reliable evidence of the originality of her artistic world. In the programmatic article “Poets with History and Poets Without History,” which has already been discussed, Tsvetaeva reflects: “The lyric itself, for all its doom to itself, is inexhaustible. (Perhaps the best formula for lyrics and lyrical essence: doomed to inexhaustibility!) The more you draw, the more remains. That's why it never disappears. That is why we rush with such greed at each new lyricist: what if the soul, and thereby satisfy ours? It is as if they all drug us with bitter, salty, green sea water, and each time we do not believe that this is drinking water. And she is bitter again! (Let's not forget that the structure of the sea, the structure of the blood and the structure of the lyrics are one and the same.)"

“Every poet is essentially an emigrant, even in Russia,” writes Marina Tsvetaeva in the article “Poet and Time”. - Emigrant of the Kingdom of Heaven and earthly paradise of nature. On the poet - on all people of art - but on the poet most of all - a special seal of discomfort, by which even in his own house you recognize the poet. An emigrant from Immortality to time, a defector to his own sky.

All of Tsvetaeva's lyrics are essentially the lyrics of internal emigration from the world, from life and from oneself. In the 20th century, she felt uncomfortable, she was attracted by the era of the romantic past, and during the period of emigration - pre-revolutionary Russia. An emigrant for her is “Lost between hernias and boulders // God in a harlot”; his definition is close to the definition of the poet:

Extra! Supreme! Native! Call! skyward
He's unaccustomed... Gallows

He accepted ... In the tear of currencies and visas

Vega is a native.
("Emigrant", 1923)

In this regard, Tsvetaeva's attitude to the very category of time deserves special attention. In the 1923 poem "Praise of Time", she claims that she was "born past // Time!" - time “deceives” her, “measures”, “drops”, the poet “does not keep up with time”. Indeed, Tsvetaeva is uncomfortable in modern times, “the time of her soul” is always unattainable and irretrievably gone eras of the past. When the era becomes past, it acquires in the soul and lyrics of Tsvetaeva the features of the ideal. So it was with pre-revolutionary Russia, which during the emigrant period became for her not only a lost beloved homeland, but also an “epoch of the soul” (“Longing for the Motherland”, “Home”, “Luchina”, “Naiad”, “Mother’s Cry for a New Recruit” etc., "Russian" poems - "Well done", "Lane", "Tsar Maiden").

Tsvetaeva wrote about the poet's perception of time in the article "The Poet and Time". Tsvetaeva considers modern not poets of the “social order”, but those who, without even accepting modernity (for everyone has the right to their own “time of the soul”, to a beloved, internally close era), tries to “humanize” it, fight against its vices.

At the same time, each poet, in her opinion, is involved in eternity, because it humanizes the present, creates for the future (“the reader in posterity”) and absorbs the experience of the world cultural tradition. “All modernity in the present is the coexistence of times, ends and beginnings, a living knot that can only be cut,” Tsvetaeva reflects. Tsvetaeva has a heightened perception of the conflict between time and eternity. By "time" she understands the momentary, transient and passing modernity. The symbols of eternity and immortality in her work are eternally earthly nature and unearthly worlds: sky (night, day), sea and trees.

The work of Marina Tsvetaeva is an outstanding and original phenomenon of both the culture of the Silver Age and the entire history of Russian literature. She brought to Russian poetry unprecedented depth and expressiveness of lyricism. Thanks to her, Russian poetry received a new direction in the self-disclosure of the female soul with its tragic contradictions.

Almost without touching on the tragic history of the 20th century in her work, she revealed the tragedy of the worldview of a person living, according to O. Mandelstam, in "a huge and cruel century."

Erokhina Elena

The essay "Marina Tsvetaeva: personality, fate, creativity" was completed by a 9th grade student Yelena Erokhin. Elena tried to fully reveal the topic of the essay. It reflects the personality of Marina Tsvetaeva, her personal fate, her attitude to the poetry of other authors, her work.

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Marina Tsvetaeva: personality, destiny, creativity.

Introduction

The turn of the 19th and 20th centuries is an important page in the life of literature associated with great names such as Balmont, Bryusov, Gumelev, Akhmatova, Yesenin. These are the poets of the "Silver Age", who created a new concept of the world and man in this world. The poetry of that time amazes with its many colors and polyphony. Representatives of the emerging literary movements (acmeism, futurism, symbolism) proclaimed the liberation of poetry from the ambiguity of images, affirmed the individual perception of the world by each individual, and denied the "dullness and wretchedness" of life. They considered the inner spiritual experience of a person to be the criterion for cognition of the world. The work of the poets of the "Silver Age" is distinguished by the depth of thought, the mastery of the word, the ability to comprehend the life of the spirit, the historical, literary and socio-civil problems of their works. M.I. Tsvetaeva also belongs to the brilliant poet of the “Silver Age”, who once said: “I do not believe the verses that are poured. They are torn - yes! I like Tsvetaeva's poetry. The strength of her poems, it seems to me, is not in visual images, but in a bewitching stream of constantly changing rhythms, she is an eternally searching for truth poet, a rushing spirit, a poet of the ultimate truth of feeling, a bright and unique talent.

Fate, personality, creativity

Moscow childhood.

Marina Ivanovna Tsvetaeva was born on September 26, 1892 in Moscow. Her father, Ivan Vladimirovich Tsvetaev, a well-known art critic, philologist, professor at Moscow University, director of the Rumyantsev Museum and founder of the Museum of Fine Arts on Volkhonka (now the Pushkin State Museum of Fine Arts), came from a family of a priest in the Vladimir province. Ivan Vladimirovich was widowed early, and his first wife, Varvara Dmitrievna Ilovaiskaya, the daughter of a prominent historian, from whom he left two children - son Andrei and daughter Valeria - did not stop loving for the rest of his life. This was constantly felt by his daughters from his second marriage - Marina and Anastasia. However, he was affectionately attached to his second wife, Maria Alexandrovna Mein. She, a romantic, selfless woman, having parted with her beloved, got married to replace the mother of orphaned children. Maria Alexandrovna came from a Russified Polish-German family, she was an artistic kind, a talented pianist who studied with Rubinstein. Asya, the youngest daughter, wrote in her Memoirs: “Our childhood is full of music. On our mezzanines, we fell asleep to the sound of my mother's playing, which came from below, from the hall, a brilliant and full of musical passion. When we grew up, we recognized all the classics as “mother's” - “it was mother who played ...”. Beethoven, Mozart, Haydn, Schumann, Chopin, Grieg… to the sound of music we went to sleep.” Devoting herself to the family, Maria Alexandrovna sought to convey to her children everything that she herself revered: poetry, music, old Germany, Ondine, contempt for physical pain, the cult of St. Helena, "with one against all, with one without all." Rejection and rebellion, consciousness of exaltation and chosenness, love for the defeated became the defining moments of education that shaped the image of Tsvetaeva. “After such a mother, there was only one thing left for me: to become a poet,” she wrote in her autobiographical essay “Mother and Music” (1934). Other essays by Marina Tsvetaeva will also be devoted to a grateful memory of her parents: “Mother's Tale” (1934), “Father and His Museum” (1933).

The happy time of childhood, associated with Christmas trees, mother's stories, the magic of book discoveries and human meetings, which took place in a cozy old house in Trekhprudny Lane near the Patriarch's Ponds, was interrupted by an unexpected illness of the mother. Maria Alexandrovna fell ill with consumption, her health required a warm and mild climate, and in the fall of 1902 the Tsvetaev family went abroad. They live in Italy, Switzerland, Germany, Marina continues her education in the Catholic pensions of Lausanne and Feibug. The majesty of the Swiss Alps and the fabulousness of the German Black Forest will forever remain in the memory of Tsvetaeva. In 1905, the Tsvetaev family spends in the Crimea, where Marina experienced a youthful passion for revolutionary romance - the idol of that time was Lieutenant Schmidt. In the summer of 1906, the Tsvetaevs leave for the ancient town of Tarusa on the Oka, where they usually spent the summer months. There, in July, without having recovered, Maria Alexandrovna died. The bitterness of this loss will never be erased in the soul of Marina:

From an early age, who is sad is close to us,

Laughter is boring and homely shelter is alien ...

Our ship is not a good moment sent off

And floats at the behest of all winds!

All paler azure island - childhood,

We are alone on deck.

Apparently sadness left a legacy

You, O mother, to your girls!

("Mame")

The formation of the poet

In the autumn of 1906, of her own free will, she entered a boarding school at a Moscow private gymnasium, preferring to live among strangers, but not within the walls of an orphaned house in Trekhprudny. she reads a lot and randomly, distinguishing herself in the gymnasium not so much in mastering the subjects of the compulsory program, but in the breadth of her cultural interests. She is fond of Goethe, Heine and the German romantics, the story of Napoleon and his unfortunate son, the Duke of Reichstadt, the hero of E. Rostand's play "Eaglet", which Tsvetaeva translated (the translation did not survive), the sincerity of the confessional "Diary" of her contemporary, an early deceased artist, Maria Bashkirtseva, Leskov and Aksakov, Derzhavin, Pushkin and Nekrasov. Later, she will name her favorite books: The Nibelungs, The Iliad and The Tale of Igor's Campaign, her favorite poems are Pushkin's To the Sea, Lermontov's Date, Goethe's The Forest King. Tsvetaeva early felt her independence in tastes and habits, and always defended this property of her nature in the future. She was wild and impudent, shy and conflicted, in five years she changed three gymnasiums.

In 1909, sixteen-year-old Tsvetaeva made a trip to Paris on her own, where she listened to a course in old French literature at the Sorbonne. In the summer of 1910, together with their father, Marina and Asya went to Germany. They live in the town of Weiser Hirsch, not far from Dresden, in the family of a pastor, while Ivan Vladimirovich collects materials in the museums of Berlin and Dresden for the future museum on Volkhonka. And in the autumn of the same year, Marina Tsvetaeva, still a student of the gymnasium, published a collection of poems "Evening Album" at her own expense.

Tsvetaeva began writing poetry at the age of six, not only in Russian, but also in French and German, then she keeps a diary and writes stories. The poet Ellis, who appeared in the Tsvetaeva family (a pseudonym of L.L. Kobylinsky), contributed to Marina's acquaintance with the work of the Moscow Symbolists. Symbolism is a literary trend, it is characterized by the assertion of the individuality of the perception of the world and the orientation towards evoking the emotional reaction of the reader with the help of symbolism. Symbolist poems were directed towards the ideal and the mystical (Sologub, Blok, Bryusov, Tsvetaeva). She visited the Musaget publishing house, listened to Bely's "dancing" lectures, she was attracted and at the same time repulsed by the personality and poetry of Valery Bryusov, she dreamed of entering this unfamiliar but attractive world. And she, without hesitation, sends her first collection to Bryusov, Voloshin, to the Musaget publishing house with a "request to look." Straightforwardness, truthfulness and sincerity in everything until the end were sources of joy and grief for Tsvetaeva all her life. Later, she will clearly formulate the life principle, which she unconsciously followed from childhood: “The only duty on earth of a person is the truth of the whole being.” Favorable reviews of Bryusov, Gumilyov, Voloshin and others followed the collection. Bryusov noted the diary immediacy that distinguishes the author from among adherents of extremes of aestheticism and abstract fantasizing, and a certain “insipidity” of the content (which hurt Tsvetaeva’s pride), Voloshin’s review was full of benevolence towards the “young and inexperienced book”. He even found it necessary to visit the young Tsvetaeva at her home, and after a serious and meaningful conversation about poetry, their long friendship begins, despite the big difference in age. Before the revolution, she often visited him in Koktebel, and later she recalled these visits to the then deserted corner of the Eastern Crimea as the happiest days in her life.

In her first book, Tsvetaeva invited readers to the country of a happy childhood, beautiful, although not always cloudless. All poems in the collection are united by the orientation towards a romantic vision of the world through the eyes of a child. This was also reflected in the name of the fictitious publishing house "Ole-Lukoye", named after Andersen's fairy-tale hero, who brings fairy-tale dreams to children. Semi-childish "impressions of being" are only conditionally divided into sections: "Childhood", "Love", "Only shadows". They naively, but directly and sincerely reflect the main motives of her future work: life, death, love, friendship ... However, this collection already contains poems in which the voice of not just a talented child is heard, but a poet. Her lyrical heroine in the poem "Prayer" is filled with a feverish love for life, a love that yearns for the absolute:

I want everything: with the soul of a gypsy

Go to the songs for robbery,

For all to suffer to the sound of the organ

And the Amazon rush into battle

…………………………………..

I love the cross, and silk, and paints,

My soul is a trace of moments ...

You gave me childhood - better than a fairy tale

And give me death - at seventeen!

Without graduating from high school, in the spring of 1911, Tsvetaeva left for Koktebel to Voloshin. Here she met Sergei Efron, an orphan, the son of populist revolutionaries. In January 1912, she marries him and publishes a second collection of poems dedicated to him, The Magic Lantern. The poems of this collection continued the theme of childhood, chosen at the beginning, rehashing the old motives. Unsurprisingly, the critical response was more than muted. Acmeists, members of the "Workshop of Poets", S. Gorodetsky and N. Gumilyov honored Tsvetaeva's book with several disapproving reviews, and Bryusov expressed obvious disappointment. Offended by critical reviews, Tsvetaeva arrogantly wrote: "If I were in the shop, they would not swear, but I will not be in the shop." Indeed, she never associated herself with any literary group, did not become an adherent of any literary movement. In her understanding, the poet should always be alone. “I don’t know literary influences, I know human ones,” she claimed. Tsvetaeva responded to Bryusov's review with a poem:

I forgot that the heart in you is only a night light,

Not a star! I forgot about it!

What is your poetry from books

And out of envy of criticism. Early old man

You again to me for a moment

Seemed like a great poet...

(“V.Ya. Bryusov”, 1912)

In September 1912, Tsvetaeva had a daughter, Ariadna, Alya, to whom numerous poems would be addressed.

Everything will be yours,

And everyone is quiet with you.

You will be like me

; - no doubt -

And it's better to write poetry ...

("Ale", 1914)

A poem dedicated to Ariadne. When I first began to get acquainted with the lyrical works of M.I. Tsvetaeva, a completely new world of maternal love opened up to me. Why? Because I love my mother very much, I love children, and also because someday I will be a mother myself. Mother (Marina) and daughter (Ariadna) were connected by strong and sensitive bonds. And when I read a poem dedicated to Ariadne, the thought came to me that this topic is the line in Tsvetaeva's poetry, where her life and work are closest to each other. It seems to me that this is a key theme in all her work. I did a little research and this is what I came up with.

The theme of motherhood, like no other, is closely intertwined with the biography of Tsvetaeva, which means that the lyrical heroine is closest to the poetess.

The theme of home, childhood, mother has always dominated in Tsvetaeva's lyrics (poems about mother, home, about herself as a child). Ariadne was born - this is a new impetus to the topic of motherhood. Tsvetaeva, having become a mother, retained her childish, enthusiastic perception of the world: her child is a miracle, a gift from God. She feels anxiety and responsibility for her children's life (1912). A little later, she will write about her daughter as a sister, a friend. But mother and daughter are always one.

The theme of childhood will be continued by Tsvetaeva in the 30s. This little study helped me understand her as a person and a poet.

I read her poem “You will be innocent, thin” (1914), where Tsvetaeva appears as a prophetess. This is a lullaby that a young mother sings to her daughter. The past flows into the future, forming, as it were, a sign of infinity, and the link between these time layers is the word "now" and it, sibyl(?)...

Alya is the main character of the prediction. She travels in time from antiquity ("swift Amazon") to the Middle Ages ("captivating lady"), then to modern times ("queen of the ball"). Tsvetaeva will endow her daughter with immortality and militancy (“and many will be pierced, queen, by your mocking blade”). She is very similar to the daughter of Zeus (“everything will be submissive to you and everyone will be quiet with you” ...). She is majestic and beautiful, like Pallas Athena, protected by a helmet and armed with a blade. But instead of a weapon, there is a sharp mind (“your mocking blade”), and the helmet is beauty (“and perhaps you will wear your braids like a helmet”). Indeed, Ariadne will then achieve this correspondence thanks to the faith of the efforts of her mother. At the age of six, the daughter will write: “My mother is very strange, she does not look like her mother. Mothers always admire their child, but Marina does not like small children. From my point of view, in this case, Marina Tsvetaeva simply did not like to spoil children, did not like lack of independence in them. She was very attracted by the purity of children's souls. She calls her daughter “thin”, “innocent”, “swan”, the girl’s eyes are “bright two failures in the heavenly abyss”. Tsvetaeva tried to raise Alya to the level of her consciousness, because her daughter is a friend for her, so Ariadna called her mother by name: "Marina". But why, in the poem, Alya looks down on the poetess and people (“the house is not the earth, but the sky”, the mother is not Tsvetaeva, but art in general ...”, “you will be the queen ... of young poems”). Tsvetaeva - a mother considers her child the embodiment of all the best (like any mother). But nevertheless, the poetess understands that mother and daughter are very similar: “pride and timidity” (strong and imperious character-inaction), refinement of the soul (“captivating mistress”).

We can conclude that by drawing the image of her daughter, Tsvetaeva speaks about herself. “Everything”, “everyone”, “many” - this is the maximalism of the poetess, her demands “too much from herself from her relatives” were also reflected in the character of her daughter.

Tsvetaeva M.I. from childhood she was a little wayward and sometimes did not find a common language with her mother, who, in turn, saw a reflection of her nature in a girl. It seemed to the mother that the similarity of characters would bring misfortune to Marina, so she tried to tame and level her daughter. The struggle for individuality, for her own "I" separated Marina from the whole world, therefore, after becoming a mother, the poetess tried to prevent Ariadne from becoming "alien" in her mind. This will be the most important goal in raising a daughter. Surrounded by care, love, understanding, Tsvetaeva believed that she and Ariadne were one.

In the poem "The Fourth Year" (1916), Tsvetaeva already looks at her daughter differently. The girl has matured, showing character (“arms crossed”, “mute mouth”, “eyebrows shifted-Napoleon!”, “You are watching the Kremlin”). Does this comparison with Bonaparte detract from the daughter's dignity? No. Tsvetaeva was "in love with Napoleon", and such a comparison only confirms the mother's love for the child, although she did not indulge Ariadne's weaknesses, but became more and more critical of her. When Ariadne grew up, she recalled that her mother called the little man she painted a freak, calling for diligence.

Later, the image of the Kremlin as a symbol of Moscow, the “city of the heart” of Tsvetaeva is closely intertwined with the image of Ali. The poetess says that it is in Moscow that Ariadne will have to “stare and grieve”, “taking the crown” (“A Poem about Moscow”).

The lyrical heroine Tsvetaeva in the poem "The Fourth Year" is tormented by emotional experiences ("Letters to read impudent", "bite your mouth", "squeeze your whiskey deadly"). She seems to feel the future suffering of her daughter, so she tries to prevent her from entering the world of adults. The poetess encourages her "swan" to go forward past the "churches, gates, palaces" without giving up. The poem ends with a picture of ice drift. Ice drift is a symbol of the continuous flow of time: cold, hard, dangerous. But it will pass, you just have to endure.

M. Tsvetaeva has a whole cycle of works dedicated to Ariadne and younger children: Irina and Georgy. Poems dedicated to the eldest daughter are cheerful. Tsvetaeva, the mother, predicted a happy fate for her firstborn, and she was not mistaken: Alya proved herself to be a wonderful artist, translator, and poet. “I lived my life!,” Ariadna Sergeevna will write later, “you can’t call it life: persecution, repression, camps ...”. The daughter publishes the last collection of her mother "My Pushkin", translations of "Just a Heart".

In August 1913, the father of Marina Tsvetaeva, Ivan Vasilyevich, died. Despite the loss, these years, marked by family harmony, many meetings, spiritual uplift, will become the happiest in her life. The restraint with which criticism met her second book makes Tsvetaeva think about her poetic individuality. Her verse becomes more elastic, energy appears in it, the desire for a short, expressive manner is clearly felt. In an effort to logically highlight the word, Tsvetaeva uses the font, the accent mark, as well as free handling of the pause, which is expressed in numerous dashes that enhance the expressiveness of the verse. In the unpublished collection "Youthful Poems", which combined poems of 1913 - 1914, Tsvetaeva's special attention to detail, everyday detail, which acquires special significance for her, is noticeable. Tsvetaeva implements the principle stated by her in the preface to the collection “From Two Books”: “Reinforce every moment, every gesture, every breath! But not only a gesture - the shape of the hand that threw it”; not only a sigh - and a cut of the lips, from which he, lightly, flew off. Do not despise the outside!.. ”emotional pressure, the ability to express in words the fullness of feelings, tireless inner spiritual burning, along with diary, become the defining features of her work. Speaking about Tsvetaeva, Khodasevich noted that she “seems to so value every impression, every spiritual movement, that her main concern becomes to fix the largest number of them in the most strict sequence, without considering, without separating the important from the secondary, looking for something that is not artistic, but, rather, psychological certainty. Her poetry aspires to become a diary…”

In the restless and passionate soul of Tsvetaeva, a dialectical struggle is constantly going on between life and death, faith and unbelief. She is overwhelmed with the joy of being and at the same time she is tormented by thoughts about the inevitable end of life, causing a riot, a protest:

I won't accept eternity!

Why was I buried?

I did not want to land

From your beloved land.

In a letter to V.V. Tsvetaeva wrote to Rozanov with her frankness and desire to speak to the end: “... I do not at all believe the existence of God and the afterlife.

Hence the hopelessness, the horror of old age and death. The complete inability of nature to pray and submit. Mad love for life, convulsive, feverish thirst for life.

Everything I said is true.

Maybe you will push me away because of this. But it's not my fault. If there is a God, he created me like this! And if there is an afterlife, I will certainly be happy in it.”

Tsvetaeva is already beginning to realize her worth, foreseeing, however, that her time will not come soon, but will definitely come:

To my poems written so early

I didn't know that I was a poet...

………………………………………..

... Scattered in the dust in shops

(Where no one took them and does not take them!),

my poems are like precious wines,

your turn will come.

(“To my poems written so early…”, 1913)

Moscow theme

The turning point in her creative destiny was a trip in the winter of 1916 to Petrograd - Petersburg of Blok and Akhmatova - with whom she dreamed of meeting and ... did not meet. After this trip, Tsvetaeva realizes herself as a Moscow poet, competing with her Petrograd relatives in craft. She strives to embody her capital, standing on seven hills, in words, and to present her beloved city to her favorite Petersburg poets: Blok, Akhmatova, Mandelstam. This is how the cycle "Poems about Moscow" and the lines addressed to Mandelstam arise:

From my hands - miraculous city

Accept, my strange, my beautiful brother

(“From my hands - a city not made by hands ...”)

Love for the "Chrysostom Anna of All Russia", the desire to give her "something more eternal than love" explains Tsvetaeva the emergence of the cycle "Akhmatova"

And I give you my hail of bells,

Akhmatova! - and your heart to boot.

(“O muse of lamentation, most beautiful of muses!”)

The cycle “Poems to Blok” appears in the same passionate monologue of love, with which Tsvetaeva was not personally acquainted and briefly, without exchanging a single word with him, she will see only once, in May 1920. For her, Blok is a symbolic image of poetry. And although the conversation is conducted on “you”, it is clear that Blok is not a real-life poet for her, carrying a complex, restless world in his soul, but a dream created by romantic imagination (the epithets that Tsvetaeva endows him with are typical: “gentle ghost”, “ knight without reproach”, “snow swan” and others). The sound of the verses of this cycle is amazing:

Your name is a bird in your hand

Your name is ice on the tongue

One - the only movement of the lips,

Your name is five letters.

Ball caught on the fly

Silver bell in the mouth...

("Your name is a bird in your hand")

At the same time, in Tsvetaeva's poems, folklore motifs that were not characteristic of her before, the chant and prowess of Russian songs, conspiracies, ditties appear:

Opened the iron chest,

She took out a tearful gift, -

With a large pearl ring,

With big pearls...

(“Opened the iron chest”)

Revolution

Tsvetaeva did not take close to the February or October revolutions. However, in the spring of 1917, a difficult period began in her life. “You can’t jump out of history,” she would later say. Life at every step dictated its conditions. The carefree times when you could do what you wanted are a thing of the past. Tsvetaeva is trying to get away from external life in poetry, and, despite the hardships of everyday life, the period from 1917 to 1920 will become extremely fruitful in her life. During this time she wrote more three hundred poems, six romantic plays, a fairy tale poem "The Tsar Maiden".

In April 1917, Tsvetaeva gave birth to a second daughter. At first she wanted to name her Anna in honor of Akhmatova, but then she changed her mind and called her Irina: “after all, fates do not repeat themselves.”

And to live in Moscow becomes more and more difficult and in September Tsvetaeva leaves for the Crimea to Voloshin. In the midst of the October events, she returns to Moscow and, together with Sergei Efron, again goes to Koktebel, leaving her children in Moscow. When, after some time, she comes for them, it turns out to be impossible to return to the Crimea. Her long separation from her husband, who joined the ranks of Kornilov's army, begins.

Tsvetaeva stoically endured separation and increasingly difficult living conditions. In the fall of 1918, she travels near Tambov for groceries, tries to work at the People's Commissariat for National Affairs, from where, six months later, being unable to comprehend what was demanded of her, she left, vowing never to serve. In the most difficult time, in the fall of 1919, in order to feed her daughters, she gave them to the Kuntsevsky orphanage. Soon, Alya, who was seriously ill, had to be taken home, and on February 20, little Irina died of starvation.

Two hands, lightly lowered

On a baby's head!

There were - one for each -

I have been given two heads.

But both - clamped -

Furious - as she could! -

Snatching the elder from the darkness -

Didn't save the little one.

(“two hands, lightly lowered”, 1920)

Tsvetaeva has always remained out of politics. She, like Voloshin, was "above the fray", condemned the fratricidal war. However, after the defeat of the Volunteer Army, historical and personal upheavals, merging together (confidence in the death of the cause that Sergei Efron served, as well as confidence in the death of himself), evoked a note of high tragic sound in Tsvetaeva’s work: “Volunteerism is a good will to die” . In the collection "Swan Camp" with poems about the heroic and doomed path of the Volunteer Army, there was least of all politics. In e verses, longing for the ideal and noble warrior sounds, they are filled with abstract pathos and myth-making. “I’m right, since I’m offended,” will become Tsvetaeva’s motto, the romantic defense of the vanquished, and not politics, moves her pen:

White Guard, your path is high:

Black business - chest and temple.

God's white is your work:

Your white body is in the sand

("White Guard, your path is high", 1918)

"Russia taught me the Revolution" - this is how Tsvetaeva explained the appearance in her work of genuine folk intonations. Folk, or, as Tsvetaeva said, “Russian” themes, which manifested itself in her work as early as 1916, every year got rid of literature more and more, became more natural. Tsvetaeva's interest in Russian poetic origins manifested itself in the cycle about Stenka Razin, the poems "Forgive me, my mountains! ..", "The rich fell in love with the poor", "And I already cried like a woman ..." and others. She turns to large genres, and the epic poem The Tsar Maiden (autumn 1920) opens a number of Russian epic works by Tsvetaeva. It was followed by the poem "Egorushka" about the miraculous deeds of the organizer of the land of the Russian Egory the Brave, entirely composed by Tsvetaeva herself, then a short poem "Alleys" (1922). In the spring of 1922, Tsvetaeva began to work on her most significant of the "Russian" poems, "Well done", completed already in exile, in the Czech Republic. Ancient Russia appears in Tsvetaeva's poems and poems as an element of violence, self-will and unbridled revelry of the soul. Her Russia sings, wails, dances, prays and blasphemes to the full extent of Russian nature.

Berlin. Emigration.

In May 1922, Tsvetaeva seeks permission to travel abroad. For some time she lives in Berlin, where she was helped to get a job in the Russian boarding house Ehrenburg. In Berlin, the short-lived center of Russian emigration, where, thanks to the friendly relations between Germany and Russia, Soviet writers often came, Tsvetaeva met Yesenin, whom she had known a little before, and became friends with Andrei Bely, managing to support him in a difficult hour for him. Here she began an epistolary acquaintance with Boris Pasternak, under the strong impression of his book "My Sister Life".

Two and a half months spent in Berlin turned out to be very intense both humanly and creatively. Tsvetaeva managed to write more than twenty poems, in many ways not similar to the previous ones. Among them are the cycle "Earthly Objects", poems "To Berlin", "There is an hour for those words ..." and others. Her lyrics become more complicated, she goes into secret encrypted intimate experiences. The theme seems to remain the same: earthly and romantic love, eternal love, but the expression is different.

Remember the law

Do not own here!

So that later - in the City of Friends:

In this empty

In this cool

Heaven for men

all in gold -

In a world where the rivers are reversed,

On the banks of the river

Take in an imaginary hand

Imagination of the other hand

In August, Tsvetaeva left for Prague to see Efron. In search of cheap housing, they wander around the suburbs: Macroposy, Ilovishchi, Vshenory - villages with primitive living conditions. With all her heart, Tsvetaeva fell in love with Prague, the city that inspired her, in contrast to Berlin, which she did not like. Difficult, semi-poor life in Czech villages was compensated by closeness to nature - eternal and invariably towering over the "earthly baseness of days" - hiking in the mountains and forests, friendship with a Czech writer and translator

A.A. Teskova (their correspondence after Tsvetaeva's departure to France was a separate book, published in Prague in 1969).

The most cherished theme of Tsvetaeva was love - a bottomless concept for her, absorbing endless shades of experiences. Love has many faces - you can fall in love with a dog, a child, a tree, your own dream, a literary hero. Any feeling other than hatred and indifference is love. In the Czech Republic, Tsvetaeva is finishing the poem "Well Done", about the mighty, all-conquering power of love. She embodied her idea that love is always an avalanche of passions that falls on a person, which inevitably ends in separation, she embodied in the “Poem of the Mountain” and “Poem of the End”, inspired by a stormy romance with K.B. Razdevich. The cycle "The Ravine", the poems "I love, but the flour is still alive ...", "Ancient vanity flows through the veins ..." and others are dedicated to him.

The lyrics of Tsvetaeva of that time also reflected other feelings that worried her - contradictory, but always strong. Passionate, poignant verses express her longing for her homeland ("Dawn on the Rails", "Emigrant"). Letters to Pasternak merge with lyrical appeals to him ("Wires", "Two"). Descriptions of the Prague outskirts (“Factory”) and echoes of their own wanderings from apartment to apartment are combined in anguish from inescapable poverty. She continues to reflect on the special fate of the poet (the cycle "Poet"), on his greatness and defenselessness, power and insignificance in the world "where crying is called a runny nose":

What am I to do, singer and first-born,

In a world where the blackest is gray!

Where inspiration is stored, like in a thermos!

With this immensity

In the world of measures?!

(!What am I to do, blind man and stepson…”, 1923)

On February 1, 1925, Tsvetaeva's son Georgy was born, whom she had long dreamed of, in the family he will be called Moore. A month later, she began to write the last work in Czechoslovakia - the poem "Pied Piper", called "lyrical satire". The poem was based on a medieval legend about a flutist from Hammeln, who saved the city from the invasion of rats, luring them into the river with his music, and when he did not receive the promised payment, he lured all the young children out of the city with the same flute. He took them to the mountain, where they were swallowed up by the abyss that opened beneath them. On this external background, Tsvetaeva imposes the sharpest satire, denouncing all sorts of manifestations of lack of spirituality. Pied Piper-flutist - personifies poetry, rats (fat burghers) and city dwellers (greedy burghers) - soul-destroying life. Poetry takes revenge on life that did not keep its word, the musician takes children away to his charming music and drowns them in the lake, granting them eternal bliss.

In the fall of 1925, Tsvetaeva, tired of the miserable rural conditions and the prospect of raising her son "in the basement", moved with her children to Paris. Her husband was due to graduate in a few months and join them. Tsvetaeva was destined to live in Paris and its suburbs for almost fourteen years.

Life in France has not become easier. The emigrant environment did not accept Tsvetaeva, and she herself often went into open conflict with the literary abroad. S.N. Andronikova-Galpern recalled that “immigrant circles hated her for her independence, non-negative attitude towards the revolution and love for Russia. The fact that she did not renounce either the revolution or Russia pissed them off.” Tsvetaeva felt unnecessary and alien, and in her letters to Teskova, forgetting about past hardships, she fondly recalled Prague.

In the spring of 1926, through Pasternak, Tsvetaeva met in absentia with Rainer Maria Rilke, whom she had long admired. Thus was born the epistolary "novel of the three" - "Letters of the Summer of 1926". Experiencing a creative upsurge, Tsvetaeva writes the poem “From the Sea” dedicated to Pasternak, and she dedicates “Attempt at the Room” to him and Rilke. At the same time, she created the poem "Ladder", in which her hatred of "the satiety of the well-fed" and "the hunger of the hungry" found expression. The death at the end of 1926 of the never seen Rilke deeply shocked Tsvetaeva. She creates a requiem poem, a lament for her native poet "New Year", then "The Poem of the Air", in which she reflects on death and eternity.

And in the lyrics, Tsvetaeva increasingly acts as an accuser of the spiritual impoverishment of bourgeois culture, the vulgarity of the philistine environment surrounding it.

Who is the dude? Old man? Athlete?

Soldier? - No devils, no faces,

Not years. Skeleton - if not

Faces: newspaper sheet!

…………………………………

What for such gentlemen -

Sunset or dawn?

void swallowers,

Newspaper readers!

("Newspaper Readers")

The poetic language of Tsvetaeva is changing, having acquired a certain high tongue-tied tongue. Everything in the verse is subject to a pulsating flashing and suddenly breaking rhythm. The bold, impetuous fragmentation of the phrase into separate semantic pieces, for the sake of almost telegraphic brevity, in which only the most necessary accents of thought remain, becomes a characteristic sign of her style. She deliberately destroys the musicality of the traditional poetic form: “I do not believe in the verses that flow. They tear - yes!

Some of the success that accompanied Tsvetaeva in the émigré literary world in the first two years in Paris is fading away. Interest in her poetry is declining, although her poems "The Pied Piper" and "Ladder" are published, and in 1928 a collection of poems "After Russia (Lyrics 1922-1925)" is published, poetic works are becoming increasingly difficult to arrange in print. Her husband's earnings were small and random, he rushed from one occupation to another: he acted as an extra in films, tried his hand at journalism. Already at the end of the 20s, he increasingly accepts what is happening in Soviet Russia, and begins to dream of returning home. In the early 1930s, he was recruited by Soviet intelligence and became one of the most active figures in the "Union of Homecoming". The Czech scholarship was coming to an end. “Emigration makes me a prose writer,” Tsvetaeva admitted. Prose was written faster and more readily published, so by the will of fate in the 30s, prose works occupy the main place in Tsvetaeva's work. Like many Russian writers in exile, she turns her gaze to the past, to a world that has sunk into oblivion, trying to resurrect that ideal atmosphere from the heights of the past years in which she grew up, which shaped her as a person and a poet. This is how the essays “The Bridegroom”, “The House at Old Pimen”, the already mentioned “Mother and Music”, “Father and His Museum” and others arise. The death of her contemporaries, people whom she loved and revered, serves as an occasion for the creation of memoirs-requiems: “The Living About the Living” (Voloshin), “The Captive Spirit” (Andrey Bely), “An Otherworldly Evening” (Mikhail Kuzmin), “ The Tale of Sonechka ”(S.Ya. Holliday). Tsvetaeva also writes articles devoted to the problems of creativity (“The Poet and Time”, “Art in the Light of Conscience”, “Poets with History and Poets Without History”, and others). A special place is occupied by Tsvetaeva's "Pushkiniana" - the essays "My Pushkin" (1936), "Pushkin and Pugachev" (1937), the poetic cycle "Poems to Pushkin" (1931). She bowed to the genius of this poet from infancy, and works about him are also autobiographical.

But prose could not supplant poetry. Writing poetry was an inner necessity for Tsvetaeva. Not a single collection of poems is now complete without a kind of ode to her faithful friend - the desk (cycle "Table"). Often in her poems slips nostalgic intonations for the lost home. But recognizing the future for Soviet Russia, for itself, it sees no point in returning to its homeland. “I am not needed here, I am impossible there,” she wrote in a letter to Teskova. Only the next generation, the generation of children, Tsvetaeva believes, will be able to return home. The future belongs to children and they must make their own choice, not looking back at their fathers, because “our conscience is not your conscience!” and “our quarrel is not your quarrel”, and therefore “Children! Make your own battles of your days.” In Poems to the Son, Tsvetaeva admonishes her seven-year-old Moore:

Our homeland will not call us!

Go, my son, go home - forward -

To your land, to your age, to your hour, - from us -

To Russia - you, to Russia - the masses,

In our hour - the country! at this hour - the country!

In the on-Mars - the country! in a country without us!

Return

In the spring of 1937, full of hope for the future, Tsvetaeva's daughter, Ariadna, left for Moscow, having taken Soviet citizenship at the age of sixteen. And in the fall, Sergei Efron, who continued his activities in the Union of Homecoming and cooperation with Soviet intelligence, became involved in a not very clean story that received wide publicity. He had to leave Paris in a hurry and secretly cross to the USSR. Tsvetaeva's departure was a foregone conclusion.

She is in a difficult mental state, she has not written anything for more than six months. Prepares to send your archive. The September events of 1938 brought her out of creative silence. The German attack on Czechoslovakia aroused her stormy indignation, which resulted in the cycle "Poems to the Czech Republic".

O mania! Oh mummy

Greatness!

burn down

Germany!

Madness,

Madness

You create!

("Germany")

On June 12, 1939, Tsvetaeva and her son leave for Moscow. The joy of family reunion does not last long. In August, the daughter was arrested and sent to the camp, and in October, the husband of Tsvetaeva. Tsvetaeva wanders with Moore, who is often ill, in strange corners, standing in lines with transfers to Alya and Sergei Yakovlevich. To feed herself, she is engaged in translations, headlong into work. “I translate by ear - and by spirit (things). This is more than meaning,” such an approach implied truly ascetic labor. I didn't have enough time for my poetry. Among the translation notebooks, only a few beautiful poems were lost, reflecting her state of mind:

It's time to shoot amber

It's time to change the dictionary

It's time to put out the lantern

Above the door…

(February 1941)

Pasternak and Tarasenkov are trying to support her, in the fall of 1940 an attempt is made to publish a small collection of her poems. Marina Ivanovna carefully compiles it, but because of the negative review of K. Zelinsky, who declared the poems "formalistic", although he praised them in personal meetings with Tsvetaeva, the collection was stabbed to death.

In April 1941, Tsvetaeva was accepted into the trade union committee of writers at Goslitizdat, but her strength was running out: “I wrote mine, I could still, but I can’t freely.”

demise

The war interrupted her work on the translation of G. Lorca, the magazines are not up to poetry. On August 8, unable to withstand the bombing, Tsvetaeva, along with several writers, was evacuated to the town of Yelabuga on the Kama. There is no work, even the blackest, for her. She is trying to find something in Chistopol, where most of the Moscow writers are. On August 28, hopeful, she returns to Yelabuga.August 311941committed suicide (hanged herself) in the Brodelnikovs' house, where, together with her son, she was assigned to stay. She left three suicide notes: to those who will bury her (“evacuated”,Aseevand son). The original note by the “evacuees” was not preserved (it was confiscated as material evidence by the police and lost), its text is known from the list that Georgy Efron was allowed to make.
Note to son:

Purr! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. Love you so much. Understand that I could no longer live. Tell dad and Alya - if you see - that you loved them until the last minute and explain that you are in a dead end.

Aseev's note:

Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to your place in Chistopol - just take him as a son - and that he study. I can do nothing more for him and only destroy him. I have 450 rubles in my bag. and if you try to sell all my things. There are several handwritten books of poetry and a pack of prose prints in the chest. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love like a son - deserves. And forgive me. Didn't take it out. MC. Don't ever leave him. I would be extremely happy if I lived with you. Leave - take with you. Don't quit!

Note to the "evacuees":

Dear comrades! Don't leave Moore. I beg the one of you who can take him to Chistopol to N. N. Aseev. The steamboats are terrible, I beg you not to send him alone. Help him with the luggage - fold and take it. In Chistopol I hope for a sale of my things. I want Moore to live and study. It will disappear with me. Addr. Aseeva on the envelope. Do not bury alive! Check well.

Marina Tsvetaeva was buried on September 2, 1941 at the Peter and Paul Cemetery in St.Yelabuga. The exact location of her grave is unknown. On the south side of the cemetery, near the stone wall, where her lost last refuge is located, in 1960 the sister of the poetess,Anastasia Tsvetaeva, "between four unknown graves of 1941" set up a cross with the inscription "Marina Ivanovna Tsvetaeva is buried in this side of the cemetery." In 1970, a granite tombstone was erected on this site. Later, at the age of 90,Anastasia Tsvetaevabegan to assert that the grave is located at the exact place of the burial of her sister and all doubts are just speculation. Since the beginning of the 2000s, the location of the granite tombstone, framed by tiles and hanging chains, has been called the “official grave of M.I. Tsvetaeva” by the decision of the Union of Writers of Tatarstan. The exposition of the Memorial Complex of M. I. Tsvetaeva in Yelabuga also shows a map of the memorial site of the Peter and Paul Cemetery indicating two “version” graves of Tsvetaeva - according to the so-called “churbanovskaya” version and the “Matveevskaya” version. There is still no single evidentiary point of view on this issue among literary critics and local historians.

Boris Pasternak said about her death: “Marina Tsvetaeva all her life was shielded from everyday life by work, and when it seemed to her that this was an unaffordable luxury and for the sake of her son she had to temporarily sacrifice an exciting passion and take a sober look around, she saw chaos, not passed through creativity, motionless , unaccustomed, inert, and recoiled in fright, and, not knowing where to escape from horror, hastily hid in death, put her head in a noose, as if under a pillow.

Her grave is unknown.

Once, while in exile, she wrote:

And to my name

Marina - add: martyr.

I would like to finish my essay with a poem by M.I.

Topic: M.I. Tsvetaeva . The main themes of Tsvetaeva's creativity. The conflict of everyday life and being, time and eternity.

Target : to introduce students to the main milestones of life, themes and motives of the lyrics; to show the exclusivity of the feelings of the lyrical heroine, the originality of her poetic world.

Tasks:1. Create an atmosphere of immersion in the work of the poet, arouse interest in the poet.

2. To improve the skills of analyzing a poetic text, the ability to compare, generalize, expressively read poems, create a situation of success in the lesson, develop the creative abilities of students.

3.Fform instudentslove for beauty, respect for a person, feelings of compassion andmoderation; graftdevelop an interest in poetry.

Teaching method: partially exploratory.

Forms of organization of cognitive activity of students: frontal, individual.

Type of lesson: learning new material.

Technology: development of critical thinking, AMO technology

Teaching aids: songs, poems by M.I. Tsvetaeva,multimedia equipment, presentation, guide cards.

Take poetry - this is my life ...

My whole life is a romance with my own soul...

M.I. Tsvetaeva

During the classes.

Org.moment

1. Introductory speech of the teacher.

Our modern life is a boiling cauldron of events, problems, disappointments, and yet joys... There is a lot of fuss and momentary impressions in our life. Sometimes you want to stop, be alone with yourself, think about different things not in a hurry, but seriously. Someone then goes for a walk in the woods. The other gets on the train and hurries to meet the even eternal breath of the sea. The third opens a volume of poetry, reads his favorite poets. The thoughts of poets are always useful - both in joy and in sorrow, in illness and in full health. They teach not only to work, but also to achieve peace of mind. They teach you to breathe evenly, with dignity, to live. They are our spiritual healers.

Sounds a romance to the verses of M. Tsvetaeva "I like that you are not sick of me..."

Teacher:

You know this song. What mood does she create? What do you know about the author of this text? (A song was performed on Tsvetaeva's verses performed by Alla Pugacheva from the film "The Irony of Fate, or Enjoy Your Bath").

2. Introduction - the formulation of the educational problem (topics and objectives of the lesson).

Epigraph of our lesson:“My whole life is a romance with my own soul” - these are the words of Tsvetaeva. She also said: "Take poetry - this is my life."

Teacher: try, based on the proposed quotes by Tsvetaeva,formulate the problem of the lesson.

Sample answer:

Today we have a discovery lesson, the discovery for ourselves of the work of the great Russian poetess of the Silver Age M.I. Tsvetaeva.

At the lesson, we read poems, analyze them, turn over the pages of creativity.

Let's try in our lesson to "get sick" with the poetry of M. Tsvetaeva.

What topics of poetry can you name, recalling the previously studied works of poets of the 19th and 20th centuries? Name them.

Unfortunately, many of our compatriots do not know the work of the poetess, i.e. not "Sick" them. Therefore, our task today is for you to discover the work of M. Tsvetaeva, so unusual, incomprehensible, but sincere. cluster

3. Discovery of new knowledge - the search for a solution to the problem by students.

Expressive reading by the teacher, students of poems and their analysis.

1.) Marina Tsvetaeva entered literature at the turn of the century, in a troubled and troubled time. Like many poets of her generation, she has a sense of the tragedy of the world. Conflict over time was inevitable for her. She lived by the principle: to be only yourself. But Tsvetaeva's poetry is opposed not to time, not to the world, but to the vulgarity, dullness, pettiness that lives in it. The poet is the protector, the herald of millions of the destitute:

If the soul was born winged,

What are her mansions and what are her huts!

That Genghis is her khan and that the Horde!

I have two enemies in the world, two twins inextricably merged:

Tsvetaeva was destined to become a chronicler of her difficult era. Almost without touching the tragic history of the twentieth century in her work, she revealed the tragedy of the attitude of a person - a contemporary.

The lyrical heroine of her poetry cherishes every moment, every experience, every impression.

2.) "Lyrical heroine"

The personality of the poet is revealed in the image of the lyrical hero. The lyrical hero is close to the lyrical "I". He brings to us the reflections and experiences of the poet-artist, opens the spiritual world of Tsvetaeva and reveals the origins of her work.

A name is given to a person at birth and often determines his whole life. What does the name Marina mean?

(Marine) associations with the sea

Individual task (reading the poem by heart) and collective analysis of the poem:

Who is made of stone, who is made of clay , -

And I'm silver and sparkle

I care - treason, my name is Marina,

I am the mortal foam of the sea.

Who is created fromclay who is created fromflesh -

The coffin and tombstones.

- In the sea font baptized -and in flight

His - certainly broken!

Through every heart, through every net

My willfulness will break through.

Me - do you see these dissolute curls?

You can't make earthy with salt.

Crushing on your granite knees,

I am resurrected with every wave!

Long live the foam - cheerful foam -

1. Who are the characters in this poem? (This is Marina and those who are created from clay, those are ordinary mortal people. This opposition alone makes one think about the peculiarities of Marina's character and attitude.)

2 . Task for the group. Write in two columns the words related to these characters.

Ordinary people: Marina:

stone, clay silver, sparkle, foam, betrayal

flesh, tombstone, coffin, slab christened, in flight, broken

heart, nets, earth salt, self-will, dissolute curls

granite knees. I rise, foam.

1. What is the main (key) word in the first stanza? (Change). Is it equivalent to the word "betrayal" in this context? Why?

2. Why does the heroine with her dissolute curls not want to become the salt of the earth? (She does not want to lose her freedom, to become a hero: she does not want to litter the shore, as salt water does.)

Conclusion: Marina is everyone, therefore she is “a matter of treason”, therefore she breaks - resurrects. This is her soul.

Now you see for yourself that Marina Tsvetaeva is far from an ordinary person. And she doesn't want to be like everyone else. Why? Maybe we will find the answer by getting acquainted with the main milestones of her fate?

3.) Milestones of life.

With a red brush (by heart, ind. task)

The rowan lit up.

Leaves were falling.

I was born.

Hundreds argued

Bells,

The day was Saturday:

John the Theologian.

To me to this day

I want to gnaw

hot rowan

Bitter brush.

This is how Marina Tsvetaeva wrote about her birthday. What is autobiographical about this poem? What symbolic details did you notice?

Rowan forever entered the heraldry of her poetry. Burning and bitter, at the end of autumn, on the eve of winter, it became a symbol of fate, also transitional and bitter, blazing with creativity and constantly threatening the winter of oblivion.

mountain ash

Chopped

Dawn.

Rowan -

fate

Bitter.

Rowan -

gray-haired

Descents…

Rowan

fate

Russian.

1934

1. Why does the poem for 34 years sound like pain, anguish, a line is torn? (Written in exile. The lyrical heroine finds it difficult, lonely, she yearns for her homeland.)

2. What is the symbolic meaning of the image of the mountain ash? (Rowan is a symbol of fate. Chopped, bitter, the road of life goes down a gray descent.)

3. And what word could stand in this row, rhyming with mountain ash, fate? (Marina. Put this word at the beginning of the row: Marina - mountain ash - fate)

M. Tsvetaeva rushes home. In the same year, she wrote the poem "Longing for the Motherland! .."

What does the rowan symbolize? (rowan - Russia, Motherland).

4.) "A family"

Like right and left hand

Your soul is close to my soul.

We are adjacent, blissfully and warmly,

Like right and left wings.

But the whirlwind rises - and the abyss lies

From right to left wing!

What image-symbol appears in this poem?

(The right and left hands are two halves of the whole.

The right and left wings are a symbol of the flight of a soul in love).

What associations are associated with the word "abyss"?

What does abyss mean?

The abyss of love, the abyss of feelings, the abyss of desires, the abyss of possibilities, the abyss of time...

Abyss is an abyss.

The poem was written in 1918. What whirlwind, what abyss separates the heroes?

Fizkultminutka.

I picked up lines of poems in which there are actions that we will reproduce with you, the work of M. Tsvetaeva will help us. (Vika, music)

Oh people, get up!
Under a deep breath
Raise your hands to the sky.
Look for the cloud with your eyes.
Look under your feet.
Look around the open spaces.
Rub the ashes with your hands.
Having given rest to their forces from disputes,
Let's get back to the conversation.

3. “What have I done to you, people, if I feel like the most unfortunate of the unfortunate, the most destitute person ?!”

nailed

Nailed to the pillory

Slavic conscience of the old,

With a snake in my heart and a brand on my forehead,

I affirm that I am innocent.

I claim that I have peace

Communion before communion.

That it's not my fault that I'm with my hand

I stand in the squares - for happiness.

Review all my goodness

Tell me, am I blind?

Where is my gold? Where is the silver?

In my hand - only a handful of ashes!

And that's all that flattery and entreaty

I begged the happy ones.

And that's all I'll take with me

To the land of silent kisses.

Why did the lyrical heroine turn into a beggar? (She has lost everything, suffers hardships, begs for alms)

Why is she pilloried? (She's an innocent victim of time)

What does he pray for before Holy Communion? (Keep what she has left - a handful of ashes from her former happy life.)

What lines of this poem can help in a difficult life situation?

Distance: miles, miles ...

We were planted, planted, planted,

To be quiet

On two different ends of the earth.

Distance: versts, gave ...

We were glued, unsoldered,

In two hands they parted, crucified,

And they did not know that it was an alloy

Inspiration and tendons...

Not quarreled - quarreled,

Stratified…

Wall and moat.

They settled us like eagles

Conspirators: miles, gave ...

Not upset - lost.

Through the slums of the earth's latitudes

Dispersed us like orphans.

The poem wasawritten in 1925 In the Czech Republic, in exile, and dedicated to B. Pasternku.

What mood does the poem convey?

- What is it about?

- His main idea?

(A poem about separation, about 2 forcibly separated people => about violent separation).

- Highlight the key, from your point of view, words that help to understand the state of the lyrical hero?

(write these words in a column on the board)

How would you define the genre of the poem?

(passionate, nervous monologue, monologue - reproach).

(line breaks) “I do not like poems that are pouring, torn and yes” (M. Tsvetaeva).

- Pauses? Why are there so many?

( The pauses maintain a restrained tone; they slow down the pace of speech, restrain the violent manifestation of feelings, and keep the reader's attention. The pause is displaced, so the poem “stumbles”.

What consonant is repeated at the beginning?

(R))

What is the name of this technique?

(alliteration)

[r] - sharp, beating, separating.

Keywords. What part of speech is dominant?

(verb in past tense).

- Is it by chance?

(this is connected with the main idea of ​​the poem, mainly - the image of separation).

- What offers prevail?

(Single-part, indefinitely personal).

- What signs cause questions?

(dashes, dots - Tsvetaeva's favorite signs)

To What features of Tsvetaeva's language did you see?

( - the rhythm is the basis, the nerve of the verse;

Laconism

Pause)

It is impossible to read her poems between times, they require counter work of thought. “I do not believe the verses that pour. Rip - yes. Her rhythm is always intriguing. It's like a physical heartbeat.

5.) "Home"

1939 Return to Russia. Arrest of husband and daughter, sister. No work, no housing. Not many dared to communicate with an emigrant, the country lived in a vicious circle - "from dusk to dawn", in endless anticipation of the squeal of tires under the window and a knock on the door. “I won’t write poetry anymore,” she once said.

I refuse to be.

In the bedlam of nonhumans

I refuse to live!

With the wolves of the squares

I refuse - howl.

1941 - the war began, evacuation to Yelabuga with his son. Attempts to get a job are futile: she is an immigrant. There is a place for a dishwasher in the dining room of the Litfond, where she writes a statement. Will they take it? There was another place - translators from German in the NKVD. Is it possible? After all, she is the wife, mother and sister of the repressed. But such a proposal was received, it was necessary either to agree, or ... Loneliness, the inability to work, thoughts about the death of her husband, the uselessness of reading Russia - led Tsvetaeva to suicide.

Tsvetaeva acted as her conscience told her, preserving her personality and defending her right as a poet and a person to be free.

At the cemetery of the city of Yelabuga there is such an inscription: "Marina Tsvetaeva is buried in this part of the cemetery." Maybe it's symbolic that there is no her grave. Marina with her winged soul could not die, she soared over the sinful world in her poems, she gained immortality.You know that suicides are not buried in the church, but M. Tsvetaev was buried: permission for the funeral was given by the Patriarch of All Russia Alexy II. And when he was asked what allowed him to make an exception for Marina Tsvetaeva, he replied: "People's love." Remember, "You still love me, for the fact that I will die ...". The people fulfilled her request: we love her.

4. Conversation - generalization.

- Have the poems of the poetess left a trace in your soul? How many topics of M. Tsvetaeva's creativity have we touched on today?

(The more brilliant the poet, the more responses he leaves in the soul.)

(Her poems disturb the soul, heart).cinquain

The student readsmemorize the poem "My poems ... their turn will come ...".

To my poems written so early

That I did not know that I am a poet,

Ripped off like spray from a fountain

Like sparks from rockets

Bursting like little devils

In the sanctuary where sleep and incense

My poems about youth and death -

Unread verses!

Scattered in the dust at the shops

(where no one took them and does not take them!),

My poems are like precious wines

Your turn will come.

Summary of the lesson. Reflection

I want to end our conversation with another discovery - the will of M. Tsvetaeva:

Where fate would not tell you to live,
In noisy light or in rural silence,
Waste without an account and boldly
All the treasures of your soul:.
*****************
Thank you with heart and hand,
Because you love me so

Homework. Write an essay "The lyrics of Marina Tsvetaeva are ...", using written sketches and the impressions that you got from the lesson.Learn a poem by M. Tsvetaeva. Write an essay on the topic “My impressions of the first meeting with the work of M. Tsvetaeva.

Song to the verses of M. Tsvetaeva "How many of them fell into this abyss."

Marina Ivanovna Tsvetaeva (September 26 (October 8), 1892, Moscow - August 31, 1941, Yelabuga) - Russian poetess, prose writer, translator, one of the greatest poets of the 20th century. The author of poems: “I like that you are not sick with me”, “I want a mirror where there is dregs ...” and other wonderful works.

Marina Tsvetaeva 1912.

Marina Tsvetaeva in childhood. 1893


Her father, Ivan Vladimirovich, is a professor at Moscow University, a well-known philologist and art critic; later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts.
Ivan Vladimirovich Tsvetaev, father of Marina Tsvetaeva. 1903

Maria Mein (by origin - from a Russified Polish-German family), was a pianist, a student of Nikolai Rubinstein.
Maria Alexandrovna Tsvetaeva, née Maine. 1903 Mother of Marina and Anastasia Tsvetaeva.

Marina began writing poetry at the age of six, not only in Russian, but also in French and German. A huge influence on the formation of her character was exerted by her mother, who dreamed of seeing her daughter as a musician.
Anastasia Tsvetaeva, Alexandra Ivanovna Dobrokhotova, Marina Tsvetaeva. 1903


Tsvetaeva's childhood years were spent in Moscow and Tarusa. Due to her mother's illness, she lived for a long time in Italy, Switzerland and Germany. She received her primary education in Moscow, in the private female gymnasium of M. T. Bryukhonenko; continued it in the pensions of Lausanne (Switzerland) and Freiburg (Germany). At the age of sixteen she made a trip to Paris to listen to a short course of lectures on old French literature at the Sorbonne.
Anastasia Tsvetaeva, Marina Tsvetaeva, Vladislav Alexandrovich Kobylyansky. 1903


Marina and Anastasia Tsvetaeva in childhood with friends. Nervi, 1903

After the death of his mother from consumption in 1906, they stayed with their sister Anastasia, half-brother Andrei and sister Valeria in the care of their father, who introduced children to classical domestic and foreign literature and art. Ivan Vladimirovich encouraged the study of European languages, made sure that all children received a thorough education.
Anastasia (left) and Marina Tsvetaeva. Yalta, 1905


In 1910, Marina published (at the printing house of A. A. Levenson) with her own money the first collection of poems - "Evening Album", which included mainly her school work.
Marina Tsvetaeva. 1910


Her work attracted the attention of famous poets - Valery Bryusov, Maximilian Voloshin and Nikolai Gumilyov. In the same year, Tsvetaeva wrote her first critical article, Magic in Bryusov's Poems. The "Evening Album" was followed two years later by the second collection "Magic Lantern".
Marina Tsvetaeva. Koktebel, 1911.


In 1911, Tsvetaeva met her future husband Sergei Efron; in January 1912, she married him. In September of the same year, Marina and Sergey had a daughter, Ariadna (Alya).
Marina Tsvetaeva and Sergey Efron. Moscow 1911.


Sergei Efron and Marina Tsvetaeva. Moscow, 1911.


Marina Tsvetaeva and Sergey Efron. Koktebel, 1911.

Anastasia (left) and Marina Tsvetaeva. Moscow, 1911.

Anastasia Tsvetaeva (left), Nikolai Mironov, Marina Tsvetaeva. 1912 Nikolai Mironov is the insane and unquenchable love of Anastasia Tsvetaeva.


Sergei Efron (Marina's husband) and Marina Tsvetaeva. 1912

In the foreground, from left to right: Sergei Efron, Marina Tsvetaeva, Vladimir Sokolov.
Koktebel, 1913.


From left to right: Elena Ottobaldovna Voloshina,
Vera Efron, Sergei Efron, Marina Tsvetaeva,
Elizaveta Efron, Vladimir Sokolov, Maria Kudasheva,
Mikhail Feldstein, Leonid Feinberg.
Koktebel, 1913.


The restraint with which criticism met her second book made Tsvetaeva think about her poetic individuality. Her verse became more elastic, energy appeared in it, the desire for a concise, short, expressive manner was clearly felt. In an effort to logically highlight the word, Tsvetaeva used the font, the accent mark, as well as the free handling of the pause, which was expressed in numerous dashes that enhance the expressiveness of the verse. In the unpublished collection "Youthful Poems", which combined poems of 1913 - 1914, Tsvetaeva's special attention to details, everyday details, which acquire special significance for her, was noticeable.
Tsvetaeva implemented the principle stated to her in the preface to the collection “From Two Books”: “Reinforce every moment, every gesture, every breath! But not only a gesture - the shape of the hand that threw it”; not only a sigh - and a cutout of the lips from which he, lightly, flew off. Do not despise the outside!..” Emotional pressure, the ability to express in words the fullness of feelings, tireless inner spiritual burning, along with diary, became the defining features of her work. Speaking about Tsvetaeva, Khodasevich noted that she “seems to so value every impression, every spiritual movement, that her main concern becomes to consolidate the largest number of them in the most strict sequence, without considering, without separating the important from the secondary, looking for something that is not artistic, but, rather, psychological certainty. Her poetry aspires to become a diary…”.
Marina Tsvetaeva. 1913

Many of Tsvetaeva's poems of this period were noted by the conciseness of thought and the energy of feeling: “You are coming, you look like me ...”, “To Grandmother”, “Some ancestor of mine was a violinist ...” and other works. She wrote fiery poems inspired by people close to her in spirit: Sergei Efron and his brother, Peter Efron, who died early from tuberculosis. She turned to her literary idols Pushkin and Byron ("Byron", "Meeting with Pushkin").
Marina Tsvetaeva (left) and M.P. Cuville (Kudasheva).
Koktebel, 1913.

From left to right: Anastasia Tsvetaeva, Sergei Efron, Marina Tsvetaeva.
Moscow, Trekhprudny lane, 8.
1913


The cycle of poems "Girlfriend" Tsvetaeva dedicated to the poetess Sofya Parnok, in which she admired everything - both the "unique hand" and "Beethoven's forehead." The most famous was the poem “I want by the mirror, where is the dregs…” fanned with the sadness of farewell:
I see: the mast of the ship,
And you are on deck...
You are in the smoke of the train ... Fields
In the evening complaint...
Evening fields in the dew
Above them are crows...
- I bless you for everything.
Four sides!
In the restless and passionate soul of Tsvetaeva, there was a constant struggle between life and death, faith and unbelief:
I won't accept eternity!
Why was I buried?
I did not want to land
From your beloved land.
In a letter to V.V. Rozanov, Tsvetaeva wrote with her characteristic frankness and desire to speak to the end: “I do not believe at all in the existence of God and the afterlife. Hence the hopelessness, the horror of old age and death. Complete inability of nature to pray and submit. Mad love for life, convulsive, feverish thirst for life. Everything I said is true. Maybe you will push me away because of this. But it's not my fault. If there is a God, he created me like this! And if there is an afterlife, I will certainly be happy in it.”
To my poems written so early
I didn't know that I was a poet...
………………………………………..
... Scattered in the dust in shops
(Where no one took them and does not take them!),
my poems, like precious views,
your turn will come.
(“To my poems written so early…”, 1913)
The First World War passed by Tsvetaeva. Despite the fact that her husband traveled with an ambulance train for some time, risking his life, and she was very worried about him, Tsvetaeva lived detachedly, as if in the last century, absorbed in her inner world. “My whole life is a romance with my own soul,” she said.
Marina Tsvetaeva. Feodosia 1914.

The turning point in her creative destiny was a trip in the winter of 1916 to Petrograd - Petersburg of Blok and Akhmatova - with whom she dreamed of meeting and ... did not meet. After this trip, Tsvetaeva realized herself as a Moscow poet, competing with her Petrograd brethren in craft. She sought to embody her capital, standing on seven hills, in the word, and to present her beloved city to her beloved Petersburg poets - Blok, Akhmatova and Mandelstam. This is how the cycle "Poems about Moscow" and the lines addressed to Mandelstam arose:
From my hands - miraculous city
Accept, my strange, my beautiful brother
(“From my hands - a miraculous city ...”)
And, of course, love for the “Chrysostom Anna of All Russia”, the desire to give her “something more eternal than love,” Tsvetaeva explained the emergence of the Akhmatova cycle.
And I give you my hail of bells,
Akhmatova! - and your heart to boot.
(“O muse of lamentation, most beautiful of muses!”)
In this and other poems of the cycle, with Tsvetaeva's inherent strength and energy of expression, her enthusiastic and loving attitude towards the poetess, whose meeting took place only in 1941, sounded.
You make me freeze the sun in the sky,
All the stars in your hand!
Ah, if only - the doors wide open -
Like the wind to enter you!
And babble, and sob,
And cool look down,
And, sobbing, calm down,
As in childhood, when they forgive.
("You will freeze the sun in the sky")
The same passionate monologue of love appeared before the readers and the cycle “Poems to Blok”, with which Tsvetaeva was not personally acquainted and briefly, without exchanging a single word with him, saw him only once - in May 1920. For her, Blok was a symbolic image of poetry. And although the conversation was conducted on “you”, it was clear that Blok for her was not a real-life poet carrying a complex, restless world in his soul, but a dream created by romantic imagination:
Your name is a bird in your hand
Your name is ice on the tongue
One - the only movement of the lips,
Your name is five letters.
Ball caught on the fly
Silver bell in the mouth...
("Your name is a bird in the hand")
Tsvetaeva's excessive amorousness was often attributed to the fact that she lived in an unreal world and fell in love with people she invented, but who had real names and real outlines. Marina was short-sighted and reluctant to wear glasses - she liked to see the world fuzzy, she painted it with her imagination. So she painted the men she was fascinated with, and in reality, coming closer to a person, she could even confuse him. Once she met one of the former admirers on the street and did not recognize him. The man was outraged. Tsvetaeva apologized: “Oh, I didn’t recognize you, because you used to have a mustache!” Former lover completely wilted: "I never had a mustache ...".
In Rostov-on-Don, a book by Lily Feiler was published, in which the author assured: "Tsvetaeva was always ready to make love with a man or woman." In reality, many of Tsvetaeva's novels remained on paper - in letters, in poetry. But in 1914 she met the poetess and translator Sophia Parnok. This acquaintance Tsvetaeva later called "the first catastrophe in her life." Their relationship lasted two years, and everything happened in front of her husband, Sergei Efron, who raised their young daughter Alya. In the end, a stormy parting led Tsvetaeva to the conclusion: “To love only women (a woman) or only men (a man), obviously excluding the usual reverse, what a horror! And only for women (for a man) or only for men (for a woman), obviously excluding the unusual native - what a bore! Sofya Parnok subsequently gave her description to her former mistress: "The coldness of the snake's cunning and slipperiness ...". But after breaking up with Parnok, Tsvetaeva by no means became an exemplary wife. Her romantic correspondence with Bachrach, Pasternak, Rilke, Steiger was not quoted only by the lazy. And to V. Rozanov, for example, she wrote: “Oh, how I love you and how I tremble with delight, thinking about our first meeting in life - maybe awkward, maybe ridiculous, but real
Marina Tsvetaeva 1914.

Marina Tsvetaeva 1914.

Marina (left) and Anastasia Tsvetaeva. Feodosia, 1914.

Tsvetaeva did not take close to the February or October revolutions. However, in the spring of 1917, a difficult period began in her life. “You can’t jump out of history,” she later said. Life at every step dictated its conditions. The carefree times when you could do what you wanted are a thing of the past. Tsvetaeva tried to get away from the horrors and hunger of external life in poetry, and, despite all the hardships, the period from 1917 to 1920 became exceptionally fruitful in her life. During this time, she wrote more than three hundred poems, six romantic plays and a fairy tale poem "The Tsar Maiden".
In 1917, Tsvetaeva became close to a circle of artistic youth from the Second and Third Studios of the Art Theater directed by Vakhtangov. She began to write plays reminiscent of her once beloved Rostand and Blok's lyrical dramas. She drew plots from the gallant eighteenth century. Her plays were filled with romantic passions, the drama of love and always ended in separation. The best of them were "Adventure", "Fortune" and "Phoenix". They were written in simple, elegant and witty verse.
In 1917, Tsvetaeva gave birth to a daughter, Irina, who died of starvation in an orphanage in Kuntsevo (then in the Moscow region) at the age of 3 years. The years of the Civil War turned out to be very difficult for Tsvetaeva. Sergei Efron served in the White Army. Marina lived in Moscow, in Borisoglebsky Lane. During these years, a cycle of poems "The Swan Camp" appeared, imbued with sympathy for the white movement. In 1918-1919 Tsvetaeva wrote romantic plays; poems "Egorushka", "Tsar Maiden", "On a Red Horse" were created.
Daughters of Marina Tsvetaeva: Alya and Irina.


It became more and more difficult to live in Moscow, and in September Tsvetaeva left for the Crimea to Voloshin. In the midst of the October events, she returned to Moscow and, together with Sergei Efron, again went to Koktebel, leaving her children in Moscow. When, after some time, she came for them, it turns out to be impossible to return to the Crimea. She began a long separation from her husband, who joined the ranks of Kornilov's army. Tsvetaeva stoically endured separation and increasingly difficult living conditions. In the fall of 1918, she traveled near Tambov for groceries, tried to work at the People's Commissariat for National Affairs, from where, six months later, unable to comprehend what was required of her, she left, vowing never to serve again. In the most difficult time, in the fall of 1919, in order to feed her daughters, she gave them to the Kuntsevsky orphanage. Soon, Alya, who was seriously ill, had to be taken home, and in February 1920, little Irina died of starvation.
Two hands, lightly lowered
On a baby's head!
There were - one for each -
I have been given two heads.
But both - clamped -
Furious - as she could! -
Snatching the elder from the darkness -
Didn't save the little one.
(“two hands, lightly lowered”, 1920)
In her work, Marina Tsvetaeva has always remained out of politics. She, like Voloshin, was "above the fray", condemned the fratricidal war. However, after the defeat of the Volunteer Army, historical and personal upheavals, merging together (confidence in the death of the cause that Sergey Efron served, as well as confidence in the death of himself), caused a note of high tragic sound in Tsvetaeva’s work: “Volunteerism is a good will to die” . In the collection "Swan Camp" with poems about the heroic and doomed path of the Volunteer Army, there was least of all politics. Her poems sounded longing for the ideal and noble warrior, they were filled with abstract pathos and myth-making. “I’m right, since I’m offended,” will become Tsvetaeva’s motto, the romantic defense of the vanquished, and not politics, moved her pen:
White Guard, your path is high:
Black business - chest and temple.
God's white is your work:
Your white body is in the sand
("White Guard, your path is high", 1918)
“Russia was taught to me by the Revolution,” this is how Tsvetaeva explained the appearance of genuine folk intonations in her work. Folk, or, as Tsvetaeva said, “Russian” themes, which manifested itself in her work as early as 1916, every year got rid of literature more and more, became more natural and sincere. Tsvetaeva's interest in Russian poetic origins manifested itself in the cycle about Stenka Razin, the poems "Forgive me, my mountains! ..", "The rich fell in love with the poor", "And I already cried like a woman ..." and other works. She turned to large genres, and the epic poem "The Tsar Maiden", written in the autumn of 1920, opened a number of Russian epic works by Tsvetaeva. It was followed by the poem "Egorushka" about the miraculous deeds of the organizer of the land of the Russian Egory the Brave, entirely composed by Tsvetaeva herself, then a small poem "Lane", written in 1922. In the spring of 1922, Tsvetaeva began working on her most significant of the "Russian" poems, "Well Done", which she completed already in exile, in the Czech Republic. Ancient Russia appeared in Tsvetaeva's poems and poems as an element of violence, self-will and unbridled revelry of the soul. Her Russia sang, lamented, danced, prayed and blasphemed in the full breadth of Russian nature.
The poems of 1916 - 1920 were combined by Tsvetaeva in the book "Milestones" in 1921. By chance, the first part of the book “Miletes. Poetry. Issue 1" was published a year later - in 1922. As in her early collections, all Tsvetaeva's attention was directed to the rapidly changing objects of her state of mind, to herself as the embodiment of all the fullness of earthly existence:
Who is made of stone, who is made of clay,
And I'm silver and sparkle!
I care - treason, my name is Marina,
I am the mortal foam of the sea.
And further…
Crushing on your granite knees,
I am resurrected with every wave!
Long live the foam - cheerful foam -
High sea foam!
(“Who is made of stone, who is made of clay”, 1920)
During this period, poems about the high destiny of the poet appeared in the work of Tsvetaeva. She believed that inspiration is the only master of the poet, and only by burning in the fire, sacrificing everything to him, is he able to live on earth. Only inspiration was able to pull a person out of the routine of life, take him to another world - the azure "sky of the poet."
In the black sky - the words are inscribed,
And beautiful eyes blinded ...
And we are not afraid of the deathbed,
And the passionate bed is not sweet to us.
In sweat - writing, in sweat - plowing!
We know a different zeal:
Light fire, dancing over the curls -
Breath - inspiration.
A large layer in her lyrics of this time was made up of love poems, an endless confession of the heart: “I am a wanderer to your pen ...”, “Wrote on a slate board ...”, “Don’t repair courts hastily ...”, a cycle with the famous “Primed to a pillory ...” . In many of Tsvetaeva's poems, her secret hope broke through, the hope of meeting the dearest person to her, for whom she had lived all these years. Among them was the Sputnik cycle, with a modest dedication to SE. For almost four years, Tsvetaeva had no news of her husband. Finally, in July 1921, she received a letter from him from abroad, where he was after the defeat of the White Army. At the request of Tsvetaeva, he was found by Ehrenburg, who had gone abroad. Tsvetaeva instantly decided to go to her husband, who studied at the University of Prague, where the Masaryk government paid some Russian emigrants a scholarship from the gold reserves taken out of Russia during the civil war.
In May 1922, Tsvetaeva obtained permission to travel abroad. For some time she lived in Berlin, where Ilya Ehrenburg helped her get settled in a Russian boarding house. In Berlin, the short-lived center of Russian emigration, where, thanks to the friendly relations between Germany and Russia, Soviet writers often came, Tsvetaeva met Yesenin, whom she had known a little before, and became friends with Andrei Bely, managing to support him in a difficult hour for him. Here her epistolary acquaintance with Boris Pasternak began, under the strong impression of his book “My Sister Life”.
Two and a half months spent in Berlin turned out to be very intense for her both humanly and creatively. Tsvetaeva managed to write more than twenty poems, in many ways not similar to the previous ones. She created the cycle "Earthly Objects", poems "Berlin", "There is an hour for those words ..." and other works. Her lyrics became more complicated, she went into secret encrypted intimate experiences. The theme seemed to remain the same: earthly and romantic love, eternal love, but the expression was different.
Remember the law
Do not own here!
So that later - in the City of Friends:
In this empty
In this cool
Heaven for men -
all in gold -
In a world where the rivers are reversed,
On the banks of the river
Take in an imaginary hand
Imagination of the other hand.
In August 1922, Tsvetaeva left for Prague to live with Efron. In search of cheap housing, they wandered around the suburbs: Makroposy, Ilovishchi, Vshenory - villages with primitive living conditions. With all her heart, Tsvetaeva fell in love with Prague, the city that inspired her, in contrast to Berlin, which she did not like. The difficult, semi-beggarly life in the Czech villages was compensated by the proximity to nature - eternal and invariably towering over the "earthly baseness of days", hiking in the mountains and forests, as well as friendship with the Czech writer and translator A.A. Teskova. Their correspondence after Tsvetaeva's departure to France later formed a separate book, published in Prague in 1969.
The famous "Poem of the Mountain" and "Poem of the End" dedicated to Konstantin Rodzevich were written in the Czech Republic. In 1925, after the birth of their son George, the family moved to Paris. In Paris, Tsvetaeva was strongly influenced by the atmosphere that had developed around her due to her husband's activities. Efron was accused of being recruited by the NKVD and participating in a conspiracy against Lev Sedov, Trotsky's son.
Marina Tsvetaeva. August 23, 1922.

Far left - Marina Tsvetaeva.
Behind stands on the left - Sergei Efron. Right: Konstantin Rodzevich.
Prague, 1923


The most cherished theme of Tsvetaeva was love - a bottomless concept for her, absorbing endless shades of experiences. Love for Tsvetaeva was many-sided - you can fall in love with a dog, a child, a tree, your own dream or a literary hero. Any feeling, except for hatred and indifference, was love for Tsvetaeva. In the Czech Republic, Tsvetaeva completed the poem "Well Done" about the mighty, all-conquering power of love. She embodied her idea that love is always an avalanche of passions that falls on a person, which inevitably ends in separation, she embodied in the "Poem of the Mountain" and "The Poem of the End", inspired by a stormy romance with K.B. Razdevich. The cycle "The Ravine", the poems "I love, but the flour is still alive ...", "Ancient vanity flows through the veins ..." and other works were dedicated to him.
The lyrics of Tsvetaeva of that time also reflected other feelings that worried her - contradictory, but always strong. Passionate, poignant verses expressed her longing for her homeland in the poems "Dawn on the Rails" and "Emigrant". Letters to Pasternak merged with lyrical appeals to him in the verses "Wires" and "Two". The description of the Prague outskirts in the work "Factory" and the echoes of moving from apartment to apartment were combined into anguish from inescapable poverty. She continued to reflect on the special fate of the poet in the “Poet” cycle, on his greatness and defenselessness, power and insignificance in the world “where crying is called a runny nose”:
What am I to do, singer and first-born,
In a world where the blackest is gray!
Where inspiration is stored, like in a thermos!
With this immensity
In the world of measures?!
(!What am I to do, blind man and stepson…”, 1923)
On February 1, 1925, a son was born to Tsvetaeva, named George. She had long dreamed of a boy, and affectionately called Moore.
Marina Tsvetaeva 1924.


Marina Tsvetaeva 1928. Pontyac.


Marina Tsvetaeva. Czechoslovakia, 1925.

Since the 1930s, Tsvetaeva and her family have lived almost in poverty. Financially, Salome Andronikova helped her a little.
No one can imagine the poverty in which we live. My only income is from what I write. My husband is sick and cannot work. My daughter earns a penny sewing hats. I have a son, he is eight years old. The four of us live on this money. In other words, we are slowly dying of hunger.
Marina Tsvetaeva. 1930s.

Marina Tsvetaeva. Savoy, 1930

Marina Tsvetaeva (left). 1935


On March 15, 1937, Ariadne left for Moscow, the first of the family to have the opportunity to return to her homeland. On October 10 of the same year, Efron fled France, becoming involved in a contract political assassination.
In 1939, Tsvetaeva returned to the USSR after her husband and daughter, lived at the NKVD dacha in Bolshevo (now the Memorial House-Museum of M.I. Tsvetaeva in Bolshevo), the neighbors were the Klepinins. On August 27, Ariadne's daughter was arrested; on October 10, Efron. On October 16, 1941, Sergei Yakovlevich was shot at the Lubyanka (according to other sources, in the Oryol Central); Ariadne, after fifteen years of imprisonment and exile, was rehabilitated in 1955.
Marina Ivanovna Tsvetaeva. 1939


Sergei Efron.




The war found Tsvetaeva translating Federico Garcia Lorca. The work was interrupted. On August 8, Tsvetaeva and her son left on a steamer for evacuation; On the eighteenth, she arrived with several writers in the town of Yelabuga on the Kama. In Chistopol, where the evacuated writers were mostly located, Tsvetaeva received permission for a residence permit and left a statement: “To the council of the Literary Fund. I ask you to take me to work as a dishwasher in the opening canteen of the Litfond. August 26, 1941". On August 28, she returned to Yelabuga with the intention of moving to Chistopol.


On August 31, 1941, she committed suicide (hanged herself) in the Brodelshchikovs' house, where she and her son were sent to stay. She left three suicide notes: to those who will bury her, to the “evacuees”, to Aseev and to her son. The original note by the “evacuees” was not preserved (it was confiscated as material evidence by the police and lost), its text is known from the list that Georgy Efron was allowed to make.
Note to son:
Purr! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. Love you so much. Understand that I could no longer live. Tell dad and Ala - if you see - that you loved them until the last minute and explain that you are in a dead end.
Aseev's note:
Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to your place in Chistopol - just take him as a son - and that he study. I can do nothing more for him and only destroy him. I have 450 rubles in my bag. and if you try to sell all my things. There are several handwritten books of poetry and a pack of prose prints in the chest. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love like a son - deserves it. And forgive me. Didn't take it out. MC. Don't ever leave him. I would be extremely happy if I lived with you. Leave - take it with you. Don't quit!
Note to the "evacuees":
Dear comrades! Don't leave Moore. I beg the one of you who can take him to Chistopol to N. N. Aseev. The steamboats are terrible, I beg you not to send him alone. Help him with the luggage - fold and take it. In Chistopol I hope for a sale of my things. I want Moore to live and study. It will disappear with me. Addr. Aseeva on the envelope. Do not bury alive! Check well.








Marina Tsvetaeva was buried on September 2, 1941 at the Peter and Paul Cemetery in Yelabuga. The exact location of her grave is unknown. On the south side of the cemetery, near the stone wall where her lost last refuge is located, in 1960 the sister of the poetess, Anastasia Tsvetaeva, “between the four unknown graves of 1941” set up a cross with the inscription “Marina Ivanovna Tsvetaeva is buried in this side of the cemetery.” In 1970, a granite tombstone was erected on this site. Later, already at the age of 90, Anastasia Tsvetaeva began to assert that the grave was located at the exact burial place of her sister and all doubts were just speculation. Since the beginning of the 2000s, the location of the granite tombstone, framed by tiles and hanging chains, has been called the “official grave of M.I. Tsvetaeva” by the decision of the Union of Writers of Tatarstan. The exposition of the Memorial Complex of M. I. Tsvetaeva in Yelabuga also shows a map of the memorial site of the Peter and Paul Cemetery, indicating two “version” graves of Tsvetaeva - according to the so-called “churbanovskaya” version and the “Matveevskaya” version. There is still no single evidentiary point of view on this issue among literary critics and local historians.
Grave of Marina Tsvetaeva in Yelabuga.

In Autobiography, Tsvetaeva wrote: “Father Ivan Vladimirovich Tsvetaev is a professor at Moscow University, founder and collector of the Museum of Fine Arts (now the Museum of Fine Arts), an outstanding philologist. Mother - Maria Alexandrovna Mein - a passionate musician, loves poetry and writes them herself. Passion for poetry - from her mother, passion for work and for nature - from both parents ”Marina Tsvetaeva received an excellent education, from early childhood she knew French and German very well. She began writing poetry from the age of five - in Russian, French and German. Literature quickly grew into a true passion. Marina Tsvetaeva grew up among the gods and heroes of ancient Greece and ancient Rome, biblical characters, German and French romantics, literary and historical figures, and all her life she lived in this atmosphere of the great creations of the human spirit. The home environment with the cult of ancient and German culture contributed to a comprehensive aesthetic development. Marina Tsvetaeva was nurtured and brought up on world culture. She recalled how once her childhood question was: what is Napoleon? - the name that she had heard many times in the house - her mother, out of annoyance and impotence to explain such an obvious thing as it seemed to her, answered: "It's in the air." And she, the girl, understood this idiom literally and wondered what kind of object it was that “is carried in the air.” This is how the culture of mankind "was in the air" of Tsvetaeva's house.

Marina and her sister Asya had a happy, serene childhood, which ended with their mother's illness. She fell ill with consumption, and doctors prescribed her treatment in a mild climate abroad. Since that time, the Tsvetaev family began a nomadic life. They lived in Italy, Switzerland, France, Germany, and the girls had to study there in various private boarding schools. They spent 1905 in Yalta, and in the summer of 1906. mother died in their house in Tarusa. When Maria Tsvetaeva died, Marina was 14 years old. The loneliness in which Marina Tsvetaeva found herself developed irreversible properties in her character, aggravated the tragic warehouse of her nature.

From childhood, Marina Tsvetaeva read a lot, randomly, depending on who was her idol at the moment, what she was captured by. Napoleon's letter to Josephine, Ovid's Metamorphoses, Eckermann's Conversations with Goethe, Karamzin's History of the Russian State, Shchegolev's Duel and Death of Pushkin, Nietzsche's The Origin of Tragedy and many, many others. Let us add to this that the books read by young Tsvetaeva would have stood on the shelves (according to the chronology of acquaintance with them) in an absolutely “lyrical” disorder, because her reading, drunken and selfless, was, especially after the death of her mother, quite “unsystematic”. “Books gave me more than people,” Tsvetaeva will say at the end of her youth. Of course, it is no coincidence that literature has become the main business of Marina Tsvetaeva's life. The debut of the poetess took place in 1910, when the first collection "Evening Album" was released. Tsvetaeva entered the Russian literature of the early twentieth century as a poet with her own special, unique poetic world.

Prose by M. Tsvetaeva

Feature of the prose works of Tsvetaeva

But along with poems and plays, Tsvetaeva also writes prose, mainly lyrical memoirs. Tsvetaeva explained the constant work on prose that had begun (by the end of the 1920s and in the 1930s), which was only occasionally accompanied by poetry, in many respects by the need: prose was printed, poetry was not, prose was paid more. But the main thing Tsvetaeva believed that it was not poetry and prose that existed in the world, but prose and poetry; the best that can be in literature is lyrical prose. Therefore, Tsvetaeva's prose, not being a verse, nevertheless represents genuine poetry - with all its inherent abilities. Tsvetaev's prose is unique, sharply original. The poetess writes a number of large articles and large, autobiographical portraits (“The House at the Old Pimen”, “Mother's Tale”, “Kirillovna”, etc.). A special place in her prose heritage is occupied by large, memoir-like articles - tombstones dedicated to Voloshin, Mandelstam, A. Bely. If all these works are arranged in a row, following not the chronology of their writing, but the chronology of the events described, then we will get a fairly consistent and broad autobiographical picture, where there will be both early childhood and youth, Moscow, Tarusa, Koktebel, civil war and emigration, and inside all these events - Mandelstam, Bryusov, Voloshin, Yesenin, Mayakovsky, Balmont. The main thing that makes Tsvetaeva's prose related to her poetry is romanticism, exaltation of style, the increased role of metaphor, intonation raised to the sky, lyrical associativity. Her prose is just as dense, explosive and dynamic, just as risky and winged, musical and whirlwind-like, as are her poems.

Reasons for turning to prose

The first work of Tsvetaeva in prose that has come down to us is “Magic in Bryusov’s Poems” (1910 or 1911) - a small naive note about the three-volume poems by V. Bryusov “Ways and Crossroads”. The most significant part of Tsvetaeva's prose was created in France, in the 30s (1932-1937). This has its own regularity, the interweaving of internal (creative) and external (worldly) causes, their inseparability and even interdependence. Starting from the mid-1920s, Tsvetaeva wrote less and less lyrical poems, and created works of great form - poems and tragedies. Everything deepens her withdrawal “into herself, into the soleness of feelings”, everything is growing isolation from the environment. Like her contemporaries, Russian writers who found themselves in a foreign land (Bunin and Kuprin), Tsvetaeva feels like an uninvited guest in a strange house, who can be humiliated and insulted at any moment. This feeling intensified with the move to France. Her reader remained at home, and Tsvetaeva felt this especially keenly. “To the people here in art, the past is contemporary,” she wrote in the article “The Poet and Time.” Tsvetaeva, in utter sincerity, complained to V. N. Bunina in 1935: “In recent years I have written very little poetry. By not taking them from me, they forced me to write prose. And prose began. I love it very much, I'm not complaining. But still - somewhat violent: doomed to a prosaic word. And in another letter she expressed herself even more categorically: "Emigration makes me a prose writer." There are many examples in the history of literature when, in the mature years of the poet, prose, for many reasons, became for him a more urgent form of expression, more objective, more concrete and detailed. The main thing is that there was an urgent need to comprehend life events, meetings with poets, books. So it was with Tsvetaeva, whose prose was brought to life primarily by creative, moral, historical necessity. So, her autobiographical prose was born from an inner need to recreate her childhood, “because,” Tsvetaeva wrote, “we are all indebted to our own childhood, for no one (except, perhaps, Goethe alone) has fulfilled what he promised himself in childhood , in one's own childhood - and the only way to compensate for what has not been done is to recreate one's childhood. And, more importantly, duty: childhood is an eternal inspirational source of lyrics, the return of the poet back to his heavenly origins” (“Poets with history and poets without history”). An ardent desire to save from oblivion, not to let the images of her father, mother, the whole world in which she grew up and which "sculpted" her disappear into oblivion, prompted Tsvetaeva to create, one by one, autobiographical essays. The desire to “give” the reader his Pushkin, who entered her life from infancy, brought to life two essays on Pushkin. This is how Pushkin's words came true for Marina Tsvetaeva: "Summer tends to harsh prose."

Tsvetaeva as a reader of A. S. Pushkin

Feature of the essay genre

In 1936 the essay "My Pushkin" appears. This essay - a memoir was written for the upcoming centenary of the death of A. S. Pushkin and published in the Parisian journal Sovremennye Zapiski in 1937. The essay "My Pushkin" tells about how a child who was destined to become a poet plunged headlong into the "free element" of Pushkin's poetry. It is told, as always with Tsvetaeva, in her own way, entirely in the light of personal spiritual experience. It may be (and even very likely) that something in these memoirs is rethought or rethought, but all the same, the story captivates with a surprisingly subtle and deep penetration into child psychology, into a rich and whimsical children's fantasy.

It should be noted that the work "My Pushkin" is devoid of a detailed classical literary analysis. Maybe that's why the author defined the genre as an essay. The semantics of that word should be recalled. Essay (non-cl. cf. From the French Essai - literally “experience”) - THIS IS A TYPE OF ESSAY - scientific, historical, critical, journalistic in nature, in which the main role is played not by the fact itself, but by the impressions and associations that it evokes in author, thoughts and reflections about life, about events in science, art, literature.

The adult Tsvetaeva had no need for a complete classical interpretation of the works written by Pushkin. She wanted to express her own childhood perception of Pushkin's books. That is why her remarks are so sketchy, not so easy to read and understand for modern readers. Based on the psychology of the characteristics of a five-year-old girl, Tsvetaeva recalls Pushkin's images, the bright, extraordinary actions of these heroes. And this fragmentary recollection allows us to judge that the poetess's brightest thoughts were embodied in the essay. And how much is left outside the pages of the essay "My Pushkin"! Referring to the mention of a particular work, Tsvetaeva does not stop her gaze on the artistic features of Pushkin's works; something else is important for her: to understand what this hero is and why it was he who was preserved by the naive, childish soul of the reader.

A. Blok said: “We know Pushkin the man, Pushkin the friend of the monarchy, Pushkin the friend of the Decembrists. All this pales before one thing: Pushkin is a poet. Blok had serious grounds for such a reservation. The study of Pushkin at the beginning of the 20th century grew so much that it turned into a special branch of literary criticism. But at the same time, she became more and more shallow, almost completely went into the wilds of biography and everyday life. Pushkin the poet was supplanted by Pushkin the lyceum student, Pushkin the social dandy. There was a need to return to the real Pushkin.

Thinking and speaking about Pushkin, about his genius, about his role in Russian life and Russian culture, Tsvetaeva was at one with Blok. She echoes him when she says: “Pushkin of friendship, Pushkin of marriage, Pushkin of rebellion, Pushkin of the throne, Pushkin of light, Pushkin of shadows, Pushkin of the Gavriiliada, Pushkin of the church, Pushkin - innumerable types and guises - all this is soldered and held together by one: the poet "("Natalya Goncharova"). From Tsvetaeva's remark, it is clear that Pushkin is more than a person for her, he is a Poet. It is impossible to convey everything that Tsvetaeva thought and felt about Pushkin. We can only say that the poet was truly her first and unchanging love.

It is not enough to say that this is her “eternal companion”: Pushkin, in the understanding of Tsvetaeva, was a trouble-free accumulator that fed the creative energy of Russian poets of all generations: Tyutchev, Nekrasov, Blok, and Mayakovsky. And for her, "eternally modern" Pushkin has always remained the best friend, interlocutor, adviser. With Pushkin, she constantly checks her sense of beauty, her understanding of poetry. At the same time, in relation to Tsvetaeva to Pushkin, there was absolutely nothing from the prayerful - kneeling veneration of the literary "icon". Tsvetaeva feels him not as a mentor, but as a colleague.

In relation to Tsvetaeva to Pushkin, in her understanding of Pushkin, in her boundless love for Pushkin, the most important and decisive thing is the firm, immutable conviction that Pushkin's influence can only be liberating. The guarantee for this is the very spiritual freedom of the poet. In his poetry, in his personality, in the nature of his genius, Tsvetaeva sees the complete triumph of that free and liberating element, the expression of which, as she understands, is true art.

Pictures taken from childhood, from the parental home

The essay begins with the Mystery of the Red Room. “There was a closet in the red room,” writes Tsvetaeva. It was in this cupboard that little Marina secretly climbed to read the Collected Works of A. S. Pushkin: brain". It was from this closet that the formation of Tsvetaeva as a person began, love for Pushkin came, a life full of Pushkin began.

Like any reader, talented, thoughtful, Tsvetaeva has the ability to see, hear and reflect. It is from the imagery that the unhurried story begins - Tsvetaeva's memory of Pushkin. And the first painting “Duel” restored and preserved by children’s memory is the famous painting by Naumov, which hung “in the mother’s bedroom”. "Ever since Pushkin in front of my eyes in the picture of Naumov - the murder has divided the world into a poet - and everyone." There were two more paintings in the house in Tryokhprudny Lane, which Tsvetaeva mentions at the very beginning of the essay and which, according to the poetess, “excellently prepared the child for the terrible age destined for him” - “in the dining room“ The Appearance of Christ to the People ”with a never-resolved riddle, very small and incomprehensible - close to Christ "and" above the music shelf in the hall "Tatars", in white robes, in a stone house without windows, between the white pillars they kill the main Tatar."

Note that the mention of three canvases is not accidental. It was from them that for little Musya Tsvetaeva the world was divided into white and black, good and evil.

Tsvetaeva and Monument - Pushkin

For little Marina, Pushkin was everything. The image of the poet constantly filled the imagination of the child. And if in the public consciousness, in everyday life, Pushkin petrified and bronzed, turning into a “Pushkin Monument”, erected as a warning and a growth for those who dared to cross the norm in art, then for Tsvetaeva Pushkin was alive, unique, his own.

The poet was her friend, a participant in children's games and first undertakings. The child also developed his own vision of the Pushkin Monument: “The Pushkin Monument was not a monument to Pushkin (genitive case), but simply a Monument to Pushkin, in one word, with equally incomprehensible and separately non-existing concepts of the monument and Pushkin. That which is eternal, in the rain and under the snow, whether I come or go, run away or run, stands with an eternal hat in my hand, is called the “Pushkin Monument”.

The hiking route was familiar and familiar: from home to the Pushkin Monument. Therefore, it can be assumed that the Pushkin Monument was located not far from the Tsvetaevs' house. Every day, accompanied by nannies, little Marina took walks to the monument. "The Pushkin Monument was one of two (there was no third) daily walks - to the Patriarch's Ponds - or to the Pushkin Monument." And, of course, Tsvetaeva chose the Pushkin Monument, because there were no patriarchs at Patriarch's Ponds, but the Pushkin Monument has always been. As soon as she saw the monument, the girl began to run towards it. She ran, then lifted her head and peered into the face of the giant for a long time. Tsvetaeva also had her own special games with the monument: put a white porcelain figurine at its foot and compare height, or calculate how many figurines (or Tsvetaevs themselves) need to be put on top of each other to make the Pushkin Monument.

Such walks were made every day and did not annoy Musa at all. The little girl went to the Pushkin Monument, but one day the Pushkin Monument itself came to Tsvetaeva. And it happened like this.

Interesting personalities came to the house of the Tsvetaevs, well-known respected people. And one day the son of A. S. Pushkin came. But little Marina, who has the gift of remembering objects, not people, did not remember his face, but only a star on his chest. So it remained in her memory that the son of the Monument-Pushkin came. “But soon the indefinite belonging of the son was erased: the son of the Monument - Pushkin turned into the Monument - Pushkin itself. The Monument to Pushkin himself came to visit us. And the older I got, the more it became stronger in my consciousness: the son of Pushkin - the fact that he was the son of Pushkin was already a monument. A double monument to his glory and his blood. Living monument. So now, a lifetime later, I can calmly say that at the end of the century, in one cold white morning, the Monument to Pushkin came to our three-pond house.

The monument - Pushkin was for Marina and the first meeting with black and white. Tsvetaeva, who grew up among ancient statues with their marble whiteness, the Pushkin Monument, cast from iron (and therefore black), was a challenge against the standard and the ordinary. In an essay, she recalls: “I loved the monument - Pushkin for its blackness, the opposite of the whiteness of our domestic gods. Those eyes were completely white, but the Monument to Pushkin's eyes were completely black, completely full, and if they had not told me later that Pushkin was a Negro, I would have known that Pushkin was a Negro. The White Monument - Pushkin would no longer have fallen in love with Tsvetaeva. His blackness was for her a symbol of a genius, in whose veins "black" African blood flows, but which does not cease to be a genius from this.

So Tsvetaeva faced a choice. On the one hand, there are white, ancient, cold antique statues that have accompanied her since birth. And on the other - a black, lonely, warm from the African sun Monument - Pushkin A. M. Opekushin. A choice had to be made. And, of course, she chose the Pushkin Monument. Once and for all, she chose "black, not white: black thought, black share, black life."

But the love of antiquity still did not disappear in Tsvetaeva. There are many mythological images and reminiscences in her works - she may have been the last poet in Russia for whom ancient mythology turned out to be a necessary and familiar spiritual atmosphere.

Thus, we can say that Pushkin's monument was Musin's first mentor, with whom she discovered and learned the world: "The first lesson of numbers, the first lesson of scale, the first lesson of material, the first lesson of hierarchy, the first lesson of thought and, most importantly, a visual confirmation of all my subsequent experience: out of a thousand figurines, you can’t even make Pushkin put one on top of the other. This idea of ​​the uniqueness of the poet Tsvetaeva carried through her whole life. She felt more acutely than others the greatness of his genius and the uniqueness of his personality, but expressing admiration for his work, she avoided subservience and arrogance.

A peculiar perception of M. Tsvetaeva's poem by A. S. Pushkin "Gypsies"

Usually, when children get acquainted with Pushkin, they first of all read “The Tale of Tsar Saltan”, “About the Dead Princess and the Seven Bogatyrs”, “About the Golden Cockerel”. But Marina Tsvetaeva was not like all children. Not only did she meet Pushkin quite early, already at the age of five, but her first read work was The Gypsies. An odd choice for a kid her age. After all, even today this work is offered to readers who have already matured, schoolchildren of 13-15 years old, who have accumulated sufficient reading experience and already have an idea of ​​good and evil, love and hatred, friendship and betrayal, and justice, finally. Perhaps "Gypsies" was the first work from Pushkin's Collected Works, the very blue volume that was kept in the Red Room, and therefore Tsvetaeva began to read it. Or maybe she liked the name, and the children's imagination began to draw amazing pictures. And the children's imagination was also struck by the names: "I have never heard such names: Aleko, Zemfira, and also the Old Man." And the girl had no experience of communicating with gypsies. “I have never seen living gypsies, but since I was born I heard “about a gypsy, my nurse”, who loved gold, who pulled out gilded earrings “from her ears with meat and immediately trampled them into the parquet”.

In the essay, the adult Tsvetaeva comically depicts the scene of a five-year-old child telling “Gypsy” to her listeners, and they only do what they groan and gasp, ask the young narrator again with distrust and bewilderment, ingenuously commenting on what they heard. Anna Saakyants in the article “Prose of Marina Tsvetaeva” notes: “Tsvetaeva’s prose has its own differences. It is, as it were, poetry, retold in detail by the author himself. This is a feature not only of the writer, poetess Marina Tsvetaeva, it is also a feature of the young reader, Musya Tsvetaeva. Sharing her impressions from what she read in The Gypsies, overwhelmed by the feelings and thoughts that overwhelmed her, Musenka tries to retell to the listeners everything that she learned from the pages of Pushkin's poem. But it is extremely difficult for her, the future poetess, to do this. It is easier for her to speak in verse. “Well, there was one young man,” this is how the girl begins her story “about gypsies. "-" No, there was one old man, and he had a daughter. No, I'd rather say it in verse. Gypsies in a noisy crowd - wander around Bessarabia - Today they are over the river - They spend the night in tattered tents - and so on - without a break and without middle commas. Considering that the girl recited by heart, we can conclude that her beloved "Gypsies" were read by her more than once or twice.

And Pushkin's "Gypsies" is a passionate, fatal love of the "young man ALEKO" (as Tsvetaeva pronounces this amazing name) and the old man's daughter, who "was called Zemfira (terribly and loudly) Zemfira."

(In passing, we note that another amazing feature of Tsvetaeva's thinking is to perceive the world and heroes not only through a visual image, but also through sound. It is through the sound of the names Aleko and Zemfira (“terrible and loud”) that the poetess Tsvetaeva conveys children's enthusiasm for her favorite characters). But "Gypsies" is also the young reader's passionate love for Pushkin's heroes. In the essay, Tsvetaeva notes: “But in the end, to love and not to speak is to break.” So in the life of the five-year-old Musenka entered “a completely new word - love. How hot it is in the chest, in the very chest cavity (everyone knows!) And you don’t tell anyone - love. I've always felt hot in my chest, but I didn't know it was love. I thought - everyone is like that, always - like that.

It was thanks to Pushkin and his Gypsies that Tsvetaeva first learned about love: “Pushkin infected me with love. In a word, love." But already in childhood, this love was somehow not like that: a runaway and not returning cat, Augustina Ivanovna leaving, Parisian dolls put in boxes forever - that was love. And it was expressed not through meeting and closeness, but through separation and parting. And, having matured, Tsvetaeva has not changed at all. Her love is always a “fatal duel”, always a dispute, a conflict, and most often a break. First you had to be separated in order to understand that you love.

Tsvetaeva and Pugachev

Tsvetaeva's love is incomprehensible and peculiar. In some people, she saw what others did not notice, and it was for this that she loved. And Pugachev was such an incomprehensible, incomprehensible love. In the essay, Tsvetaeva, telling how she fell in love with Pushkin's Pugachev in her early childhood, she admits: "It was all about the fact that I naturally loved the wolf, and not the lamb." It was her nature to love in defiance. And further: “Having said the wolf, I called the Leader. Having named the Leader, I called Pugachev: the wolf, this time sparing the lamb, the wolf, dragging the lamb into the dark forest - to love.

Of course, another work that had a huge impact on Tsvetaeva was The Captain's Daughter. According to Tsvetaeva, the good in the story is embodied in Pugachev. Not in Grinev, who, in a lordly condescending and careless way, awarded the Counselor with a hare coat, but in this “unkind”, “dashing” person, “fear is a man” with black cheerful eyes, who did not forget about the sheepskin coat. Pugachev generously paid Grinev for the sheepskin coat: he gave him life. But, according to Tsvetaeva, this is not enough: Pugachev no longer wants to part with Grinev, promises to “appoint him as a field marshal”, arranges his love affairs - and all this is because he simply fell in love with the straightforward second lieutenant. Thus, in the midst of a sea of ​​blood shed by a merciless rebellion, selfless human goodness triumphs.

In The Captain's Daughter, Tsvetaeva loves only Pugachev. Everything else in the story leaves her indifferent - both the commandant with Vasilisa Yegorovna, and Masha, and, in general, Grinev himself. But she never ceases to admire Pugachev - and his scooter speech, and his eyes, and his beard. But most of all, Tsvetaeva’s most attractive and dear thing in Pugachev is his disinterestedness and generosity, the purity of his heartfelt attraction to Grinev. This is what makes Pugachev the most lively, most truthful and most romantic hero.

Pushkin in The Captain's Daughter raised Pugachev to the "high platform" of folk tradition. Having portrayed Pugachev as a generous hero, he acted not only as a poet, but also "as a people": "he corrected the truth - he corrected us another Pugachev, his Pugachev, the people's Pugachev." Tsvetaeva vigilantly saw how it was no longer Grinev, but Pushkin himself, who fell under the spell of Pugachev, how he fell in love with the Leader.

Tsvetaeva reflects on the pages of "Eugene Onegin"

In general, LOVE - in an infinitely broad sense - was the main theme of Tsvetaeva's work. She invested immensely in this word and did not recognize synonyms. Love meant for her an attitude to the world, in all its ambiguity and inconsistency - both the world and her feelings. Love in the work of Tsvetaeva has many faces. Friendship, motherhood, indulgence, contempt, jealousy, pride, oblivion - all these are her faces. The faces are different, but the outcome is the same: separation. Love at Tsvetaeva is initially doomed to separation. Joy is doomed to pain, happiness to suffering.

love = separation

joy pain

happiness suffering

These formulas could not arise just like that. Something must have influenced Tsvetaeva so that she would doom herself once and for all to a tragic life.

It happened at the music school Zograf - Plaksina, in Merzlyakovsky lane. A public evening was held. “They gave a scene from “Mermaid”, then “Rogned” - and:

Now we will fly into the garden,

Where Tatyana met him

Tatyana and Onegin The first time she saw, Tsvetaeva immediately fell in love. No, not in Onegin, "but in Onegin and Tatyana (and maybe a little more in Tatyana), in both of them together, in love." But already at the age of seven, Tsvetaeva knew what kind of love it was. With her unmistakable childish instinct, Tsvetaeva determined that Onegin does not love Tatyana, but Tatyana loves Onegin. That they do not have that love (reciprocity), but TA love (doomed to separation). And now the scene in which Tatyana and Onegin are standing in the garden near the bench, and Onegin confesses to Tatyana in LOVE, was so imprinted in the mind of the child that no other love scene existed for Tsvetaeva. In an essay, Tsvetaeva writes: “This first love scene of mine predetermined all my subsequent ones, all the passion in me for unrequited, non-reciprocal, impossible love. From that very moment I didn’t want to be happy and by this I doomed myself to dislike. ”

The image of Tatyana was predetermining: “If then, all my life, to this last day, I always wrote first, the first to stretch out my hand - and hands, not fearing the court, - it’s only because at the dawn of my days, Tatyana lying in a book, by a candle, it’s on did my eyes. And if later, when they left (always - they left), not only didn’t stretch out my hands after me, but didn’t turn my head, it was only because then Tatyana froze like a statue.

It was Tatyana who was for Tsvetaeva the main favorite heroine of the novel. But, despite this, Tsvetaeva cannot agree with some of her actions. When, at the end of the novel, Tatyana is sitting in the hall, reading a letter from Eugene Onegin, and Onegin himself comes to her, Tsvetaeva, in Tatyana’s place, would not, rejected, admit: “I love you, why dissemble?” Not! The soul of the poet would not allow this. Tsvetaeva is all - in a storm, a whirlwind movement, in action and deed, like her poetry. Tsvetaeva's love poems sharply contradict all the traditions of women's love lyrics, in particular, the poetry of Tsvetaeva's contemporary Anna Akhmatova. It's hard to imagine a greater opposite - even when they write about the same thing, for example, about separation from a loved one. Where Akhmatova has intimacy, strict harmony, as a rule - quiet speech, almost a prayerful whisper, there Tsvetaeva has an appeal to the whole world, sharp violations of the usual harmony, pathetic exclamations, a cry, "a cry of a torn gut." However, even her loud, choking speech was not enough to fully express the feelings that overwhelmed her, Tsvetaeva, and she grieved: “The immensity of my words is only a faint shadow of the immensity of my feelings.”

It should be noted that even before Tsvetaeva, Tatyana influenced her mother M.A. Maine. M. A. Main, at the behest of her father, married the unloved. “My mother chose the most difficult lot - twice the eldest widower with two children, in love with the deceased, she married children and someone else’s misfortune, loving and continuing to love the one with whom she then never looked for a meeting So Tatyana not only influenced my life, but also to the very fact of my life: if there were no Pushkin's Tatyana, there would be no me.

Recall that Tsvetaeva described in her essay the events that she especially remembered, fell into her soul. Therefore, "Eugene Onegin" was reduced for her "to three scenes: that candle - that bench - that parquet. ". It was these scenes that Tsvetaeva attached the greatest importance to and it was in them that she saw the main essence of the novel. Having read "Eugene Onegin" at the age of seven, Tsvetaeva understood him better than others. In a letter to Voloshin dated April 18, 1911, Marina Tsvetaeva wrote: “Children won’t understand? Children understand too much! At the age of seven, Mtsyri and Eugene Onegin are much better understood than at twenty. This is not the point, not in insufficient understanding, but in too deep, too sensitive, painfully true!”

Whatever Tsvetaeva wrote about, she herself always acted as the main character - the poet Marina Tsvetaeva. If she was not literally him, she invisibly stood behind every line written, leaving no possibility for the reader to think otherwise than she, the author, thought. Moreover, Tsvetaeva by no means imposed herself on the reader, as emigrant criticism roughly and superficially wrote about her prose - she simply lived in her every word. Collected together, the best prose of Tsvetaeva creates the impression of great scale, weight, significance. Little things as such in Tsvetaeva simply cease to exist. Categoricalness and subjectivity gave all of Tsvetaeva's prose a purely lyrical, personal, sometimes intimate character - properties inherent in her poetic works. Yes, Tsvetaeva's prose was primarily the poet's prose, and sometimes it was romantic myth-making.