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 about me easily, Forget about 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 well-deserved 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 of a real poet. But at the same time, the tragedy of Tsvetaeva began. It was a tragedy of loneliness and non-recognition, but without any smack of resentment , hurt vanity. Tsvetaeva accepted life as it is. Since she was 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. At the time of emigration, the poetry of Marina Tsvetaeva takes on the aesthetics of futurism. In her works, she goes from melodious and colloquial intonation to oratory, often breaking into a cry, 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 hold out the most difficult hour in the initial time of existence at depth.

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 announces 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.

Reading, listening, understanding Tsvetaeva's poems calmly is just as impossible as it is impossible to touch bare wires with impunity. Her poems include a passionate social principle. According to Tsvetaeva, the poet is almost constantly 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. V 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 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" term, 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 be aware of 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 announces few lyrical poems; she works mainly on poems and memoir 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 existed all the time - like a Russian landscape, like a mountain ash by the road, like full moon, flooding spring garden, and like an eternal lady's sound, intercepted by love and suffering.

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 lyrical poems about failed love, about the irrevocable of the past and about the fidelity of the one who loves:

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 poems 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. V 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 - 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 lanes, 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 a height so celestial - not by detachment from life, but by its purity - that she, in her "sinfulness", did not even dare to think about any involvement in this creative height - only all her poems dedicated to Blok in 1916 and 1920-1921: A lair for the Beast, a road for the Wanderer, a road for the Dead. To each his own.

A woman - to dissemble,

King to rule

me to praise

Your name.

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.

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The originality of the lyrics of Marina Tsvetaeva

“She combined old-fashioned courtesy and rebelliousness, extreme pride and extreme simplicity,” said Ilya Ehrenburg about Marina Tsvetaeva, a poet who began writing at the age of 6, published from 16, and after the publication of her first collection, while still a schoolgirl, declared My poems, like precious wines, Will have their turn. Life pursued her with rare bitterness: the death of her mother, early adulthood, the death of her daughter, emigration, the arrest of her daughter and husband, anxiety for the fate of her son ... Always destitute, endlessly lonely, she finds the strength to fight, because it is not in her nature to complain and moan, reveling in their own suffering. The feeling of her own orphanhood was for her source of unrelenting pain which she hid under armor of pride and contemptuous indifference. Cry of partings and meetings - You, a window in the night! Maybe - hundreds of candles, Maybe - three candles... There is no rest for my mind. And this happened in my house. Pray, my friend, for the sleepless house, For the window with fire! "Here again the window" Thirteen collections published during his lifetime, three published posthumously - a small part of what was written. The poetry of Marina Tsvetaeva cannot be correlated with any of the literary directions. She studied French poetry in Paris and was acquainted with many famous contemporary poets, but her own postural voice was too individual to fit into any literary movement. M.Ts. herself considered herself one of the poets-lyricists, immersed in their world and removed from real life. Dividing all poets into two categories in the article about Mayakovsky and Pasternak, Tsvetaeva identified herself not with those poets who are characterized by variability inner world, not with "poets-arrows", but with pure lyrics who are characterized by self-absorption and perception of real life through the prism of their feelings. The depth of feelings and the power of imagination allowed Tsvetaeva throughout her life to draw poetic inspiration from her own boundless soul. Life and creativity for her were indivisible. I like that you are not sick of me. I like that I'm sick not of you, That the heavy globe of the earth will never float away under our feet... One of the main features of the "pure lyricist" is self-sufficiency, creative individualism and even egocentrism. Individualism and egocentrism, in this case, are not synonymous with selfishness. It is rather an awareness of one's own dissimilarity to others, isolation in the world of ordinary, uncreative people. This is the eternal confrontation between the poet and the mob, the creator and the tradesman. What for such gentlemen - Sunset or dawn? Void swallowers, Newspaper readers! Tsvetaeva's poetry - first of all challenge and opposition to the world. Her favorite slogan was the phrase: "I am one - for all - against all." In the early poems, this is opposition to the world of adults, all-knowing people, in émigré lyrics it is opposition to oneself - Russian - to everything non-Russian and therefore alien. "The ashes of emigration ... I'm all under it ... so life passed." The individual "I" grows here to a single Russian "we". My Russia, Russia, Why do you burn so brightly? "Luchina" Seventeen years of isolation from the homeland, the soul was devastated from the reader, in the poem "Longing for the Motherland" she will say: I don't care at all

Where all alone

To be ... A poet of a lonely tragic voice, M. Ts. always wrote about herself, but her personality was so many-sided that she, expressing her private life, managed to express an entire era. Never having known the recognition of readers during her lifetime, Tsvetaeva was not a poet for the masses . Bold reformer of verse, she broke the rhythms familiar to the ear, while destroying the smoothly flowing melody of the verse. Her lyrics resemble an impassioned, confused, nervous monologue, which is replete with sudden slowdowns and accelerations. “I do not believe the verses that pour. They are torn - yes! Complex rhythm is the soul of her poetry. The world opened up to her not in colors, but in sounds. Musical beginning was very strong in the work of Tsvetaeva. In her poems there is no trace of peace, tranquility, contemplation, she is all in a whirlwind, in action, in deed. She crushed the verse, turning even a syllable into a unit of speech. At the same time, the difficult poetic manner was not artificially created, but an organic form of those painful efforts with which she expressed her complex, contradictory attitude to reality. Distances, versts, miles ... We were placed, seated, To behave quietly, At two different ends of the earth. (Pasternak 1925) Tsvetaeva's poetry is characterized by a wide range of other artistic devices, lexical experiments, for example, sometimes a work is based on a combination of colloquial and folk speech, this enhances the solemnity and pathos of the style. Characteristic of her style and bright , expressive epithets, comparisons Yesterday I was lying at my feet! Equated with the Kiai power! At once, both little hands unclenched, - Life fell out - a rusty penny!

It is very easy to criticize Tsvetaeva's poems. In what they just did not refuse her: in modernity, in a sense of proportion, in wisdom, in consistency. But all these apparent shortcomings are the other side of her rebellious strength, immensity. As time has shown, her poems will always find their reader.

Marina Ivanovna Tsvetaeva immortalized her name in literary history as great poetess. She was born in 1892 in Moscow. In her own words, she began writing poetry at the age of seven. All her stormy and thorny life path was subsequently inextricably linked with creativity. And it, in turn, not only found sources of inspiration in acquaintance, communication and friendship with the great writers of that era, but also relied on memories of childhood, life in emigration, the tragedy of the fate of Russia and personal dramas.

The creative professions of Marina's parents (her father was a famous philologist and art historian, her mother a pianist) had a direct impact on her childhood. She often traveled abroad with her parents, and therefore was fluent in several foreign languages, mostly French. Subsequently, Tsvetaeva did a lot of translations and writing critical articles and essays. But it was poetry that laid the foundation for her journey. More often on French Marina Ivanovna composed her first poems.

Collections

Tsvetaeva began collecting her first book of poems after her mother's death from consumption in Tarusa. In October 1910, it was released in Moscow under the title "Evening Album". After M.A. Voloshin's favorable response to her, his friendship with the young poetess began.

In February 1912, after the wedding with Sergei Efron, the author again publishes the book. The second collection of poems "Magic Lantern" was released. Exactly one year later, the third collection "From Two Books" was published.

From 1912 to 1915, Tsvetaeva worked on the book Youthful Poems. But, according to some sources, it was never published, but was preserved in the form of manuscripts of the poetess. The book includes the poem "Sorcerer".

From the moment of the publication of the third collection of poems, eight long years will pass before Marina Ivanovna again begins to publish collected works. She did not stop writing: poems from 1916 will then be included in the first part of the collection "Milestones", and creations from 1917 to 1920 will form the second part of the collection. He will see the light in 1921. The period marked by the October Revolution and the changes provoked by it caused a poetic surge in the work of Tsvetaeva, which was reflected in the second part of "Milestones". She perceived the political upheaval as the collapse of all hopes and experienced it extremely hard. Many of her poems would later become part of the Swan Camp book. But, alas, she did not go into print during the lifetime of the poetess.

In 1925, the Tsvetaeva family moved to France. They lived in the suburbs of Paris, in fact, in poverty. Three years later, the collection "After Russia" was published. He became the last to be published during the life of Marina Ivanovna.

Cycles

From October 1914 to May 1915, Tsvetaeva created a cycle of tender poems inspired by her acquaintance with the poetess Sofia Parnok. About them love relationships there were many rumors, however, a cycle of seventeen poems was released under the name "Girlfriend".

The year 1916 was marked by the release of cycles of poems dedicated to the arrival of Osip Mandelstam in Moscow, as well as to Moscow itself. In the same year, as from a cornucopia, poems to Alexander Blok poured into the cycle of the same name "Poems to Blok".

The summer of 1916, called "Alexander's Summer" by art historians, was marked by the creation of a cycle of poems to Anna Akhmatova. In the same year, against the background of disappointments and partings, Tsvetaeva created the Insomnia cycle, in which she revealed the themes of loneliness and solitude.

Seven poems written in 1917 formed the basis of the Don Juan cycle. This is a kind of reference to Pushkin's "Stone Guest". Considering the special attitude of the poetess to Pushkin, one gets the impression that through her writings she enters into a dialogue with him.

1921 is associated with an acquaintance with Prince S. M. Volkonsky. Poems are also dedicated to him, united in the cycle "Student". In the future, Tsvetaeva wrote a lot lyric poems addressed to her husband, as part of the cycles "Marina", "Separation", "George". Andrei Bely, whom Marina Ivanovna met in Berlin in 1922, spoke extremely highly of "Separation".

In 1930 she wrote a requiem for Vladimir Mayakovsky consisting of seven poems. The death of the poet deeply shocked Marina Ivanovna, despite the fact that the friendship between them at one time had a negative impact on the literary fate of Tsvetaeva.

In 1931, she began work on the cycle Poems to Pushkin.

In 1932, the cycle "Ici-haut" ("Here - in the sky") was created, dedicated to the memory of a friend M. A. Voloshin.

Since July 1933, in parallel with the completion of work on the poem cycle "The Table", Tsvetaeva has been writing autobiographical essays "Laurel Wreath", "The Bridegroom", "The Opening of the Museum", "The House at the Old Pimen". Two years later, she creates a cycle of poems on the death of the poet N. Gronsky "Tombstone", whom she met in 1928. In the town of Favier, the cycle "To the Fathers" was written, consisting of two poems.

Acquaintance and correspondence with the poet Anatoly Steiger led to the creation of the cycle "Poems to the Orphan".

Only by 1937 "Poems to Pushkin", work on which began in 1931, were ready for publication.

Subsequently, Tsvetaeva worked on the cycles "September" and "March", dedicated to life in the Czech Republic, where she reunited with her husband after a long separation. The work ended with the cycle “Poems for the Czech Republic”.

Art world

The poetry of Marina Tsvetaeva can be correlated with confession. She was always lively and sincerely devoted to her work, like a true romantic, rhyming her inner pain, awe, the whole gamut of feelings. The poetess did not demand too much from life, so the period of oblivion did not instill resentment or bitterness in her heart. On the contrary, it seemed that an even greater thirst for life manifested itself in her, which is why Tsvetaeva did not stop writing. And even in emigration, despite all the hardships and hardships, her poetry received a second wind, reflecting on paper a special aesthetics of personal attitude.

Peculiarities

Both poetic and prose works of Tsvetaeva were not and will not be fully understood by a wide range of readers. She became an innovator of her time in the features and techniques of self-expression. The lyrical monologues of the poetess, like songs, have their own rhythm, mood and motive. She either gently and frankly pours out her soul, or her lines are transformed into a passionate, unbridled stream of thoughts and emotions. At some point, she breaks into a scream, then there is a pause, a short silence, which can sometimes be more eloquent than any bright words. In order to understand the author well, it is necessary to know the main stages of her biography, how she lived, how she thought at one time or another.

Tsvetaeva's talent developed rapidly, especially against the background of her recognition by her contemporaries. She devoted entire cycles of her poems to many of them. Being an addicted nature, Marina Ivanovna drew inspiration from close relationships with many men and even a woman, despite the fact that she had a husband and children. A feature of her success in the literary field can be considered the epistolary genre, generously applying which, Tsvetaeva allowed many facts of her life and her own vision of the picture of the world to come out of the shadows.

Themes of creativity

Marina Tsvetaeva loudly manifested what she sees and feels. Her early lyrics are filled with inner warmth, memories of childhood and newfound love. Dedication and sincerity opened the doors for her to the world of Russian poetry of the 20th century.

The poetess created poems, evoking each word from the depths of her soul. At the same time, poetry was written easily and passionately, because she did not seek to subordinate her work to the expected ideas of the public. And the theme of love in Tsvetaeva's poetry, perhaps, can be considered the standard of self-expression. This was recognized by literary critics, however, the talent of the poetess was still challenged.

With the passage of time, Tsvetaeva's poetry inevitably changes. During the years of emigration and lack of money, it becomes mature. Marina Ivanovna appears as a speaker on the podium of her personal growth. Friendly communication with Mayakovsky brought features of futurism into her work. At the same time, the relationship between her poems and Russian folklore is noticeable. Hence the theme of the motherland in the works of Tsvetaeva. The poetess had a clear civic position, expressed in the rejection of the established political system at dawn October revolution. She wrote a lot about the tragic death of Russia and its torment. She talked about this during the years of emigration in Germany, the Czech Republic, and France. But in the Paris years, Tsvetaeva already wrote more prose works, supplemented by memoirs and critical articles. This measure became forced, as many foreign publications were unfriendly towards the poetess, who hoped that prose would become her reliable rear.

The image of Tsvetaeva in the lyrics

The poetic appeal to the poetess was revealed not only in the poems of her contemporaries, but also those who did not know her personally. Artistic image Tsvetaeva began to take shape in her own poems. For example, in the cycles "Don Juan" and "Insomnia" the boundaries between the author and the lyrical heroine are somewhat blurred. As Tsvetaeva dedicated poetry, for example, to Alexander Blok, so they dedicated it to her. The same M. A. Voloshin, who stormily and positively responded to the first collection of the poetess "Evening Album", wrote a dedication to "Marina Tsvetaeva". He sang not her rebellious disposition, but a fragile feminine principle.

Tsvetaeva's beloved woman, Sofia Parnok, in her poems compares her with the historical namesake Marina Mnishek. For the author, the poetess appears as an angel-savior from heaven.

In the lyrics of sister Anastasia (Asia) Tsvetaeva, we have the opportunity to get acquainted with the comprehensive contradictory nature of Marina Ivanovna, who for many years felt young and innocent.

In Andrei Bely Tsvetaev, she appears as a unique and amazing woman. He himself considered her work innovative, and therefore assumed her inevitable clash with conservative critics.

Also, the work of Marina Tsvetaeva did not leave indifferent those poets of the 20th century who did not know her personally. So, Bella Akhmadullina compares her image with an inanimate piano, considering both to be perfect. At the same time, emphasizing that these are two opposites. She saw Tsvetaeva as a loner by nature, as opposed to an instrument that needed someone to play it. At the same time, Akhmadullina empathized with the already untimely departed poetess. She saw her tragedy in the lack of proper support and support during her lifetime.

Poetics

Genres

Getting acquainted with the work of Marina Tsvetaeva, one can feel that she was looking for and trying to create her own genre, branching off from generally recognized canons. The theme of love-passion is vividly reflected both in poems and in Tsvetaeva's poems. Thus, it is no coincidence that the genres of the lyrical-epic poem and elegy run through all the lyrics of the poetess. She literally absorbed this desire for romanticism with the milk of her mother, who really wanted to captivate her daughter with what she considered feminine, beautiful and useful, whether it was playing on musical instruments or the love of learning foreign languages.

Tsvetaeva's poems always had their own lyrical subject, which often acted as an image of herself. The heroine often combined several roles, thereby allowing her personality to grow. The same thing happened with the poetess. She always sought to know the entire existing depth of the relationship between man and the surrounding world, the facets of the human soul, thereby bringing to the maximum the reflection of these observations in her lyrics.

Poetic dimensions

The meter of a verse is its rhythm. Tsvetaeva, like many contemporary poets of the 20th century, often used a three-syllable meter, dactyl, in her work. For example, in the poem "Grandma". Dactyl reminds colloquial speech, and the poems of the poetess are vivid monologues. Tsvetaeva, alas, did not know her grandmother on her mother's side, but from childhood she remembered her portrait, which hung in the family house. In verse, she tried to mentally enter into a dialogue with her grandmother in order to find out the source of her rebellious temper.

In the poem "" iambic with cross rhyme is used, which emphasizes the firmness of intonation. The same meter and rhyme are also characteristic of the poems “Books in red binding”, “Longing for the Motherland! For a long time. .. ". The latter was created during the years of emigration, and therefore is saturated with everyday disorder, poverty and confusion in a foreign world.

“Who is created from stone, who is created from clay” is a blank verse, where amphibrach is used with cross rhyming. This poem was published in the collection "Milestones". Tsvetaeva expresses her rebellious mood in lines about sea foam, reporting that she throws herself into the sea element of life.

means of expression

In the cycle of poems dedicated to Alexander Blok, many punctuation marks are used that convey the taboo and trembling feelings of Tsvetaeva, because she did not know Blok personally, but admired him immensely. The poetess used a lot of epithets, metaphors, personifications, as if exposing her spiritual element. And intonational pauses only enhance this effect.

In the same "Longing for the Motherland" one feels a strong emotional stress the author, transmitted through the metaphorical identification of the native country with a rowan bush and an abundance of exclamation marks.

The poem "Books in a Red Binding" conveys the longing of the poetess for her mother, who died early, for a bygone childhood. Rhetorical questions, epithets, personifications, metaphors, exclamations and paraphrases contribute to penetrating reading.

The poem "Grandmother" also has many epithets, repetitions and oxymorons. Tsvetaeva mentally feels the kinship of souls with her grandmother.

On the example of several poems, it is easy to see that exclamations prevailed in the lyrics of Marina Tsvetaeva. This testifies to her dynamic nature, the loftiness of feelings and a certain limit of her state of mind.

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Poetic originality of Marina Tsvetaeva

I don't believe in poetry

that are pouring.

Rip - yes!

Tsvetaeva the poet cannot be confused with anyone else. You will recognize her poems unmistakably by their special chant, unique rhythms, and uncommon intonation.

If there are poets who perceive the world through sight, who know how to look, to consolidate what they see in visual images, then Marina was not one of them. The world opened up to her not in colors, but in sounds. “When instead of the desired, predetermined, almost ordered son of Alexander, I was born, my mother, proudly swallowing a sigh, said:“ At least there will be a musician. The musical beginning was very strong in the work of Tsvetaeva. In her poetry there is no trace of peace, tranquility, contemplation. She is all - in a storm, in a whirlwind, in action and deed. Moreover, she was characterized by a romantic about creativity as a stormy impulse that captures the artist, a hurricane that blows him away. When you open any book, you immediately plunge into its element - into the atmosphere of spiritual burning, immensity of feelings, constant departure from the norm, dramatic conflict and confrontation with the outside world.

Tsvetaeva's eternal and dearest theme is the freedom and willfulness of a soul that does not know the measure. She cherishes and admires this beautiful, inspiring freedom:

Not divorced by a sense of proportion -

Faith! Aurora! Souls - azure!

A fool is a soul, but what kind of Peru

Not yielded - souls for nonsense?

Tsvetaeva's poetry itself is free. Her word is always fresh, not worn out, direct, concrete, not containing extraneous meanings. Such a word conveys a gesture not only mental, but also physical; it, always stressed, highlighted, intonationally emphasized, greatly increases the emotional intensity and dramatic tension of speech: “Nate! Rip! Look! Flowing, isn't it? Get the vat ready!"

But the main means of organizing verse was for Tsvetaeva rhythm. This is the very essence, the very soul of her poetry. In this area, she appeared and remained a bold innovator, generously enriching the poetry of the 20th century with many magnificent finds. She mercilessly broke the flow of rhythms familiar to the ear, destroyed the smooth, flowing melody of poetic speech. The rhythm of Tsvetaeva constantly alarms, keeps her in a daze. Her voice in poetry is a passionate and confused nervous monologue, the verse is intermittent, uneven, full of accelerations and decelerations, full of pauses and interruptions.

In her versification, Tsvetaeva came close to Mayakovsky's rhythm:

Overturned…

Notes, planets -

Downpour!

- Take out!!!

The end... na-no...

According to Marina, it's like "the physical heartbeat - the beat of the heart - of a stagnant horse or a bound person."

The poetry of Marina Tsvetaeva is unmelodious, unsinging, disharmonious. On the contrary, she absorbed the roar of the waves, the peals of thunder and the cry, lost in the aria of the sea storm. Tsvetaeva exclaimed: “I do not believe the verses that pour. They tear - yes! She knew how to tear a verse, crush it into small pieces, “scatter it into dust and rubbish.” The unit of her speech is not a phrase or a word, but a syllable. Tsvetaeva is characterized by the division of poetic speech: the word division and syllable division:

To Russia - you, to Russia - the masses,

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

Pause plays a special role in Tsvetaeva's expressive system. A pause is also a full-fledged element of rhythm. In contrast to the usual setting of pauses at the end of a line, Tsvetaeva's pauses are shifted, very often they fall in the middle of the line or in the next stanza. Therefore, the impetuous verse of the poet stumbles, breaks off, rises:

Twenty years of freedom

Everyone. Fire and home

Everyone. Games, sciences -

Everyone. Labor for anyone

If only there were hands.

Syntax and intonation seem to erase the rhyme. And the point here is the desire of Tsvetaeva to speak whole and accurately, without sacrificing meaning. If a thought does not fit into a line, it is necessary either to “finish” it, or to break off in mid-sentence, forgetting about rhyme. If the thought has already been framed, the image has been created, the poet considers it superfluous to finish the verse for the sake of fullness of size and observance of rhyme:

Not a stranger! Yours! My!

All as is encircled at dinner!

- Long life, my Love!

Changing for a new betrothed ...

On the march -

Tsvetaeva always wanted to achieve maximum expressiveness with a minimum of means. To this end, she condensed her speech to the limit, sacrificed epithets, adjectives, prepositions, and other explanations, built incomplete sentences:

All splendor -

Pipes - just babble

Grass is in front of you.

Marina Tsvetaeva is a great poet, her contribution to the culture of Russian poetry of the 20th century is significant. The convulsive and at the same time impetuous rhythms of Tsvetaeva are the rhythms of the 20th century, the era of the greatest social cataclysms and grandiose revolutionary battles.