short biography Marina Tsvetaeva

Marina Tsvetaeva is a Russian poetess, prose writer and translator. Marina Tsvetaeva is one of the greatest poets of the 20th century. She was born on October 8, 1892 in Moscow, in the family of a philologist and pianist. The childhood years of the poetess were spent in Moscow and in a small town in Kaluga region- Tarusa. She studied at a private Moscow gymnasium, and then in boarding schools in Europe. The poetess began to write quite early at the age of six. She managed to write poetry not only in Russian, but also in French and German. At the age of 16, the young poetess went to the Sorbonne to listen to lectures on old French literature.

Her first collection of poems, Evening Album, was published in 1910. This book immediately caught the attention of many famous writers that time. Among them were Gumilyov, Voloshin, Bryusov. A couple of years later, the collection "Magic Lantern" appeared. At the same time, Tsvetaeva joins the circle of Moscow Symbolists and regularly attends meetings organized by them. In 1911, she met Sergei Efron, whom they soon married. The third collection of the poetess "From two books" appears in 1913.

The October Revolution and the Civil War greatly influenced the work of the poetess. She reacted negatively to what was happening. Her husband served as an officer in the White Army. Tsvetaeva, at that time, was working on the cycle of poems "Swan Camp", in which she supported the white movement. In 1922, she decided, together with her daughter Ariadne, to go to Europe to her husband, who had already been in Prague for some time. In 1925, the whole family moved to Paris. Soon Tsvetaeva was no longer published, as the attitude towards emigrants became aggravated. Her last collection, published during her lifetime, was called "After Russia".

In 1939, after returning to the USSR, Tsvetaeva's husband and daughter were arrested. She made a living poetic translations. When did the second World War, she and her son were sent to Yelabuga. On August 31, 1941, unable to bear the loneliness, unemployment and persecution, she committed suicide. In the history of Russian literature, this poetess tragic fate left a big mark. There are house-museums dedicated to Marina Tsvetaeva and her work in Moscow, Alexandrov, Ivanovo, Yelabuga, Feodosia and some other cities.

Marina Tsvetaeva is one of the inextinguishable stars of 20th century poetry. In her 1913 poem, she asked: "Think of me easily, Forget me easily."

Many tried to reveal, approve, overthrow, challenge Tsvetaevsky's talent. Writers and critics of the Russian diaspora wrote about Marina Tsvetaeva in different ways. The Russian editor Slonim was sure that "the day will come when her work will be rediscovered and appreciated and will take its rightful place as one of the most interesting documents of the pre-revolutionary era." The first poems of Marina Tsvetaeva “Evening Album” were published in 1910 and were accepted by readers as poems by a real poet. But in the same period, the tragedy of Tsvetaeva began. It was a tragedy of loneliness and lack of recognition, but without any taste of resentment, infringed vanity. Tsvetaeva accepted life as it is. Since she is at the beginning of her creative way considered herself a consistent romantic, then voluntarily gave herself to fate. Even when something fell into her field of vision, it immediately miraculously and festively transformed, began to sparkle and tremble with some kind of tenfold thirst for life.

Gradually, the poetic world of Marina Tsvetaeva became more complicated. The romantic worldview interacted with the world of Russian folklore. During emigration, the poetry of Marina Tsvetaeva takes on the aesthetics of futurism. In her works, she moves from melodious and colloquial intonation to oratory, often breaking into a scream, a cry. Tsvetaeva attacks the reader in a futuristic way with all poetic devices. Most of the Russian emigration, in particular those living in Prague, responded to her with an unfriendly attitude, although they recognized her talent. But the Czech Republic still remained in the memory of Marina Tsvetaeva as a bright and happy memory. In the Czech Republic, Tsvetaeva is finishing her poem "Well Done". This poem was the guardian angel of the poetess, she helped her to survive the most difficult time in the initial period of existence in the depths.

Marina Tsvetaeva works very hard in Berlin. In her poems, one can feel the intonation of a thought through suffering, endurance and burning feelings, but something new has also appeared: bitter concentration, inner tears. But through melancholy, through the pain of experience, she writes poems filled with the self-denial of love. Here Tsvetaeva creates "Sibyl". This cycle is musical in composition and imagery, and philosophical in meaning. She is closely connected with her "Russian" poems. In the emigrant period, there is an enlargement of her lyrics.

It is just as impossible to read, listen, perceive Tsvetaeva's poems calmly, just as one cannot touch bare wires with impunity. Her poems include a passionate social principle. According to Tsvetaeva, the poet is almost always opposed to the world: he is the messenger of the deity, an inspired mediator between people and heaven. It is the poet who is opposed to the rich in Tsvetaev's "Praise...".

The poetry of Marina Tsvetaeva constantly changed, shifted the usual outlines, new landscapes appeared on it, other sounds began to be heard. In the creative development of Tsvetaeva, a pattern characteristic of her invariably manifested itself. “The Poem of the Mountain” and “The Poem of the End” are, in essence, one poem-dilogue, which could be called either the “Poem of Love” or the “Poem of Parting”. Both poems are a love story, a stormy and brief passion that left a mark in both loving souls for life Never again did Tsvetaeva write poems with such passionate tenderness, feverishness, frenzy and complete lyrical confession.

After the appearance of the Pied Piper, Tsvetaeva turned from lyrics to sarcasm and satire. Namely, in this work she exposes the philistines. In the “Parisian” period, Tsvetaeva thinks a lot about time, about the meaning of human life, which is fleeting compared to eternity. Her lyrics, imbued with motifs and images of eternity, time, fate, are becoming more and more tragic. Almost all of her lyrics of this time, including love, landscape, are dedicated to Time. In Paris, she yearns, and more and more often thinks about death. To understand Tsvetaeva's poems, as well as some of her poems, it is important to know not only the supporting semantic images-symbols, but also the world in which Marina Tsvetaeva, as a poetic personality, thought and lived.

During her years in Paris, she wrote little lyrical poetry; she worked mainly on poems and memoirs and critical prose. In the 1930s, Tsvetaeva was hardly printed - the poems go in a thin interrupted stream and, like sand, into oblivion. True, she manages to send "Poems to the Czech Republic" to Prague - they were saved there as a shrine. So there was a transition to prose. Prose for Tsvetaeva, not being a verse, is, nevertheless, the real Tsvetaeva poetry with all the other features inherent in it. In her prose, not only the personality of the author is visible, with her character, passions and manner, well known from poetry, but also the philosophy of art, life, history. Tsvetaeva hoped that prose would shield her from the emigre publications that had become unfriendly. Marina Tsvetaeva's last cycle of poems was Poems for the Czech Republic. In them, she warmly responded to the misfortune of the Czech people.

Today, Tsvetaeva is known and loved by millions of people - not only here, but all over the world. Her poetry entered the cultural life, became an integral part of our spiritual life. Some poems seem so old and familiar, as if they have always existed - like a Russian landscape, like a mountain ash by the road, like a full moon flooding a spring garden, and like an eternal female voice, intercepted by love and suffering.

Features of poetic language

Confession, emotional tension, energy of feeling, characteristic of Tsvetaeva's poetry, determined the specifics of the language, marked by the conciseness of thought, the swiftness of the deployment of lyrical action. The most striking features of Tsvetaeva's original poetics were intonational and rhythmic diversity (including the use of raesh verse, the rhythmic pattern of a ditty; folklore origins are most noticeable in the fairy tale poems "The Tsar Maiden", 1922, "Well done", 1924), stylistic and lexical contrasts (from vernacular and grounded everyday realities to elevated high style and biblical imagery), unusual syntax (the dense fabric of the verse is replete with the dash sign, which often replaces omitted words), breaking the traditional metric (mixing classical stops within one line), experiments on sound (including the constant play on paronymic consonances (see Paronyms), which turns the morphological level of the language into poetically significant), etc.

Prose

Unlike poetry, which did not receive recognition in the emigrant environment (Tsvetaeva's innovative poetic technique was seen as an end in itself), her prose was a success, willingly accepted by publishers and took the main place in her work of the 1930s. ("Emigration makes me a prose writer..."). "My Pushkin" (1937), "Mother and Music" (1935), "The House at the Old Pimen" (1934), "The Tale of Sonechka" (1938), memories of M. A. Voloshin ("Living about the living", 1933), M. A. Kuzmine ("The Otherworldly Wind", 1936), A. Belom ("The Captive Spirit", 1934) and others, combining the features of artistic memoirs, lyrical prose and philosophical essays, recreate the spiritual biography of Tsvetaeva. Letters of the poetess to B. L. Pasternak (1922-36) and R. M. Rilke (1926) adjoin prose - a kind of epistolary novel.

Marina Ivanovna Tsvetaeva (1892-1941) - playwright and prose writer, one of the most famous Russian poets, whose tragic fate, full of ups and downs, never ceases to excite the minds of readers and researchers of her work.

September 26 (October 8), 1892 in Moscow, in the family of a professor at Moscow University (later - the founder of the famous Museum fine arts) Ivan Vladimirovich Tsvetaev and his wife, Maria Alexandrovna, nee Main, had a daughter, Marina, and two years later, Anastasia. Marina's childhood passed in Moscow, and summer months, until 1902 - in Tarusa on the Oka. By origin, family ties, and upbringing, she belonged to the working scientific and artistic intelligentsia. If the influence of his father, Ivan Vladimirovich, a university professor and creator of one of the best Moscow museums (now the Museum of Fine Arts), for the time being remained hidden, latent, then his mother, Maria Alexandrovna, was passionately and vigorously engaged in raising children until her very own. early death, - according to her daughter, she turned them on with music: “After such a mother, there is only one thing left for me: to become a poet.” The character of Marina Tsvetaeva was difficult, uneven, unstable. Ilya Ehrenburg, who knew her well in her youth, says: “Marina Tsvetaeva combined old-fashioned courtesy and rebelliousness, reverence for harmony and love for spiritual tongue-tied tongue, utmost pride and utmost simplicity. Her life was a tangle of insights and mistakes."

Marina Ivanovna spent her childhood, youth and youth in Moscow and in the quiet Tarusa near Moscow, partly abroad. She studied a lot, but, for family reasons, rather haphazardly: as a little girl - at a music school, then in Catholic boarding schools in Lausanne and Freiburg, in the Yalta women's gymnasium, in Moscow private boarding schools.

Tsvetaeva began to write poems from the age of six (not only in Russian, but also in French, in German), to be printed from the age of sixteen. Heroes and events settled in the soul of Tsvetaeva, continued their "work" in her. Little, she wanted, like any child, "to do it herself." Only in this case, "it" was not a game, not drawing, not singing, but writing words. Find the rhyme yourself, write something down yourself. Hence the first naive poems at the age of six or seven, and then - diaries and letters.

Since 1902, when M.A. Main fell ill with incurable consumption, the family had to live abroad: in Italy, Switzerland, Germany. In 1905, the family of Marina Tsvetaeva arrived in the Crimea. In the summer of 1906, Maria Alexandrovna died in Tarusa. Marina Tsvetaeva changed several gymnasiums without staying in any. She wrote poetry and collected books.

In October 1910, the first book of poems by Marina Tsvetaeva "Evening Album" was published in Moscow, which received an approving review from M. A. Voloshin. From that moment, her friendship with M. Voloshin arose. She wrote the first critical article: "Magic in Bryusov's verses." The poems of the young Tsvetaeva were still very immature, but they won over with their talent, well-known originality and immediacy. All reviewers agreed on this. The strict Bryusov especially praised Marina for the fact that she fearlessly introduces “everyday life”, “the immediate features of life” into poetry, warning her, however, of the danger of falling into “domesticity” and exchanging her themes for “cute trifles”: “Undoubtedly, talented Marina Tsvetaeva can give us real poetry intimate life and maybe, with the ease with which she seems to write poetry, squander all her talents on unnecessary, albeit elegant trinkets.

In this album, Tsvetaeva wraps her experiences in lyric poems about failed love, about the irrevocable of the past and about the fidelity of the loving:

You told me everything - so early!

I saw everything - so late!

Eternal wound in our hearts

In the eyes of a silent question ...

It's getting dark... The shutters are slammed,

Over all the approach of the night ...

I love you ghostly, old,

You alone - and forever!

A lyrical heroine appears in her poems - a young girl dreaming of love. "Evening Album" is a hidden dedication. Each section is preceded by an epigraph, or even two. Marina was a very resilient person (“I have enough for another 150 million lives!”). She greedily loved life and, as it should be for a romantic poet, made enormous demands on her, often exorbitant. In the poem "Prayer" there is a hidden promise to live and create: "I long for all roads!". They will appear in a multitude - various roads of Tsvetaev's creativity. In the verses of the Evening Album, next to attempts to express childhood impressions and memories, there was a non-childish force that fought its way through the simple shell of the rhymed children's diary of a Moscow schoolgirl. In the Evening Album, Tsvetaeva said a lot about herself, about her feelings for people dear to her heart; first of all, about my mother and sister Asya. In the best poems of Tsvetaeva's first book, the intonations of the main conflict of her love poetry are already guessed: the conflict between "earth" and "heaven", between passion and perfect love, between the hundred-minute and eternal and - the world - the conflict of Tsvetaev's poetry: life and being.

On May 5, 1911, Tsvetaeva came to M. Voloshin in Koktebel, where she met her future husband, Sergei Yakovlevich Efron. They are going to treat Sergei with koumiss in the Ufa province: he has tuberculosis.

On January 27, 1912, the wedding of Marina Tsvetaeva and Sergei Efron took place. February. The second book of poems by Marina Tsvetaeva "The Magic Lantern" is published. On February 29, the same year, the newlyweds left for Honeymoon: Italy, France, Germany. On May 31, 1912, the Museum was opened Alexander III(it is also the Museum of Fine Arts, then - the Fine Arts), and on September 5 (September 18) M. Tsvetaeva's daughter Ariadna was born. In February 1913, the third collection of M. Tsvetaeva, “From Two Books,” was published in print, and at the same time, Marina Tsvetaeva was working on a new book, “Youthful Poems” of 1912-1915, which was not published. At this time, Tsvetaeva - "magnificent and victorious" - was already living very tense mental life. The stable life of a cozy house in one of the old Moscow lanes, the unhurried everyday life of a professorial family - all this was the surface, under which the "chaos" of real, not children's poetry was already stirring. By that time, Tsvetaeva already knew her own worth as a poet (already in 1914 she wrote in her diary: “I am unshakably confident in my poems”), but did absolutely nothing to establish and ensure her human and literary destiny . Marina's love of life was embodied primarily in love for Russia and for Russian speech. Marina loved the city in which she was born very much, she devoted many poems to Moscow

April - August 1913 Marina Tsvetaeva and her family live in the Koktebel house of M. Voloshin, but on August 30 I.V. Tsvetaev died in Moscow and from September to December the Tsvetaeva family lives in the Crimea: Yalta, Feodosia, where he performs at literary evenings.

Throughout the winter, Marina worked on the poem "The Enchanter", which was included in the "Youthful Poems". In autumn, Tsvetaeva finally found a "magic house" in Borisoglebsky Lane. In the fall, the move took place, after which a cycle of lyrical poems was written, inspired by a meeting with the poetess S. Ya. Parnok. The novel by Parnok and Tsvetaeva was very short, but rich in strength and known throughout literary Moscow.

On February 11, 1915, Tsvetaeva wrote the first poem addressed to Anna Akhmatova (“Narrow, non-Russian camp ...”). In March of this year, Sergei Efron begins to travel to the front with an ambulance train, Marina spends spring and summer with S. Parnok in Koktebel and Little Russia, where she meets with Osip Mandelstam, which had a certain influence on the work of Marina Tsvetaeva.

In August 1915, the poet returned to Moscow, but in December he again left with S. Parnok for Petrograd, where he met New Year. Here there is a meeting at the evening with Mikhail Kuzmin and already the second meeting with O. Mandelstam, after which on January 20 she returns to Moscow and the next day she performs at the evening of poetesses at the Polytechnic Museum. Tsvetaeva at that time was published in almost every issue of the Petrograd journal Severnye Zapiski.

In late January - early February 1916, Osip Mandelstam arrives in Moscow and Marina Tsvetaeva writes poems that she dedicates to him, as well as poems about Moscow. In March, her work reflected her acquaintance with Tikhon Churilin, and a little later, a stream of poems to Alexander Blok. Blok in Tsvetaeva's life was the only poet whom she honored not as a brother in the "old craft", but as a deity from poetry, and whom she worshiped as a deity. She felt all the others she loved to be her comrades-in-arms, or rather, she felt herself to be their brother and comrade-in-arms, and about each she considered herself entitled to say, as about Pushkin: “I know how I repaired feathers of sharpness: my fingers did not dry out from his ink!”. The work of only one Blok was perceived by Tsvetaeva as such a height under heaven - not a detachment from life, but its purity; that she, in her "sinfulness", did not even dare to think about any involvement in this creative height.

In the summer of 1916, M. Tsvetaeva made a trip to the city of Aleksandrov, Vladimir province, where a cycle of poems was written to A. Akhmatova. In the second half of the year, M. Tsvetaeva writes many romantic poems; many of the poems of 1916 will later form the book "Versts 1". In the same year, M. Tsvetaeva translated the French novel by Anna de Noaille "New Hope" (it was published in "Northern Notes").

K. Dalakyan

Life

creation

Marinas

Ivanovna

Tsvetaeva

"Moscow childhood"

Marina Ivanovna Tsvetaeva was born on September 26 (October 8), 1892 in a Moscow professorial family. The level of education, upbringing, spiritual saturation of the poetess in childhood and adolescence is already evidenced by the fact that she was born in a highly cultured family. Her father - Ivan Vladimirovich Tsvetaev, (1847-1913), Russian scientist, specialist in the field of ancient history, philology and art, corresponding member of the St. Petersburg Academy of Sciences. He founded one of the most unique museums in the capital, the Museum of Fine Arts in Moscow (the modern Pushkin Museum of Fine Arts) and was its first director.

Mother - M. A. Main came from a Russified Polish-German family, was a talented pianist, a student of Anton Rubinstein. She played the piano superbly, “flooded the children with music,” as the poetess later put it. As a child, due to her mother's illness (consumption), Tsvetaeva lived for a long time in Italy, Switzerland, Germany; breaks in gymnasium education were replenished by studying in boarding schools in Lausanne and Freiburg.

The mother died still young in 1906, and the upbringing of two daughters - Marina and Anastasia - and their half-brother Andrei became the work of their deeply loving father. He tried to give the children a thorough education, knowledge of European languages ​​(Marina was fluent in French and German), encouraging in every possible way acquaintance with the classics of domestic and foreign literature and art.

The Tsvetaev family lived in a cozy mansion in one of the old Moscow lanes; she spent her summers in the Kaluga town of Tarusa, and sometimes on trips abroad. All this was the spiritual atmosphere that breathed the childhood and years of youth of Marina Tsvetaeva. She early felt her independence in tastes and habits, strongly defended this property of her nature in the future. At the age of sixteen, she made an independent trip to Paris, where she attended a course in old French literature at the Sorbonne. While studying in Moscow private gymnasiums, she was distinguished not so much by the assimilation of the subjects of the compulsory program, but by the breadth of her general cultural interests.

The formation of the poet

Marina began writing poetry at the age of six, and celebrated her sixteenth birthday with her first publication in print. Tsvetaeva's early literary activity is associated with the circle of Moscow Symbolists. She met Valery Bryusov, who had a significant influence on her early poetry, with the poet Ellis-Kobylinsky, participated in the activities of circles and studios at the Musaget publishing house. The poetic and artistic world of Maximilian Voloshin's house in the Crimea had an equally significant impact on her (Tsvetaeva stayed in Koktebel in 1911, 1913, 1915, 1917).

In the first two books of poems (“Evening Album” and “Magic Lantern”) and the poem “The Enchanter”, Marina Tsvetaeva carefully describes home life (nursery, “halls”, mirrors and portraits), walks on the boulevard, reading, playing music, relationships with mother and sister imitate the diary of a schoolgirl, who, in this atmosphere of a “childish” sentimental fairy tale, grows up and joins the poetic. Confessional, diary orientation is accentuated by the dedication of the "Evening Album" to the memory of Maria Bashkirtseva. Maria Bashkirtseva is a Russian artist who wrote the book "Diary" in French. In the poem "On a Red Horse" the story of the poet's formation takes the form of a romantic fairy-tale ballad.

Poetic world and myth

In the next books "Milestones" and "Craft", revealing the creative maturity of Tsvetaeva, the focus on the diary and fairy tale is preserved, but already transforming into a part of an individual poetic myth. In the center of cycles of poems addressed to contemporary poets Alexander Blok, Anna Akhmatova, Sofia Parnok, dedicated to historical figures or literary heroes- Marina Mnishek, Don Giovanni and others - a romantic person who cannot be understood by contemporaries and descendants, but does not seek primitive understanding, philistine sympathy either. Tsvetaeva, identifying herself with her characters to a certain extent, endows them with the possibility of life outside of real spaces and times, the tragedy of their earthly existence is compensated by belonging to the upper world soul, love, poetry. The world of these poems is largely illusory. But at the same time, the elasticity of the poetic line is growing stronger, the range of speech intonations that reveal the truth of feelings is expanding, the desire for a concise, concise and expressive manner is clearly felt, where everything is clear, precise, swift in rhythm, but at the same time deeply lyrical. The brightness and unusualness of metaphors, the accuracy and expressiveness of the epithet, the diversity and flexibility of intonations, the richness of rhythm - such is the original style of the young Tsvetaeva.

One of the important images of this period of Tsvetaeva's work is the image Ancient Rus'. It appears as the element of riot, self-will, unbridled revelry of the soul. There is an image of a woman devoted to rebellion, autocratically surrendering to the whims of her heart, in selfless daring, as if escaping to freedom from the age-old oppression weighing on her. Her love is self-willed, does not tolerate any barriers, is full of audacity and strength. She is either the archer of the Zamoskvoretsky riots, or the fortune teller-princess, or the wanderer distant roads, then a member of robber bands, then almost the noblewoman Morozova. Her Rus' sings, wails, dances, prays and blasphemes to the full extent of Russian irrepressible nature.

"After Russia"

The romantic motifs of rejection, homelessness, sympathy for the persecuted, characteristic of Tsvetaeva's lyrics, are supported by the real circumstances of the poetess's life. In 1912, Marina Tsvetaeva marries Sergei Yakovlevich Efron. In 1918-1922, together with her young children, she is in revolutionary Moscow, while her husband Sergei Yakovlevich Efron is fighting in the White Army in the Crimea (poems 1917-1921, full of sympathy white movement, made up the cycle "Swan camp"). But then he became disillusioned with the white movement, broke with it and became a student at the university in Prague. In May 1922, Tsvetaeva was allowed to go abroad to her husband with her daughter. From that time, Marina's emigrant existence began (a short stay in Berlin, then three years in Prague, and from November 1925 in Paris). This time was marked by a constant lack of money, everyday disorder, difficult relations with the Russian emigration, and the growing hostility of criticism. Emigration was the most difficult test for the poetess, because she did not want to go in the common alignment of the majority of her compatriots: she did not publicly denigrate the revolution, and glorified her native Russia in every possible way. “Everyone here mocks me fiercely, playing on my pride, my need and my lack of rights (there is no protection), she wrote, you can’t imagine the poverty in which I live, but I have no means of living, except for writing. The husband is sick and unable to work. Beanie's daughter earns 5 francs per day, the four of us (I have a son of 8 years old, Georgy) live, that is, we are just slowly dying of hunger ... I don’t know how much I still have to live, I don’t know if I will ever be in Russia again, but I know that I will write strongly to the last line, that I will not give weak verses.

True, there were people who tried in every possible way to help the talented poetess. Under one of the poems ("Hands are given to me"), Marina Tsvetaeva (a quarter of a century after it was written) noted that it was dedicated to Nikodim Plutser-Sarna, who "managed to love me", "managed to love this difficult thing - me." Their acquaintance took place in the spring of 1915, and Nikodim became one of her sincere friends, helped and supported her in difficult everyday circumstances.

The best poetic works of the emigrant period are characterized by philosophical depth, psychological accuracy, expressiveness of style. The style became expressive because of feelings of oppression, contempt, deadly irony. The internal excitement is so great that it spills over the boundaries of quatrains, ending the phrase in an unexpected place, subordinating it to a pulsating, flashing or suddenly breaking rhythm. “I do not believe the verses that pour. They are torn - yes! ”- these are the words of Tsvetaeva. The works of the emigrant period are the last lifetime collection of poems “After Russia”, “The Poem of the Mountain”, “The Poem of the End”, the lyrical satire “The Pied Piper”, the tragedies on ancient subjects “Ariadne”, published under the name “Theseus”, and “Phaedra”, the last poetic cycle "Poems for the Czech Republic" and other works.

Such works as the ode “Praise to the rich”, “Ode to the walk” are poems of a militantly accusatory nature. In them and in other poems of this period, a fierce protest against the bourgeois-bourgeois well-being emerges. Even the story of one's own fate turns into a bitter, and sometimes angry reproach to the well-fed, self-satisfied masters of life.

“The Poem of the End” is a detailed, many-part dialogue about parting, where in deliberately everyday conversations, sometimes sharply abrupt, sometimes tender, sometimes maliciously ironic, last way around the city parting forever.

The “Poem of the Stairs” is much more complicated, where the staircase of a house populated by urban poverty is a symbolic image of all the everyday troubles and sorrows of the poor against the backdrop of the well-being of the haves and the prosperous. Staircases that go up and down, carrying the miserable things of the poor and the heavy furniture of the rich.

The most significant can be considered the poem "Pied Piper", called "lyrical satire". Marina Tsvetaeva used a Western European medieval legend about how in 1284 a wandering musician saved the German city of Gammelly from an invasion of rats. He led them away with the sounds of his flute and drowned them in the river Weser. The moneybags of the city hall did not pay him a penny. And then the musician, playing the flute, took away all the young children of the city with him, while the parents listened to the church sermon. The children who climbed Mount Koppenberg were swallowed up by the abyss that opened beneath them. But this is only the external background of events, on which the sharpest satire is superimposed, exposing all manifestations of lack of spirituality.

During the period of emigration, the image of Russia in the works of Tsvetaeva changes. The motherland appears already in a new guise, not stylized as ancient belfry Rus'. Tsvetaeva's feelings differ from the usual emigrant nostalgia, behind which, as a rule, is a dream of restoring the old order. She writes specifically about the new Russia, inspired by love for the motherland and native people.

For you with every muscle

I stand and I'm proud

Chelyuskins are Russian!

Unlike poems, which did not receive recognition in the emigrant environment (Tsvetaeva's innovative poetic technique was seen as an end in itself), her prose enjoyed success, being readily accepted by publishers and taking the main place in her work of the 1930s. “Emigration makes me a prose writer…” wrote Tsvetaeva. Her prose works are “My Pushkin”, “Mother and Music”, “The House at the Old Pimen”, “The Tale of Sonechka”, memories of Maximilian Voloshin (“Living about the Living”), M. A. Kuzmin (“The Otherworldly Wind” ), Andrei Belom (“The Captive Spirit”), Boris Pasternak, Valeria Bryusov and others, combining the features of artistic memoirs, lyrical prose and philosophy, recreate the spiritual biography of Tsvetaeva. Letters of the poetess to Boris Pasternak and Rainer Rilke adjoin prose. This is a kind of epistolary novel. Marina Tsvetaeva also devoted a lot of time to translations. In particular, she translated fourteen Pushkin's poems into French.

Features of poetic language

Romantic maximalism, motives of loneliness, the tragic doom of love, rejection of everyday life, intonation-rhythmic expressiveness, metaphoricality are inherent in all of Tsvetaeva's work. Confessionalism, emotional tension, energy of feeling, characteristic of Tsvetaeva's poetry, determined the specifics of the language, marked by the conciseness of thought, the swiftness of the development of action. The most striking features of Tsvetaeva's original poetics at all periods of her life were intonational and rhythmic diversity (she used raesh verse, that is, an accent verse with a pair of rhymes, a rhythmic pattern of a ditty; folklore origins are most tangible in the fairy tale poems "The Tsar Maiden", "Well Done" ), stylistic and lexical contrasts (from vernacular and grounded everyday realities to elevated high style and biblical imagery), for example:

Planted an apple tree

Small - fun

Old - youth

The gardener is happy.

I drink - I don't get drunk. Breathe in and out a big breath.

And blood murmuring underground rumble,

King Saul choked.

Other features of Tsvetaeva’s poetry are unusual syntax (the dense fabric of the verse is replete with the “dash” sign, which often replaces omitted words), for example, “...Through the slabs - up - to the bedchamber - and relish!", Experiments with sound (for example, the constant playing of paronymic consonances ; paronyms are words that are close in sound, but different in meaning, for example, “hot from bitterness”) and others.

V. A. Rozhdestvensky wrote about Tsvetaeva’s poetry: “The strength of her poems is not in visual images, but in a bewitching stream of ever-changing, flexible, involving rhythms. Now solemnly upbeat, now colloquially everyday, now song-singing, then fervently mocking, they, in their intonational richness, masterfully convey the play of flexible, expressive, accurate and capacious Russian speech ... Her poems are always a sensitive seismograph of the heart, thoughts, any excitement who owns the poet."

End of the road.

In 1937, Sergei Efron, who, for the sake of returning to the USSR, became an NKVD agent abroad, being involved in a contract political assassination, fled from France to Moscow. In the summer of 1939, following her husband and daughter Ariadna (Alei), Tsvetaeva returned to her homeland with her son Georgy (Mur). In the same year, both the daughter and the husband were arrested (Sergei Efron was shot in 1941, Ariadne was rehabilitated in 1955 after fifteen years of repression). Tsvetaeva herself could not find housing or work; her poems were not published. Being evacuated at the beginning of the war, she unsuccessfully tried to get support from writers and committed suicide on August 31, 1941 in Yelabuga (now the territory of Tatarstan).

Biographers drew attention to this, far from an accidental decision of the poetess: shortly before her death, compiling her last poetry collection, Marina Tsvetaeva opened it with the poem “I wrote on a slate board ...”, which was dedicated to her husband.

List of used literature.

· Great Encyclopedia of Cyril and Methodius.

And the heart is torn from love to pieces ... " Collection. Moscow, Zarnitsy, 2003

Marina Tsvetaeva. Works". Volumes 1-2. Moscow, Fiction, 1984

The poetess Marina Tsvetaeva was born on September 26, 1892, in Moscow. Her father is I.V. Tsvetaev was a famous scientist, professor. Tsvetaeva's mother wanted her daughter to follow in her mother's footsteps and be a musician. At the age of 6, Marina Tsvetaeva began to write poetry. The poetess wrote her early poems not only in Russian: there were poems in French and German. Tsvetaeva spent a huge part of her childhood in Moscow. There she received her primary education. Then the poetess studied in Germany and Switzerland. When Marina was 14 years old, her mother dies of consumption. The death of her mother left a deep scar on the heart of a very young girl. In 1910, Marina Tsvetaeva's first book, Evening Album, was published. Then, in 1912, a collection of "teenage" poems "The Magic Lantern" was published, in 1913 - "From Two Books".

Tsvetaeva's life during the First World War and Civil War especially reflected in her poetry. Her husband Sergei Efron was in the ranks of the White Army. In 1917, a collection of poems "The Swan Camp" was written, in which Tsvetaeva expresses sympathy for the whites. As you know, Tsvetaeva was among those who did not accept the October Revolution, and therefore in 1992 Tsvetaeva, together with her daughter Ariadna, left for Prague to her husband. After staying there for only 3 years, they move to Paris. Because of the discord with the emigrants, Tsvetaeva was no longer published, and her last collection, released during her lifetime, was the collection “After Russia” in 1928. Although Tsvetaeva's poems were banned, her prose was published: in 1937 the book "My Pushkin" was published, in 1935 - "Mother and Music", 1938 - "The Tale of Sonechka", etc.

Abroad, Tsvetaeva's material life was not easy. In 1939 the poetess returns to Russia. But even here she did not shine with happiness and a carefree life. In 1939, her husband and daughter were arrested. Tsvetaeva began to earn a living by translations. In 1941 her husband was shot. The daughter was rehabilitated only in 1955.

A hard life, pain for relatives forced Marina Tsvetaeva to commit suicide on August 31, 1941. Tsvetaeva was buried on September 2, 1941 in the city of Yelabuga. Until now, no one knows exactly where the poetess is buried. Her sister Anastasia placed a sign in that part of the cemetery with the inscription that Tsvetaeva was buried somewhere here in this direction. In 1990, Alexei II gave his blessing to bury Tsvetaev, although it is forbidden for the Orthodox to bury suicides. There are also about 8 museums dedicated to the work of the great poetess.

• “I like that you are not sick with me ...”, analysis of a poem by Marina Tsvetaeva
• "Grandmother", analysis of Tsvetaeva's poem
• "Youth", analysis of the poem by Marina Tsvetaeva
• “The mountain ash lit up with a red brush”, analysis of Tsvetaeva’s poem