How I got cancer. Rami Blekt Intro to number four...
Gentle and irrevocable
No one looked after you
Kiss you - through the hundreds
Separating years.
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. Russian editor Slonim was confident 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 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 Russian emigration, in particular living in Prague, responded to her with an unfriendly attitude, although she 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. AT creative development Tsvetaeva invariably manifested a pattern characteristic of her. 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 story of love, a stormy and brief passion that left a trace 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. last cycle Marina Tsvetaeva's poems were "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 full moon, flooding spring garden, and like an eternal female voice, intercepted by love and suffering.
Marina Ivanovna Tsvetaeva- one of the inextinguishable stars of the poetry of the XX century. Her life path was very difficult. Living in difficult times, she remained a poet, despite life's troubles, often a poor existence and the tragic events that haunted her. But in spite of everything, poetry for her has always been a way of life. Poetry for her is a means of self-expression. Therefore, in her lyrics there is such a special confidence, openness. Tsvetaeva has her own unique style, her poems can always be unmistakably recognized by their special rhythm, intonation, numerous techniques and means of expression.
Inversions:
The emotional intensity of M. Tsvetaev's poems is increased by inversions: examples.
Ellipses (blanks):
The expressiveness of the poem is achieved with the help of ellipses (omissions, defaults). Tsvetaev's "broken phrase" makes the reader either freeze at the height of the emotional climax, or think about the last lines of the poem, complete the author's thought himself.
Intonation and rhythmic instability:
Tsvetaeva in her poems creates a special poetic intonation, skillfully using pauses (they are transmitted using ellipses, semicolons), splitting the text into expressive segments, Tsvetaeva often resorts to question and exclamation marks, likes to highlight especially important, key and emotional words and expressions, “tear the verse”, depriving it of smoothness and giving it the ultimate intensity of sound. Thanks to these techniques, Tsvetaeva achieves the unique intonation of the poem, its richness and brightness.
Refrains:
Refrains are used to gradually build up emotional tension in a poem, or to particularly draw the reader's attention to a given thought, to repeat it several times as the main idea.
Romantic double world:
The romantic dual world in Tsvetaeva's poems expresses her eternal internal conflict between everyday life, the reality surrounding her and the spiritual side of being. This conflict permeates all her work, acquiring various forms and shades.
Alliterations, assonances:
Sound painting is very loved by Tsvetaeva, and was often used by her in order to show the accompanying sounds necessary for a given verse, which give it a special color, help the reader to better understand and comprehend the topic raised in the poem.
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."
But the further we go from the year of her death, the more impossible it is to forget her fate, it becomes more and more difficult to comprehend and decipher her work to the end, to be able to delve into poetry, prose, and dramaturgy that are unlike anything else.
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 at the beginning of her career she considered herself a consistent romantic, she 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.
The writing
Russian poetry is our great spiritual heritage, our national pride. But many poets and writers were forgotten, they were not published, they were not talked about. In connection with the great changes in our country recently in our society, many unfairly forgotten names began to return to us, their works began to be printed. These are such wonderful Russian poets as Anna Akhmatova, Nikolai Gumilyov, Osip Mandelstam, Marina Tsvetaeva.
Marina Ivanovna Tsvetaeva was born in Moscow on September 26 (October 8), 1892. 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 the influence of his mother was obvious: Maria Alexandrovna, passionately and vigorously engaged in raising children until her very own early death, - in the words of her daughter, "started" them with music. “After such a mother, there was only one thing left for me: to become a poet,” wrote Marina Tsvetaeva.
Once Tsvetaeva accidentally mentioned something on a purely literary occasion: “This is the business of poetry specialists. My specialty is Life. She lived a difficult and difficult life, did not know and did not seek either peace or prosperity, she always existed in complete disorder, sincerely asserted that her “sense of ownership” was “limited to children and notebooks”. Marina's life from childhood to her death was ruled by imagination. Imagination grown on books:
red brush
Rowan lit up
Falling leaves -
I was born.
Hundreds argued
Bells.
The day was Saturday
John the Theologian.
To me to this day
I want to gnaw
red rowan
Bitter brush.
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 playing, 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.
In 1910, without taking off her gymnasium uniform, Marina released a rather voluminous collection "Evening Album" secretly from the family. He was noticed and approved by such influential and demanding critics as V. Bryusov, N. Gumilyov, M. Voloshin. 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, against the danger of exchanging her themes for "cute trifles."
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. Before each section there is an epigraph, or even two: from Rostand and the Bible. These are the pillars of the first building of poetry erected by Marina Tsvetaeva. How unreliable it is, this building; some parts of it, created by a half-childish hand, are like unsteadiness. But some poems already foreshadowed the future poet. First of all - the unrestrained and passionate "Prayer", written by the poetess on the day of her seventeenth birthday, September 26, 1909:
Christ and God! I want a miracle
Now, now, at the beginning of the day!
Oh let me die while
All life is like a book to me.
You are wise, you will not say strictly: "Be patient, the term is not over yet." You gave me too much! I thirst at once - all roads!
I love the cross, and silk, and helmets,
My soul of moments trace ...
You gave me childhood - fairy tales are better
And give me death - at seventeen!
No, she did not want to die at all at this moment when she wrote these lines; they are just a poetic device. Marina Tsvetaeva was a very resilient person ("I'll last another 150 million lives!"). She greedily loved life and, as it should be for a romantic poet, made enormous demands on her, often exorbitant ones.
In the poem "Prayer" there is a hidden promise to live and create: "I thirst ... 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 Luxembourg Garden”, watching with sadness the children playing and their happy mothers, Tsvetaeva envies them: “You have the whole world”, and at the end declares:
I love women that they were not shy in battle,
Those who knew how to hold a sword and a spear, -
But I know that only in the captivity of the cradle
The usual - female - my happiness!
In the Evening Album, Tsvetaeva said a lot about herself, about her feelings for people dear to her heart, primarily about her mother and sister Asya. "Evening Album" ends with the poem "Another Prayer". Tsvetaeva's heroine prays to the creator to send her simple earthly love. AT best poems In the first book of Tsvetaeva, the intonations of the main conflict of her love poetry are already guessed - the conflict between "earth" and "heaven", between passion and ideal love, between the momentary and eternal in the world of conflict of Tsvetaeva's poetry - everyday life and being.
Following the “Evening Album”, two more poetry collections by Tsvetaeva appeared: “The Magic Lantern” (1912) and “From Two Books” (1913) - both under the brand name of the Ole-Lukoye publishing house, the home enterprise of Sergei Efron, a friend of Tsvetaeva’s youth, for whom she would marry in 1912. At this time, Tsvetaeva - "magnificent and victorious" - was already living a very intense spiritual life. Sustainable living cozy home in one of the old Moscow alleys, the unhurried everyday life of a professorial family - all this was the surface, under which the “chaos” of real, non-childish 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:
Over the city rejected by Peter,
The bell thunder rolled.
Rattles capsized surf
Over the woman you rejected.
Tsar Peter, and to you, O king, praise!
But above you, kings: bells.
While they thunder from the blue -
The superiority of Moscow is indisputable.
And as many as forty forty churches
Laugh at the pride of kings!
First there was Moscow, born under the pen of a young, then a young poet. At the head of everything and everything reigned, of course, the father's "magic" house in Trekhprudny Lane:
Drops of stars dried up in the emerald sky and roosters crowed.
It was in an old house, a wonderful house...
Wonderful house, our wonderful house in Trekhprudny,
Now turned into poetry.
So he appeared in this surviving fragment of a youthful poem. The house was animated: its hall became a participant in all events, met guests; the dining room, on the contrary, was a kind of space for forced four-time indifferent meetings with "home" - the dining room of an orphaned house, in which there was no longer a mother. We do not learn from Tsvetaeva's poems what the Hall or the dining room looked like, in general the house itself. But we know that a poplar stood next to the house, which remained before the eyes of the poet for the rest of his life:
This poplar! huddle under it
Our children's parties
This poplar among the acacias,
Colors of ashes and silver .. Later, in Tsvetaeva's poetry, a hero will appear who will go through the years of her work, changing in the secondary and remaining unchanged in the main: in his weakness, tenderness, unsteadiness in feelings. The lyrical heroine is endowed with the features of a meek, pious woman:
I will go and stand in the church.
And I will pray to the saints
About a young swan.
In the most successful poems, written in mid-January - early February 1917, the joy of earthly existence and love is sung:
The world began in me nomadic:
It roams the night land - trees,
It roams with golden wine - bunches,
It is the stars that wander from house to house,
It is the rivers that start the way - back!
And I want to sleep on your chest.
Tsvetaeva dedicates many of her poems to contemporary poets: Akhmatova, Blok, Mayakovsky, Efron:
Domes are burning in my melodious city,
And the stray blind man glorifies the Light Savior ... -
And I give you my city of bells, Akhmatova! -
And your heart to boot.
But all of them were for her only fellow writers. But A. Blok was the only poet in Tsvetaeva's life, whom she revered not just 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 by detachment from life, but by its purity, - that there was no involvement in this creative height she, in her "sinfulness", did not even dare to think - only all her poems dedicated to Blok in 1916 and 1920-1921 became kneeling: To the Beast - a lair, to the Wanderer - the road, to the Dead - drogs. To each his own.
A woman - to dissemble,
King to rule
me to praise
Tsvetaeva the poet cannot be confused with anyone else. Her poems can be unmistakably recognized - by a special chant, characteristic rhythms, non-general intonation. From adolescence, a special “Tsvetaeva” grip in handling the poetic word, the desire for aphoristic clarity and completeness, has already begun to affect. The concreteness of this homely lyrics also won me over.
For all her romanticism, young Tsvetaeva did not succumb to the temptations of a lifeless, imaginary meaningful decadent genre. Marina Tsvetaeva wanted to be diverse, she was looking for different ways in poetry. Marina Tsvetaeva is a great poet, and her contribution to the culture of Russian verse in the 20th century is extremely significant. The legacy of Marina Tsvetaeva is hard to see. Among the created by Tsvetaeva, in addition to lyrics, are seventeen poems, eight poetic dramas, autobiographical, memoir, historical-literary and philosophical-critical prose.
Marina Tsvetaeva - the poet cannot be confused with anyone else. Her poems can be unmistakably recognized - by a special chant, rhythm, intonation. Tsvetaeva is an innovative poet, primarily in the field of form. As a result, many of her works are complex, difficult to understand, primarily works of the 20s. But, as Tsvetaeva herself admitted: “The sin is not in the darkness, but in the unwillingness of light, not in misunderstanding, but in resistance to understanding ...” It depends on the reader - will he be able to trust the poet, will he be ready to discover a new world for himself? Everything in her personality and poetry (for her this is an indissoluble unity) sharply left the general circle of traditional ideas that dominated literary tastes. This was both the strength and the originality of her poetic word, and at the same time, the unfortunate doom to live not in the main stream of her time, but somewhere next to it, outside the most urgent needs and requirements of the era. With passionate conviction, the life principle proclaimed by her in her early youth: to be only herself, not to depend on time or environment in anything - later turned into insoluble contradictions of a tragic personal fate.
Tsvetaeva accepted life as it is. Since at the beginning of her career she considered herself a consistent romantic, she 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. In one of the early articles. " Prayer" creates the image of a heroine striving for active action. For her, to live means to go, to suffer, to rush into battle, to know everything, to experience everything. The elemental force of her nature is so great that she is ready to challenge the whole world: Under the whistle of a fool and a philistine, laughter // One of all - for all - against all! // I stand and send, petrified from vzdetu, // This loud call to the heavenly voids.
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 longing, 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. It 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 Tsvetaeva'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 trace 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 the fleeting compared to the eternity of human life. 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.
Love for Tsvetaeva and her heroine- the very only news that is always new (v. “ For joy") love, according to Tsvetaeva, reveals the poetry of the world, which the heroine finds in everything: in mysterious roads, in fabulous animal lairs. Love returns the sharpness of the vision of the world (“Where does such tenderness come from”). Love in the lyrics of Tsvetaeva has many faces. She is gentle and penetrating (“I have an inclination of hearing towards you”), reckless and frantic (“Two suns are freezing - O Lord, have mercy!”); love is a crafty game (the cycle "Comedian") and the test "Pain, familiar as the eyes - a palm ..."; love is wise (“No one has taken anything away! It is sweet to me that we are apart”) and tragic (“Gypsy passion for separation”). The poetess strives to convey all shades, capture the differences, nuances, changeable signs of love. Relation to the revolution Marina Tsvetaeva did not accept the October Revolution and did not understand; in the literary world, she still kept herself apart. The blood shed abundantly in the civil war rejected, repelled M. Tsvetaeva from the revolution: Bely was - became red: // Blood stained. // Was red - became white: // Death won. - It was a cry, a cry from the soul of a poetess. Moscow theme- one of the most important in creativity. It is no coincidence that the well-known cycle "Poems about Moscow" dated 1916 creative life poetess, it is considered "the birth year of the real Tsvetaeva." It marked the onset of creative maturity, was simultaneously and final, and determining the further ways of development of her talent. Feeling more and more strongly her vital involvement in the fate of her homeland, it was at this time that Tsvetaeva greedily clings to and drains are native oh speech. Her "Poems about Moscow"capture the unique appearance of the" miraculous city ": Seven hills - like seven bells! On seven bells - belfries. All the bill - forty forty. Bell semicolon! During the war, during the evacuation, she ended up in Chistopol, and then in Yelabuga, where she was overtaken by loneliness, about which she spoke with such deep feeling in her poems. Having lost all faith, Tsvetaeva committed suicide. And more than a dozen years passed before her youthful prophecy came true: Scattered in the dust in shops // (Where no one took them and does not take them), // My poems, like precious wines, // Their turn will come.
49. Panorama Russian history 1900-1945. in B. Pasternak's novel "Doctor Zhivago. Expression writer's views on art. gospel, human life stories. The symbolism of "darkness" and "light" in the "Poems of Yuri Zhivago".
"Doctor Zhivago" is the most famous Russian novel of the 20th century all over the world. Its action covers the revolution of 1917, two world wars, the civil war, the New Economic Policy, the Great Patriotic War and several post-war years. Boris Pasternak noted: “I ... want to give a historical image of Russia over the past forty-five years, and at the same time, all sides of my plot, heavy, sad and elaborated ... this thing will be an expression of my views on art, on the Gospel, on human life in history and much more…". The novel recreates the spiritual life of Russia at the beginning of the century, conveying a whole range of philosophical ideas; moral, political, aesthetic, religious, social problems are posed and solved by the author. There are, as it were, two planes in the novel: the outer one, which tells the story of Doctor Zhivago's life, and the inner one, which reflects the hero's spiritual life. It is more important for the author to convey not the events of Zhivago's life, but his spiritual experience, so the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues. Pasternak comprehends the inhuman meaning and appearance of the Soviet state, opposed to man, his life, his fate. Rejecting the ideology based on lack of freedom, he opposed to it the ideas of protecting life and universal human values, the idea of a Christian attitude towards a person, Christian love for him, the idea of the absolute value of a person with his private life.
Style originality B. Pasternak's novel "Doctor Zhivago" is manifested primarily in its compositional construction. Several storylines are clearly traced in the work: Zhivago - Tonya, Lara Guichard - Pavel Antipov, Yuri Zhivago - Lara Guichard, Yuri Zhivago - Strelnikov. The plot branching does not make the composition loose, devoid of internal unity. All plot lines of the novel intersect in time (both in the past and in the present of the characters) and are drawn together to the figure of Doctor Zhivago, who is the figurative center of the narrative. The content of the novel is determined by a non-objective narrative, which gives reason to attribute the novel to lyrical prose. The subjective-narrative way of organizing the material allows us to comprehend the era through the lyrical experience of the hero, reveals the effect of epic breathing, and reveals the meaning of private fate on a time scale.
As a subject of knowledge Yuri Zhivago correlates with other heroes novel on the principle of spiritual commonality or contrast. His vision and understanding of the ongoing events in unity with the worldview of other characters (Lara, Uncle Yuri, the shopkeeper Galuzina, etc.) in the reader's mind determines the time factor. The heroes of Pasternak's novel unwittingly or consciously associate personal disorder with the revolutionary events taking place in the country, and try to find the causes of general confusion and disorder. Such polyphony in the novel serves the task of recreating a detailed picture of the social and spiritual life of the people. At the same time, the ratio of heroes according to the principle of contrast (Zhivago - Strelnikov) is an expression of the opposition of the moral self-consciousness of the hero-intellectual to the dominion of the revolutionary idea, which spiritually mortifies a person. Pasternak's focus on analysis philosophical, moral, psychological problem "man and history" allowed the author to artistically realize the concept of the hero's philosophical self-awareness.
A characteristic feature of Pasternak's creative individuality is an organic combination of high poetry with an analytical attitude to the events depicted. This is achieved by the fact that at the center of the narrative the author places the creative personality of a thinking person who perceives tragedy as a consequence of certain social processes. The writer checks the moral experience of the era with the moral feeling, moral intuition of his honest, decent, deeply thinking and experiencing the tragedy of the era of heroes. Novel style, determined by the dual nature of Pasternak's talent, synthesizes writer's analyticism and lyrical excitement. Such unity becomes a sign of emotional-analytical, emotional-poetic prose. The emotional, determined by the lyrical dominant of the writer's style, "comes up" in the novel from the embodiment of the emotional states of the characters, which determines the lyrical element of the novel. Spiritually close to the author, the characters retain their natural beginning and the ability to be surprised and admire the beauty of the environment, even in the tragic era of breaking and bloodshed. Pasternak, who explores the nature of man and man in nature, highlights the natural, natural in a child and an adult, in the main character and a secondary one. The writer considers this beginning as a positive, pledge spiritual development person. The content of B. Pasternak's writing style is manifested not only in the movement of images, in the principles of depicting their characters, but also in imagery of pictures of nature, correlated in the artistic space of the novel with a person. Nature in the novel performs several functions. It serves as a reflection of the social world. Symbolic images Pasternak's blizzards are the personification of an evil force, a one-time beginning. The symbolism of images emphasizes the scrapping of life, the loss of stability and well-being in it. The concurrency technique the artist emphasizes the affinity of what is happening in the world of nature and human life.
Problems. This is a novel about the loss of an ideal and an attempt to find it again, the problem of a person in the whirlpool of history, polit-e, fil-e, religious problems. The protagonist of the work, Yuri Zhivago, does not find an answer to the question of how he should live on: what to accept and what not in the new life. In describing the spiritual life of his hero, Boris Pasternak expressed the doubts and intense inner struggle of his generation. Philosophical understanding of human existence leads to biblical truths, to the Christian worldview and Christian morality, illuminated for centuries. The novel begins with the scene of the funeral of the hero's mother with the image of church hymns. So already on the first pages of the novel, the idea of the uniqueness of each human existence arises. Despite the wide coverage of events that are crucial for Russia, the author affirms the idea of the enduring value of a person’s personal, intimate life, the value of a family, in whose friendly circle a person is able to resist a strange, cold, hostile world. Realizing this truth, Yuri Zhivago tries to create his own separate, albeit modest, world of family happiness. But the fate of the hero is set from the very beginning. Already in the scene of the funeral of Yura Zhivago's mother, the motive of tragic predestination is outlined: Curious people entered the procession, asking: “Who is being buried?” They were answered: "Zhivago". - "That's it. Then it's clear". “Not him. Her..." In this seemingly passing exchange of remarks with some kind of ambiguous tinge (are they burying Zhivago?), the fate that is akin to Jesus Christ is predetermined: to ease suffering, to give love, to bear the cross of earthly torments and, having absorbed the pain of others, to die in the prime of life. Fate really turned out to be cruel, all the plans of Yuri Zhivago collapse, and he dies on the street young, at thirty-six, leaving his poems to the world. He is mourned by his beloved woman, for whom "only the sun of love" was eternal. At first, the revolution was perceived by Zhivago as "surgery", which makes it possible to destroy "old ulcers". Zhivago's observations and analysis of the social reality of the revolutionary time changed the views of the hero. It seemed terrible to Zhivago that revolutionary justice had abolished all humanity. “Tired of shooting” sounds like a harsh sentence of a time of cruelty and violence. Roman complete Poems by Yuri Zhivago» - 4 main themes: poetry on gospel stories, about nature, human relations, as well as poems in which associations with world spiritual culture are felt. They unite in the mind of the lyrical hero, who acts as a generalizing image of a man of the 20th century, who is trying to resolve important issues in the context of eternity. That. in st-x is given overall picture macro- and microcosm, in the middle of which stands a person - the center and meaning of being.
50. "Village prose" and its ideological and aesthetic guidelines. Folk character in the works of V. Belov ("The Usual Business"), V. Rasputin ("Money for Mary". "Farewell to Mother") - at the choice of the student.
Solzhenitsyn: “At the turn of the 1970s and in the 1970s, a silent revolution, which was not immediately noticed, took place in Soviet literature. Without overthrowing or blowing up anything declaratively, a large group of writers began to write as if no "socialist realism" had been declared and dictated - neutralizing it, they began to write in simplicity, without any pleasing to the Soviet regime, as if forgetting about him. To a large extent, the material of these writers was village life, and they themselves came from the village, therefore (and partly because of the indulgent complacency of the cultural circle, and not without envy at the suddenly successful purity of the new movement) this group began to be called villagers. And it would be correct to call them moralists, because the essence of their literary revolution is the revival of traditional morality, and the crushed endangered village was only a natural visual objectivity.
The appearance of "village prose" was determined by the same aesthetic principles and artistic preferences that were characteristic of "quiet lyrics". However, in terms of scale, “village prose” is larger, and its role in the literary process is incomparably more significant. It was in line with “village prose” that such great artists as Vasily Belov, Valentin Unraveled, Vasily Shukshin, and Viktor Astafiev came to this trend in his creative development, under the influence of "village prose" a whole generation of prose writers was formed (V. Krupin, V. Lichutin, Yu. Galkin, G. Skoblikov, A. Filippovich, I. Ukhanov, P. Krasnov and others). The creators of "village prose" are fundamentally alien to the methods of modernist writing, "telegraphic style", and grotesque imagery. They are close to the culture of classical Russian prose with her love for the word plastic, pictorial, musical, they they restore the traditions of fairy tale speech, closely adjoining the character of a character, a person from the people, and deepen them.
On the pages of his works, he asked himself the question: is the village really so ideal and homogeneous, and is it a stronghold of morality and mercy in the modern troubled world? An attempt to answer this question is already the first story by V. Rasputin "Money for Mary» (1967).
Its plot is simple: the saleswoman of the rural store Maria found a shortage of 1000 rubles. Due to the simplicity of her soul, due to close, almost family relations with her fellow villagers, she did not live aloof, she often sold goods on credit, she did not count well. Yes, and she went to work as a saleswoman after long persuasions from her fellow villagers: knowing that this store was cursed, they asked Maria to stand behind the counter, because after the young saleswoman Rosa, who had been imprisoned for three years, no one wanted to go to work in this store, “the plan for the prison to fulfill ". It was Maria who was asked, knowing that she was conscientious - she would not refuse. And she did not refuse, moreover, she made the shop a kind of cultural center of the village - women gathered here even when they did not have to buy anything, and men came in for a smoke.
And here is the shortage ... The debt terrified both Maria, and her husband, Kuzma, a tractor driver, and the children. The auditor, however, took pity on the heroine and gave the kind, inept Maria the opportunity to collect the required amount in five days.
The misfortune that happened to Maria and the attitude of people to this misfortune is a kind of litmus test that reveals the true essence of each of the villagers. After all, it is enough for each of them to deposit a little more than four rubles (4.40), and Mary will be saved. In the story through the eyes of Kuzma, we see a number of villagers, to whom he turns for help. And everyone reacts to the misfortune of another person in different ways. Some heroes, like grandfather Gordey, who is already over 70, a man from the former community, who remembers episodes of mutual assistance, immediately decided to help, and, although he did not have a penny, but, despite Kuzma’s protest, he begged 15 rubles from his son (“he stood in front of Kuzma with an outstretched hand, from which protruded five-ruble bills rolled up into tubes, and he looked at Kuzma with fear that Kuzma might not take it. Kuzma took it"); even bedridden aunt Natalya, who had prepared money “for death” (“so that more people would come and commemorate me”), and she “handed him the money, and he took it as if he had received it from the other world,” she understood their need for the living Mary; what he was able to do was done by the chairman, who gave his monthly salary and called on the collective farm specialists to do the same.
And those who did not want to help Kuzma and Maria found reasons and excuses without much difficulty. For example, a woman close to Maria, her friend Klava, decided that since Maria had already died, it was impossible to save her, and “it’s better to cry, howl over her, as if over a dead woman.” The hypocrite old woman Stepanida also pretends to cry, and although she has a lot of money in the stash, she does not give a penny. Although the headmaster gives a hundred, in return he exhausts the soul with moralizing and demanding some kind of super-respect for himself, as if he does not lend, but performs a feat. Yes, and he parted with his hundred not out of human participation, compassion, but out of a desire to remain satisfied with himself and out of fear that people would accuse him of greed. Through the whole plot of his story, Rasputin shows how, through the attitude towards money, towards a person in trouble, some important and often disturbing signs of the current state of the world are revealed. The same Kuzma, who himself does not know how to refuse and is himself morally bright, also thinks kindly about others, believing in an understanding that does not need words: he “did not even dare to ask them for money in his thoughts. He imagined his round like this: he comes in and is silent. The mere fact that he came should have told people everything. But Kuzma turned out to be too bright for the already graying world, and his light is not able to kindle a reciprocal flame in the already hardened human hearts. As a result, Kuzma fails to collect the required amount in the village. The last hope remains - a brother living in the city, who, perhaps, will lend the required amount. Kuzma goes to the city, finds his brother's house, knocks on the door. “Now they will open it for him,” is the last phrase of the work. What will happen?
The end of the story is left open. Rasputin does not deprive the reader of hope. Although all the previous information contained in the work indicates how weak the hope for a successful outcome of Kuzma's ordeals in search of money is. This is also the fact that Kuzma had not been with his brother for 7 years, and that his brother had already, as it were, forgotten about the existence of his native village, and that Maria, having somehow spent the night with Alexei for two nights, returned and said that it was better to live with strangers, and indeed a fellow villager, having visited Alexei, later complained to Kuzma: “... he recognized me, but he didn’t want to recognize me as a comrade ...” But even if we assume that Alexei will give the missing hundreds, the question still remains: what will happen? With Kuzma and Maria, who with their last strength retain faith in people and justice, with their four children, who have already absorbed a share of undeserved fear that will never be forgotten, with those who, by their non-participation, indifference, allowed an accidentally raised ax to touch a living the bodies of the family of Kuzma and Maria.
But no matter what happened to Maria and whatever the ending of this story, the fact that Kuzma failed to raise money in the village to save Maria is very significant. And his departure to the city was the last point in the three-day period of the hero's distrust of the human community. People who verbally loved and pitied Mary, sympathized with her grief, in fact refused to help her. The story of V. Rasputin showed the illusory nature of the moral well-being of the modern village, reflected the trend of growing alienation of people from each other, characteristic of society as a whole.
