2. Sergei Efron (1893-1941) - Russian publicist, writer, officer of the White Army. He wrote stories, tried to play in the theater with Tairov, published magazines, and was also engaged in underground activities. In October 1917, he took part in the battles with the Bolsheviks in Moscow, then in the White Movement, in the Officer General Markov Regiment, participated in the Ice Campaign and the defense of the Crimea.
Husband of Marina Tsvetaeva, father of their children - Ariadna, Irina and Georgy (Mura). ()
7. Natalia Sergeevna Goncharova(1881-1962) - Russian avant-garde artist. She made a significant contribution to the development of avant-garde art in Russia.
She illustrated the books of the futurists: A. Kruchenykh and V. Khlebnikov - "The World's End", "The Game in Hell" (1912), A. Kruchenykh - "Blow Up", "Two Poems. Hermits. Hermit" (1913), Collection "Judges' Garden" No. 2 (1913), K. Bolshakov - "Le futur", "Heart in gloves" (1913), etc. On the initiative of A. Kruchenykh, lithographed postcards with drawings are published Goncharova.
Together with Larionov, she organized and participated in the exhibitions "Jack of Diamonds" (1910), "Donkey's Tail" (1912), "Target" (1914), "No. 4". She was a member of the Munich Association "Blue Rider" and participated in the exhibition of the same name in 1912. She took part in exhibitions of the "World of Art" (1911-1913. Moscow, St. Petersburg).
Marina Tsvetaeva and Natalya Goncharova met in the summer of 1928. Mark Slonim told Tsvetaeva about his conversations with Goncharova and Larionov. “MI caught fire: “How, Natalia Goncharova? Coincidence or kinship?” Slonim wrote. The acquaintance took place in a small Parisian cafe, where poets, artists, journalists often gathered, and Goncharova and Larionov almost always dined.
Natalya Goncharova was the great-niece of the poet's wife Natalya Nikolaevna. Hence the idea of Tsvetaeva - to write an essay about two Goncharovs. By the time she met Tsvetaeva, Goncharova was a famous avant-garde artist who, together with Mikhail Larionov, participated in many futuristic exhibitions in Russia and abroad. The design of Diaghilev's "The Golden Cockerel" in 1914 gave her recognition and the opportunity to acquire a workshop in Paris.
When creating the essay, Tsvetaeva used the monograph by E. Eganbyuri “Natalia Goncharova. Mikhail Larionov" (M., 1913). And to compare the two Goncharovs (the former, Pushkin's Natalya and the modern Natalya Sergeevna) - V. Veresaev's book "Pushkin in Life". As a result, she managed to skillfully intertwine three genres: research, interview and essay.
8. Ariadna Sergeevna Efron(1912-1975) - daughter of Marina Ivanovna Tsvetaeva and Sergei Yakovlevich Efron. She was born on September 5 (18), 1912 in Moscow.
Translator of prose and poetry, memoirist, artist, art critic, poetess (original poems, except for those written in childhood, were not published during her lifetime).
Parents and relatives called Ariadna Aley; a large number of Tsvetaeva’s poems are dedicated to her (including the cycle “Poems to a Daughter”), Alya herself wrote poetry from early childhood (20 poems were published by her mother as part of her collection “Psyche”), kept diaries that amaze with originality and depth. In 1922 she went abroad with her mother. From 1922 to 1925 she lived in Czechoslovakia, from 1925 to 1937 - in France, from where on March 18, 1937 she was the first of her family to return to the USSR. (
Name: Marina Tsvetaeva
Age: 48 years old
Growth: 163
Activity: poetess, prose writer, translator
Family status: was married
Marina Tsvetaeva: biography
Marina Ivanovna Tsvetaeva is a Russian poetess, translator, author of biographical essays and critical articles. She is considered one of the key figures in world poetry of the 20th century. Today, such poems by Marina Tsvetaeva about love as "Primed to the pillory ...", "Not an impostor - I came home ...", "Yesterday I looked into the eyes ..." and many others are called textbooks.
Childhood photo of Marina Tsvetaeva | M. Tsvetaeva Museum Marina Tsvetaeva's birthday falls on the Orthodox holiday in memory of the Apostle John the Theologian. The poetess will later repeatedly reflect this circumstance in her works. A girl was born in Moscow, in the family of a professor at Moscow University, a famous philologist and art critic Ivan Vladimirovich Tsvetaev, and his second wife Maria Mein, a professional pianist, a student of Nikolai Rubinstein himself. According to her father, Marina had a half-brother Andrey and a sister, as well as her own younger sister Anastasia. The creative professions of the parents left their mark on Tsvetaeva's childhood. Her mother taught her to play the piano and dreamed of seeing her daughter as a musician, and her father instilled a love for high-quality literature and foreign languages.
Children's photos of Marina Tsvetaeva It so happened that Marina and her mother often lived abroad, so she was fluent not only in Russian, but also in French and German. Moreover, when the little six-year-old Marina Tsvetaeva began to write poetry, she composed in all three, and most of all in French. The future famous poetess began to receive education in a Moscow private female gymnasium, and later studied in boarding schools for girls in Switzerland and Germany. At the age of 16, she tried to listen to a course of lectures on Old French literature at the Paris Sorbonne, but she did not finish her studies there.
With sister Anastasia, 1911 | M. Tsvetaeva Museum When the poetess Tsvetaeva began to publish her poems, she began to communicate closely with the circle of Moscow symbolists and actively participate in the life of literary circles and studios at the Musaget publishing house. Soon the Civil War begins. These years had a very hard effect on the morale of the young woman. She did not accept and did not approve of the division of the homeland into white and red components. In the spring of 1922, Marina Olegovna seeks permission to emigrate from Russia and go to the Czech Republic, where her husband, Sergei Efron, who served in the White Army and now studied at Prague University, fled a few years ago.
Ivan Vladimirovich Tsvetaev with his daughter Marina, 1906 | M. Tsvetaeva Museum For a long time, the life of Marina Tsvetaeva was connected not only with Prague, but also with Berlin, and three years later her family was able to get to the French capital. But even there, the woman did not find happiness. She was depressingly affected by people's rumors that her husband had participated in a conspiracy against her son and that he had been recruited by the Soviet authorities. In addition, Marina realized that in her spirit she was not an immigrant, and Russia did not let go of her thoughts and heart.
Poems
The first collection of Marina Tsvetaeva, entitled "Evening Album", was released in 1910. It mainly included her creations written during her school years. Quite quickly, the work of the young poetess attracted the attention of famous writers, especially Maximilian Voloshin, her husband, Nikolai Gumilyov, and the founder of Russian symbolism, Valery Bryusov, became interested in her. On the wave of success, Marina writes the first prose article "Magic in Bryusov's verses." By the way, a rather remarkable fact is that she published the first books with her own money.
The first edition of "Evening Album" | Feodosia Museum of Marina and Anastasia Tsvetaev Soon the Magic Lantern by Marina Tsvetaeva, her second poetry collection, was published, then the next work, From Two Books, was also published. Shortly before the revolution, the biography of Marina Tsvetaeva was associated with the city of Alexandrov, where she came to visit her sister Anastasia and her husband. From the point of view of creativity, this period is important in that it is full of dedications to close people and favorite places, and was later called by experts "Alexandrovsky summer of Tsvetaeva." It was then that the woman created the famous cycles of poems "To Akhmatova" and "Poems about Moscow."
Akhmatova and Tsvetaeva as Egyptians. Monument "Silver Age", Odessa | panoramio During the civil war, Marina became sympathetic to the white movement, although, as mentioned above, she generally did not approve of the division of the country into conditional colors. During that period, she wrote poetry for the collection "Swan Camp", as well as large poems "The Tsar Maiden", "Egorushka", "On a Red Horse" and romantic plays. After moving abroad, the poetess composes two large-scale works - "The Poem of the Mountain" and "The Poem of the End", which will be among her main works. But most of the poems of the emigration period were not published. The last to be published was the collection "After Russia", which included the works of Marina Tsvetaeva until 1925. Although she never stopped writing.
Marina Tsvetaeva's manuscript | Unofficial site Foreigners appreciated Tsvetaeva's prose much more - her memoirs about Russian poets Andrei Bely, Maximilian Voloshin, Mikhail Kuzmin, the books "My Pushkin", "Mother and Music", "House at the Old Pimen" and others. But they didn’t buy poetry, although Marina wrote a wonderful cycle “Mayakovsky”, for which the suicide of a Soviet poet became a “black muse”. The death of Vladimir Vladimirovich literally shocked the woman, which many years later can be felt when reading these poems by Marina Tsvetaeva.
Personal life
The poetess met her future husband Sergei Efron in 1911 at the house of her friend Maximilian Voloshin in Koktebel. Six months later, they became husband and wife, and soon their eldest daughter Ariadne was born. But Marina was a woman who was very fond of and in different time other men took over her heart. For example, the great Russian poet Boris Pasternak, with whom Tsvetaeva had an almost 10-year romantic relationship that did not stop even after her emigration.
Sergei Efron and Tsvetaeva before their wedding | M. Tsvetaeva Museum In addition, in Prague, the poetess began a stormy romance with a lawyer and sculptor Konstantin Rodzevich. Their relationship lasted about six months, and then Marina, who dedicated the poem of the mountain full of violent passion and unearthly love to her lover, volunteered to help his bride choose a wedding dress, thereby putting an end to the love relationship.
Ariadne Efron with her mother, 1916 | M. Tsvetaeva Museum But personal life Marina Tsvetaeva was associated not only with men. Even before emigrating, in 1914, she met in a literary circle with the poetess and translator Sophia Parnok. The ladies quickly discovered sympathy for each other, which soon grew into something more. Marina dedicated the cycle of poems “Girlfriend” to her beloved, after which their relationship came out of the shadows. Efron knew about his wife's affair, was very jealous, made scenes, and Tsvetaeva was forced to leave him for Sofia. However, in 1916 she broke up with Parnok, returned to her husband and a year later gave birth to a daughter, Irina. The poetess will later say about her strange connection that it is wild for a woman to love a woman, but only men alone are boring. However, Marina described her love for Parnok as "the first disaster in her life."
Portrait of Sofia Parnok | Wikipedia After the birth of her second daughter, Marina Tsvetaeva faces a black streak in life. Revolution, husband's escape abroad, extreme need, famine. The eldest daughter Ariadna became very ill, and Tsvetaeva gives the children to an orphanage in the village of Kuntsovo near Moscow. Ariadne recovered, but fell ill and Irina died at the age of three.
Georgy Efron with his mother | M. Tsvetaeva Museum Later, after reuniting with her husband in Prague, the poetess gave birth to a third child - the son of George, who was called "Mur" in the family. The boy was sickly and fragile, however, during the Second World War he went to the front, where he died in the summer of 1944. George Efron was buried in a mass grave in the Vitebsk region. Due to the fact that neither Ariadne nor George had their own children, today there are no direct descendants of the great poetess Tsvetaeva.
Death
In exile, Marina and her family lived almost in poverty. Tsvetaeva's husband could not work due to illness, George was just a baby, Ariadna tried to help financially by embroidering hats, but in fact their income was meager fees for articles and essays written by Marina Tsvetaeva. She called this financial situation slow death from hunger. Therefore, all family members constantly turn to the Soviet embassy with a request to return to their homeland.
Monument to the work of Zurab Tsereteli, Saint-Gilles-Croix-de-Vi, France | Evening Moscow In 1937, Ariadne received such a right, six months later Sergei Efron secretly moved to Moscow, since in France he was threatened with arrest as an accomplice in a political assassination. After some time, Marina herself officially crosses the border with her son. But the return turned into a tragedy. Very soon, the NKVD arrests the daughter, and then her husband Tsvetaeva. And if Ariadna after death, after serving over 15 years, was rehabilitated, then Efron was shot in October 1941.
Monument in Tarusa city | Pioneer Tour However, his wife did not know about it. When the Great Patriotic War began, a woman with a teenage son went on an evacuation to the town of Yelabuga on the Kama River. To get a temporary residence permit, the poetess is forced to get a job as a dishwasher. Her statement is dated August 28, 1941, and three days later Tsvetaeva committed suicide by hanging herself in the house where she and Georgy were assigned to stay. Marina left three suicide notes. One of them she addressed to her son and asked for forgiveness, and in the other two she turned to people with a request to take care of the boy.
Monument in Usen-Ivanovskoye village, Bashkiria | School of Life It is very interesting that when Marina Tsvetaeva was just about to evacuate, her old friend Boris Pasternak helped her in packing things, who specially bought a rope for tying things. The man boasted that he got such a strong rope - “at least hang yourself” ... It was she who became the instrument of Marina Ivanovna's suicide. Tsvetaeva was buried in Yelabuga, but since the war was going on, the exact place of burial remains unclear to this day. Orthodox customs do not allow the burial of suicides, but the ruling bishop may make an exception. And Patriarch Alexy II in 1991, on the 50th anniversary of his death, took advantage of this right. Church rite held in the Moscow Church of the Ascension of the Lord at the Nikitsky Gate.
Stone of Marina Tsvetaeva in Tarusa | Wanderer In memory of the great Russian poetess, the museum of Marina Tsvetaeva was opened, and more than one. There is a similar house of memory in the cities of Tarus, Korolev, Ivanov, Feodosia and many other places. A monument by Boris Messerer was erected on the banks of the Oka River. There are sculptural monuments in other cities of Russia, near and far abroad.
Collections
- 1910 - Evening Album
- 1912 - Magic Lantern
- 1913 - From two books
- 1920 - Tsar Maiden
- 1921 - Swan Camp
- 1923 - Psyche. Romance
- 1924 - Poem of the Mountain
- 1924 - Poem of the End
- 1928 - After Russia
- 1930 - Siberia
Tsvetaeva Marina Ivanovna, Russian poet, prose writer, translator, one of the greatest Russian poets of the 20th century. Born in Moscow. Tsvetaeva's parents were Ivan Vladimirovich Tsvetaev and Maria Alexandrovna Tsvetaeva (née Maine). Father, a classical philologist, professor, headed the Department of History and Theory of Arts at Moscow University, was the curator of the department of fine arts and classical antiquities in the Moscow Public Museum and in the Rumyantsev Museum. In her father, Tsvetaeva valued devotion to her own aspirations and ascetic work, which, as she claimed, she inherited from him. A huge influence on Marina, on the formation of her character was exerted by her mother. She dreamed of seeing her daughter as a musician. Despite the spiritually close relationship with her mother, Tsvetaeva felt lonely and alienated in her parents' house. Young Marina lived in a world of read books, sublime romantic images.
The family spent the winter season in Moscow, summer - in the city of Tarusa, Kaluga province. The Tsvetaevs also traveled abroad. In 1903, Tsvetaeva studied at a French boarding school in Lausanne (Switzerland), in the fall of 1904 - in the spring of 1905 she studied with her sister at a German boarding school in Freiburg (Germany), in the summer of 1909 she went to Paris alone, where she attended a course in ancient French literature at the Sorbonne.
Marina Tsvetaeva began writing poetry at the age of six, not only in Russian, but also in French and German. In 1906-1907 she wrote the story (or story) "The Fourths", in 1906 she translated into Russian the drama of the French writer E. Rostand "Eaglet", dedicated to the tragic fate of Napoleon's son (neither the story nor the translation of the drama have survived). In literature, the works of A.S. were especially dear to her. Pushkin and the works of German romantics, translated by V.A. Zhukovsky.
The works of Marina Tsvetaeva appeared in print in 1910, when she published her first book of poems, The Evening Album, at her own expense. The Evening Album was very well received by critics: the novelty of the tone, the emotional authenticity of the book were noted by V.Ya. Bryusov, M.A. Voloshin, N.S. Gumilyov, M.S. Shahinyan. The beginning of Tsvetaeva's creative activity is connected with the circle of Moscow symbolists. After meeting Bryusov and the poet Ellis, Tsvetaeva participates in the activities of circles and studios at the Musaget publishing house. Also, Tsvetaeva's early work was significantly influenced by Nikolai Nekrasov, Valery Bryusov and Maximilian Voloshin (who became one of her closest friends).
In the winter of 1910-1911, Voloshin invited Marina Tsvetaeva and her sister Anastasia (Asya) to spend the summer of 1911 in Koktebel, where he lived. There Tsvetaeva met Sergei Yakovlevich Efron. In Sergei Efron, Tsvetaeva saw the embodiment of the ideal of nobility, chivalry, and at the same time defenselessness. Love for Efron was for her both admiration, and spiritual union, and almost maternal care. Tsvetaeva perceived the meeting with him as the beginning of a new, adult life and as the acquisition of happiness: In January 1912, the wedding of Marina Tsvetaeva and Sergei Efron took place. On September 5, their daughter Ariadne (Alya) was born.
Tsvetaeva's second book, The Magic Lantern (1912), was perceived as a relative failure, as a repetition of the original features of the first book, devoid of poetic novelty. Tsvetaeva herself also felt that she was starting to repeat herself and, releasing a new collection of poems, “From Two Books” (1913), she very strictly selected texts: out of two hundred and thirty-nine poems included in the “Evening Album” and “Magic Lantern”, there were only forty were reprinted.
During 1913-1915, a gradual change took place in Tsvetaeva's poetic manner: the place of a touching and cozy children's life was occupied by the aestheticization of everyday details (for example, in the cycle "Girlfriend", 1914-1915, addressed to the poetess S.Ya. Parnok), and an ideal, sublime image antiquity (poems "To the Generals of the twelfth year" (1913) "Grandma" (1914), etc.). Starting from that time, Tsvetaeva's poems become more diverse in terms of metrics and rhythm (she masters the dolnik and tonic verse, deviates from the principle of equal emphasis of lines); the poetic vocabulary is expanding by including colloquial vocabulary, imitation of the style of folk poetry and neologisms. In 1915-1916, Tsvetaeva's individual poetic symbolism, her "personal mythology", took shape. These features of poetics will be preserved in Tsvetaeva's poems of later times.
Tsvetaeva's characteristic demonstrative independence and sharp rejection of generally accepted ideas and behavioral norms were manifested not only in communication with other people, but also in assessments and actions related to politics. the first world war Tsvetaeva perceived it as an explosion of hatred against Germany dear to her heart since childhood. She responded to the war with poems that were sharply discordant with the patriotic and chauvinistic moods of the end of 1914. February revolution She welcomed 1917, as did her husband, whose parents (who died before the revolution) were Narodnaya Volya revolutionaries. She perceived the October Revolution as a triumph of destructive despotism. The news of her caught Tsvetaeva in the Crimea, visiting Voloshin. Soon her husband also arrived. On November 25, 1917, she left the Crimea for Moscow to pick up her children - Alya and little Irina, who was born in April of this year. Tsvetaeva intended to return with her children to Koktebel, to Voloshin, Sergei Efron, who sided with the Provisional Government, decided to go to the Don to continue the fight against the Bolsheviks there. It was not possible to return to Crimea: insurmountable circumstances, fronts civil war separated Tsvetaeva from her husband and from Voloshin. She never saw Voloshin again. Sergei Efron fought in the ranks of the White Army, and Tsvetaeva, who remained in Moscow, had no news of him. In hungry and impoverished Moscow in 1917-1920, she wrote poems glorifying the sacrificial feat of the White Army. By the end of 1921, these poems were combined into the collection Swan Camp, prepared for publication. (During the life of Tsvetaeva, the collection was not printed, it was first published in the West in 1957). Tsvetaeva publicly and defiantly recited these poems in Bolshevik Moscow.
She and the children could hardly make ends meet, they were starving. At the beginning of the winter of 1919-1920, Tsvetaeva gave her daughters to an orphanage in Kuntsevo. Soon she learned about the serious condition of her daughters and took home the eldest, Alya, to whom she was attached as a friend and whom she loved passionately. The choice of Tsvetaeva was explained both by the inability to feed both of them, and by her indifferent attitude towards Irina. In early February 1920, Irina died. Her death is reflected in the poem "Two hands, lightly lowered ..." (1920) and in the lyrical cycle "Separation" (1921), addressed to her husband.
On July 11, 1921, she received a letter from her husband, who had evacuated with the remains of Volunteer army from the Crimea to Constantinople. Soon he moved to the Czech Republic, to Prague. After several grueling attempts, Tsvetaeva received permission to leave Soviet Russia and on May 11, 1922, together with her daughter Alya, left her homeland.
May 15, 1922 Marina Ivanovna and Alya arrived in Berlin. There Tsvetaeva remained until the end of July, where she became friends with the symbolist writer Andrei Bely, who temporarily lived here. In Berlin, she submitted for printing a new collection of poems, The Craft (published in 1923), and the poem The Tsar Maiden. Sergei Efron came to his wife and daughter in Berlin, but soon returned to the Czech Republic, to Prague, where he studied at Charles University and received a scholarship. Tsvetaeva and her daughter came to her husband in Prague on August 1, 1922. They spent more than four years in the Czech Republic. On February 1, 1925, their long-awaited son was born, named George (home name - Moore). Tsvetaeva adored him. The desire to do everything possible for the happiness and well-being of his son was perceived by the matured Moore as aloof and selfish; Willingly and unwittingly, he played a tragic role in the fate of his mother.
In Prague, for the first time, Tsvetaeva established permanent relations with literary circles, with publishing houses and editorial offices of magazines. Her works were published on the pages of the magazines "Will of Russia" and "In Their Own Ways", Tsvetaeva performed editorial work for the almanac "The Ark".
In 1924 Tsvetaeva creates the "Poem of the Mountain", completes the "Poem of the End". The first reflects Tsvetaeva's romance with a Russian emigrant, an acquaintance of her husband K.B. Rodzevich, in the second - their final break. The motives of parting, loneliness, and incomprehension are also constant in Tsvetaeva's lyrics of these years: the cycles Hamlet (1923, later broken into separate poems), Phaedra (1923), Ariadne (1923). Thirst and the impossibility of meeting, the union of poets as a love union, the fruit of which will be a living child - the leitmotifs of the "Wires" cycle addressed to B.L. Pasternak. Telegraph wires stretching between Prague and Moscow become a symbol of the connection of the separated.
Poetic dialogue and correspondence with Pasternak, with whom Tsvetaeva was not closely acquainted before leaving Russia, became for Tsvetaeva in exile friendly communication and the love of two spiritually kindred poets. In three lyrical poems by Pasternak addressed to Tsvetaeva, there are no love motives, these are appeals to a poet friend. Tsvetaeva served as the prototype of Maria Ilyina from Pasternak's novel in verse "Spektorsky". Tsvetaeva, hoping for a miracle, was waiting for a personal meeting with Pasternak; but when he visited Paris with a delegation of Soviet writers in June 1935, their meeting turned into a conversation between two spiritually and psychologically distant people.
In the second half of 1925, Tsvetaeva made the final decision to leave Czechoslovakia and move to France. Her act was explained by the difficult financial situation of the family; she believed that she could better arrange herself and her loved ones in Paris, which was then becoming the center of Russian literary emigration. On November 1, 1925, Tsvetaeva and her children arrived in the French capital; Sergey Efron also moved there by Christmas.
In Paris in November 1925, she completed the poem "The Pied Piper" based on a medieval legend about a man who rid the German city of Gammeln of rats by luring them out with the sounds of his wonderful pipe; when the stingy townsfolk of Gammeln refused to pay him, he brought out their children, playing on the same pipe, and took them to the mountain, where they were swallowed up by the open earth. The Pied Piper was published in the Prague magazine "Will of Russia".
In France, Tsvetaeva created several more poems. The poem "New Year" (1927) is a lengthy epitaph, a response to the death of the German poet R.-M. Rilke, with whom she and Pasternak corresponded. The poem "Air" (1927) is an artistic rethinking of a non-stop flight across the Atlantic Ocean, made by the American aviator C. Lindbergh. The flight of a pilot for Tsvetaeva is both a symbol of creative soaring and an allegorical, encrypted image of a person dying.
Moving to France did not make life easier for Tsvetaeva and her family. Sergei Efron, impractical and not adapted to the hardships of life, earned little. Tsvetaeva was published little, her texts were often corrected. For all the years in Paris, she was able to release only one collection of poems - "After Russia" (1928). The émigré literary environment, predominantly oriented towards the revival and continuation of the classical tradition, was alien to the emotional expression and hyperbolism of Tsvetaeva, perceived as hysteria. Leading emigrant critics and writers (Z.N. Gippius, G.V. Adamovich, G.V. Ivanov and others) assessed her work negatively. High appreciation of Tsvetaeva's works by the poet and critic V.F. Khodasevich and critic D.P. Svyatopolk-Mirsky, as well as the sympathies of the younger generation of writers, did not change the general situation. The rejection of Tsvetaeva was aggravated by her complex character and the reputation of her husband (Sergei Efron had been busy since 1931 about a Soviet passport, expressed pro-Soviet sympathies, worked in the "Union of Homecoming"). He began to cooperate with the Soviet special services. The enthusiasm with which Tsvetaeva greeted Mayakovsky, who arrived in Paris in October 1928, was perceived by conservative emigre circles as evidence of the pro-Soviet views of Tsvetaeva herself (in fact, Tsvetaeva, unlike her husband and children, had no illusions about the regime in the USSR and the pro-Soviet not configured).
In France, Tsvetaeva created the cycles dedicated to poetry and poets “Mayakovsky” (1930, a response to the death of V.V. Mayakovsky), “Poems to Pushkin” (1931), “Tombstone” (1935, a response to the tragic death of the émigré poet N. P. Gronsky), "Poems to an Orphan" (1936, addressed to the émigré poet A.S. Shteiger). Creativity as hard labor, as duty and liberation - the motif of the cycle "Table" (1933). The antithesis of vain human life and divine mysteries and harmony natural world expressed in poems from the cycle "The Bush" (1934). In the 1930s, Tsvetaeva often turned to prose: autobiographical writings, essays about Pushkin and his works My Pushkin, Pushkin and Pugachev.
In the second half of the 1930s, Tsvetaeva experienced a deep creative crisis. She almost stopped writing poetry (one of the few exceptions is the cycle "Poems to the Czech Republic" (1938-1939) - a poetic protest against Hitler's seizure of Czechoslovakia. Rejection of life and time is the leitmotif of several poems created in the mid-1930s. Tsvetaeva had a difficult conflict with her daughter, who insisted, following her father, to leave for the USSR.In September 1937, Sergei Efron was involved in the political assassination of a former agent of the Soviet special services and was soon forced to hide and flee to the USSR.Following him, his daughter Ariadna returned to her homeland.Tsvetaeva remained in Paris alone with her son, her duty and desire was to unite with her husband and daughter, and on June 18, 1939, Tsvetaeva and her son returned to their homeland.
At home, Tsvetaeva and her family lived for the first time at the state dacha of the NKVD provided to S. Efron. However, both Efron and Ariadne were soon arrested. After that, Tsvetaeva was forced to wander. For half a year, before receiving temporary (for a period of two years) housing in Moscow, she settled with her son in the house of writers in the village of Golitsyn near Moscow. The functionaries of the Writers' Union turned away from her, as from the wife and mother of "enemies of the people." The collection of poems prepared by her in 1940 was not published. Money was sorely lacking. Shortly after the start of the Great Patriotic War, on August 8, 1941, Tsvetaeva and her son were evacuated from Moscow and ended up in the small town of Yelabuga. There was also no work in Yelabuga, Tsvetaeva had a quarrel with her son, who, apparently, reproached her for their difficult situation. And on August 31, 1941, Marina Tsvetaeva hanged herself. The exact place of her burial is unknown.
I believe that Tsvetaeva is the first
poet of the 20th century. Of course, Tsvetaeva.
I. Brodsky
The red color, festive, cheerful and at the same time dramatically intense, chooses Tsvetaev as a sign of his birth:
With a red brush, Rowan lit up. Leaves were falling. I was born.This "red brush of mountain ash" contains the fullness of the manifestation of the life and creative forces of the poetess, an emotional and poetic explosion, the maximalism of her poetry, and - a breakdown, a future tragic death.
Marina Ivanovna Tsvetaeva was born on September 26 (October 8), 1892 in a Moscow professorial family: father I.V. Tsvetaev - founder of the Museum of Fine Arts in Moscow, mother of M.A. Main - pianist, student of A.G. Rubinstein (died 1906). Due to the illness of her mother, Tsvetaeva lived for a long time in Italy, Switzerland, and Germany in her childhood.
The first books of poetry were The Evening Album (1910) and The Magic Lantern (1912).
In 1918-1922, Tsvetaeva, along with her children, was in revolutionary Moscow, her husband S. Efron fought in the white army (poems of 1917-1921, full of sympathy for the white movement, made up the Swan Camp cycle). From 1922 to 1939, Tsvetaeva was in exile, where she went after her husband. These years were marked by everyday disorder, difficult relations with the Russian emigration, and a hostile attitude from critics.
In the summer of 1939, following her husband and daughter Ariadna, Tsvetaeva and her son Georgy returned to their homeland. In the same year, the husband and daughter were arrested (S. Efron was shot in 1941, Ariadne was rehabilitated in 1955). M. Tsvetaeva's poems were not published, there was no work or housing. At the beginning of the war (August 31, 1941), being evacuated to Yelabuga (now Tatarstan), in a state of depression, M. Tsvetaeva committed suicide.
The main works of Tsvetaeva: poetry collections "Evening Album", "Magic Lantern", "Mile", "Separation", "Poems to Blok", "Craft", "Psyche", "After Russia", "Swan Camp"; the poems "The Tsar Maiden", "Well Done", "The Poem of the Mountain", "The Poem of the End", "The Ladder", "The Poem of the Air", the satirical poem "The Pied Piper", "Perekop"; tragedy "Ariadne", "Phaedra"; prose works “My Pushkin”, memories of A. Bely, V.Ya. Bryusov, M.A. Voloshin, B.L. Pasternak, "The Tale of Sonechka" and others.
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, 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 always dominated in Tsvetaeva's lyrics (poems about mother, home, about himself-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 through time from antiquity ("swift Amazon") to the Middle Ages ("captivating mistress"), 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 value every impression, every spiritual movement so much that her main concern is to consolidate largest number them in the strictest sequence, without considering, without separating the important from the secondary, seeking not artistic, but rather psychological authenticity. 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 a Russian song, conspiracy, ditties appear:
Opened the iron chest,
She took out a tearful gift, -
With a large pearl ring,
With big pearls...
(“Opened the iron chest”)
The 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", "But 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 Russian land, Yegori 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 under 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 native poet“New Year”, then “The Poem of the Air”, in which he reflects on death and eternity.
And in the lyrics, Tsvetaeva is increasingly acting as an accuser of the spiritual impoverishment of bourgeois culture, the vulgarity of the surrounding philistine environment.
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. Write poetry was for Tsvetaeva internal necessity. 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 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.
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