M. I. Tsvetaeva Test

Exercise 1

Marina Tsvetaeva ended up in exile:

1. For political reasons.
2. Due to the irresistible desire to meet with her husband and the impossibility of his arrival
   in post-revolutionary Russia.
3. For other reasons.

Task 2

The impetus for the creation of the collection "Swan Camp" was:

1. Love for nature.
2. Commitment to the ideals of the White Army.
3. Love for her husband Sergei Efron.

Task 3

Marina Tsvetaeva considered the highest purpose of the poet:

1. chanting female share and female happiness.
2. Upholding the highest truth - the poet's right to the incorruptibility of his lyre, poetic honesty.
3. The desire of the poet to be the bearer of ideas
   time, his political tribune.

Task 4

M. Tsvetaeva in the article "Poets with history and poets without history" divides all artists into two categories. Which group does she belong to?

1. Poets with history, "arrows", i.e. thoughts
   poet reflect the changes of the world.
2. Poets without history, pure lyric poets of the "circle", poets of feeling, immersed in themselves, detached from the ebullient life and historical events.

Task 5

Marina Tsvetaeva wrote: “Pure lyrics live with feelings. Feelings are always alone. Feelings have no development, no logic. They are inconsistent. They are given to us at once, all the feelings that we will ever be destined to experience: they are like the flame of a torch, having been squeezed into our chest.

M. Tsvetaeva considered herself:

1. "Pure lyric."
2. "Poet of the Time"

Task 6

M. Tsvetaeva was characterized by:

1. Feeling of unity of thoughts and creativity.
2. Alienation from reality and self-absorption.
3. Romantic abstraction from reality.
4. Reflection in poetry of thoughts related
   with the movement of time and the change of the world.

Task 7

The lyrical hero of M. Tsvetaeva is identical to the personality of the poet:

1.No.

2. Yes.

Task 8

In her poetry, M. Tsvetaeva often challenges the world. Underline the line that proves this statement:

"Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will fall behind the road,

And the first lump on the lid of the coffin will burst, -

And finally it will be allowed

A selfish, lonely dream."

Task 9

The tragedy of the loss of the Motherland sometimes results in the emigrant poetry of Marina Tsvetaeva:

1. In opposing oneself - Russian to everything non-Russian.
2. In opposition to Soviet Russia.

Task 10

The inversion used by M. Tsvetaeva in the poem "Orpheus" enhances the emotional intensity of the poem. Underline an example of inversion:

"Blood silver, silver-

Blood trail double leah

Along the dying Gebra -

My gentle brother! My sister".

Task 11

Which of the poets silver age dedicates a cycle of poems to M. Tsvetaev:

1. A. A. Blok.
2. A. A; Akhmatova.
3. A. S. Pushkin.

Task 12

To which poet are these lines dedicated?

“In my melodious city the domes are burning,

And the stray blind glorifies the Light Savior,

And I give you my hail of bells,

And my heart to boot."

1. A. A. Blok.
2. A. S. Pushkin.
3. A. A. Akhmatova.

Task 13

Determine what motive of creativity can be attributed to the following passages:

“Dying, I won’t say: I was,

And I'm not sorry, and I'm not looking for the guilty.

There are more important things in the world

Passionate storms and exploits of love.

“Phoenix bird - I only sing in fire! Support my high life!

I burn high - and I burn to the ground!

And may the night be bright for me!

1. The theme of the poet and poetry.
2. Theme of nature.
3. intimate lyrics.

Task 14

“In front of the house there is an apple tree in a snowdrift,

And the city in a snow shroud -

Your great tomb

As a whole year seemed to me. Face turned to God

You reach for him from the ground

As in the days when you have a total

They haven't let her down yet."

1. Anna Akhmatova.
2. Boris Pasternak.
3. Osip Mandelstam.
4. Nikolai Gumilyov.

ANSWERS TO THE TEST

« M. I. Tsvetaeva»

Exercise 1

Marina Tsvetaeva ended up in exile:

1. For political reasons.

2. In connection with an irresistible desire to meet with her husband and the impossibility of his arrival in post-revolutionary Russia.

3. For other reasons.

Task 2

The impetus for the creation of the collection "Swan Camp" was:

1. Love for nature "

2. Adherence to the ideals of the White Army.

3. Love for her husband Sergei Efron.

Task 3

Marina Tsvetaeva considered the highest purpose of the poet:

1. Chanting of the female share and female happiness.

2. Upholding the highest truth - the poet's right to the incorruptibility of his lyre, poetic honesty.

3. The desire of the poet to be the bearer of the ideas of the time, its political tribune.

Task 4

M. Tsvetaeva in the article "Poets with history and poets without history" divides all artists into two categories. Which group does she belong to?

1. Poets with history, "arrows", i.e. the poet's thoughts reflect the changes in the world.

2. Poets without history, pure lyric poets of the “circle”, poets of feeling, immersed in themselves, detached from the ebullient life and historical events.

Task 5

Marina Tsvetaeva wrote: “Pure lyrics live with feelings. Feelings are always alone. Feelings have no development, no logic. They are inconsistent. They are given to us at once, all the feelings that we will ever be destined to experience: they are like the flame of a torch, having been squeezed into our chest.

M. Tsvetaeva considered herself:

1. "Pure lyricist."

2. "The poet of time."

Task 6

M. Tsvetaeva was characterized by:

1. Feeling the unity of thoughts and creativity.

2. Alienation from reality and self-absorption.

3. Romantic abstraction from reality.

4. Reflection in poetry of thoughts related to the movement of time and changes in the world.

Task 7

The lyrical hero of M. Tsvetaeva is identical to the personality of the poet:

1. No. 2. Yes.

Task 8

In her poetry, M. Tsvetaeva often challenges the world. Underline the line that proves this statement:

"Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will fall behind the road,

And the first lump on the lid of the coffin will burst, -

And finally it will be allowed

A selfish, lonely dream."

Task 9

The tragedy of the loss of the Motherland sometimes results in the emigrant poetry of Marina Tsvetaeva:

1. In opposing oneself - Russian to everything non-Russian.

2. In opposition to Soviet Russia.

Task 10

The inversion used by M. Tsvetaeva in the poem "Orpheus" enhances the emotional intensity of the poem. Underline an example of inversion:

"Blood silver, silver-

Blood trail double leah

Along the dying Gebra -

My gentle brother! My sister".

Task 11

To which of the poets of the Silver Age does M. Tsvetaeva dedicate a cycle of poems:

1. A. A. Blok.

2. A. A. Akhmatova.

3. A. S. Pushkin.

Task 12

To which poet are these lines dedicated?

“In my melodious city the domes are burning,

And the stray blind glorifies the Light Savior,

And I give you my hail of bells,

... - and your heart to boot.

1. A. A. Blok.

2. A. S. Pushkin.

3. A. A. Akhmatova.

Task 13

Determine what motive of creativity can be attributed to the following passages:

“Dying, I won’t say: I was,

And I'm not sorry, and I'm not looking for the guilty.

There are more important things in the world

Passionate storms and exploits of love.

“Phoenix bird - I only sing in fire!

Support my high life!

I burn high - and I burn to the ground!

And may the night be bright for me!

1. The theme of the poet and poetry.

2. The theme of nature.

3. Intimate lyrics,

“In front of the house there is an apple tree in a snowdrift,

And the city in a snow shroud -

Your great tomb

As a whole year seemed to me.

Face turned to God

You reach for him from the ground

As in the days when you have a total

They haven't let her down yet."

1. Anna Akhmatova.

2. Boris Pasternak.

3. Osip Mandelstam.

4. Nikolai Gumilyov.

Answers to the test"M.I. Tsvetaeva"

Grade 11 Test "S. A. Yesenin»

Exercise 1

Match the literary movement of the beginning of the 20th century with the "key" word:

1. Symbol.

3. The highest degree of something, blooming power.

4. Future.

P acmeism P futurism P imaginism and symbolism

Task 2

“What literary trend was close to S. Yesenin:

1. Symbolism. 2. Acmeism. 3. Imagism. 4. Futurism.

Task 3

The most important role in the artistic world of S. Yesenin is the system of images. Which image for the poet is generalizing, uniting all his perception of the world:

1. The image of the moon and the sun.

2. Spatial image of the earth.

3. The image of moving time.

4. The image (paths) of the road.

Task 4

Determine the artistic means of expression with which S. Yesenin creates an image of nature:

"White birch

under my window

covered with snow,

Like silver."

1. Epithets.

2. Metaphor.

3. Comparison.

4. Metaphoristic comparison.

Task 5

Determine the artistic means of expression used by the poet to create an image:

1. “Dawn with the hand of coolness dewy

Knocks down the apples of the dawn.

2. "The blue now dozes, then sighs."

3. "Like earrings, girlish laughter will ring."

4. "... In the waters of the pubic ringing furrow."

5. "... The poplars are languishing loudly."

Personification

P sound recording

P epithets

P metaphorical comparisons

P metaphors

Task 6

FROM. Yesenin uses the artistic technique of antithesis in his appeal to the theme of the Motherland. Antithesis is:

1. An artistic technique that consists in using a transparent allusion to some well-known everyday, literary or historical fact instead of mentioning the fact itself.

2. Artistic opposition of characters, circumstances, concepts, images, etc., creating the effect of a sharp contrast.

3. Reception of sound recording, which consists in the repetition of consonants that are identical or close in sound.

Task 7

The poetry of S. Yesenin has not only the first, lexical meaning, but with the help artistic means the poet creates both the second, figurative-metaphorical, and the third, philosophical-symbolic, level of the poetic world. Can you single out the main one?

— Music

— Statistics

Tsvetaeva. Facts from the biography

“Tsvetaeva hanged herself because of the proposal of the NKVD to knock”

Soviet spy Kirill Khenkin in his memoirs writes about the reasons for the suicide of the poetess Marina Tsvetaeva. At first, the noble Soviet writers Aseev and Fadeev refused to help her. But the situation was finally aggravated by the offer of an NKVD officer in Yelabuga to “help the authorities”.

Kirill Khenkin in early childhood, in 1919, was taken away by his parents from Russia to France. In Paris, he became friends with the husband of the poetess Marina Tsvetaeva, an NKVD officer, Sergei Efron. The latter sent him in 1937 to fight in revolutionary Spain, where Khenkin became an employee of the INO NKVD. In early 1941, he returned to the USSR, where he was enrolled in a detachment of NKVD saboteurs. His best friends become famous Soviet intelligence officers Willy Fischer and Rudolf Abel. After the war, he was an employee of the International Broadcasting of the Moscow Radio. In the mid-1960s, he closely converged with Academician Sakharov and, in fact, became his agent for foreign public relations. In 1973 Khenkin emigrated to the West. He writes that in the 1970s, the KGB opened Jewish emigration with one goal - to saturate the West with its agents to replace the “old school” that had gone into the 1960s and was recruited by the NKVD in the 1920s and 30s. Henkin died in Mnünchen in 2008 at the age of 92.

Kirill Khenkin wrote the book Upside Down Hunter (published in Russia in 1991), which mainly tells about Soviet intelligence officers in the West (in particular, about the mission of his friend Willy Fischer in the USA). Khenkin also mentions in the book a version of the reason for the suicide of Marina Tsvetaeva, whose family he was well acquainted with back in France.

“In the same winter of 1941/1942, I learned that in Yelabuga, where she had evacuated with her son Mur, Marina Ivanovna Tsvetaeva hanged herself.

She hanged herself... Her daughter, Ariadna (Alya), with whom we were friends in childhood, was already roaming around the camps and prisons at that time. My husband, Sergei Yakovlevich Efron, who once directed my fate along the winding channel that led me to be a student of Willy Fischer, was already shot.

(Kirill Khenkin - far right, wearing dark glasses. Early 1970s)

Ivinskaya, a longtime friend of Boris Pasternak, writes about Tsvetaeva’s life: “A terrifying way of life that devours all the time and strength, the husband’s constant soreness and disorder. Moreover, her relations with emigration were deteriorating.”

Right. Worse. The long-term cooperation of Sergei Yakovlevich with the GPU was little secret for anyone. Did Marina know? I couldn’t not know at all, but somehow I explained it to myself so as not to disturb my conscience and not violate Rostanov’s vision of myself and my husband: disinterestedness, chivalry, a sense of honor.

Everyone in her noticed "... the inability and unwillingness to fight for their well-being." I will even say that Marina Ivanovna reveled in everyday disorder. The discomfort and dirt in the house were always overwhelming. With such a frantic indifference to the base worldly goods, moral goods, spiritual comfort acquire special value. Feeling of rightness and beauty of posture.

…Our last meeting. Moscow. Early June 1941, the eve of the war. Somewhere near Chistye Prudy. Do not turn around in a strange triangular room - windows without curtains, blinding sunlight, a terrible Tsvetaevsky mess. I don't remember the conversation itself. But I remember his tone well. Incomprehensible to me outbursts of irritation at the son of Moore. Not only to the mother, but also to the already disappeared, shot (although they did not know this yet) father, to the arrested Alya. Unspoken reproach. I then decided: anger at those who brought him to this damned country. So, generally speaking, it was. But there was something else.

I understood Moore's mood better, having made friends a few years later with one of his peers and Efronov's neighbor in the dacha in Bolshevo. There, after fleeing from France, two Russian émigré families settled nearby, who participated in the murder of Ignacy Poretsky (Reis; party nickname - Ludwig).

“It's amazing,” my friend told me, “that they haven't all been transplanted before. All they did was squabble among themselves from morning to night.

Moore could not forgive that for the sake of this dirty fuss they ruined his life. Although espionage was perhaps a consequence, a secondary phenomenon. A means to bring Marina back to Russia.

In the book Captive of Time, Ivinskaya writes about the meeting in 1935 in Paris of two great Russian poets. “Her family (Tsvetaeva), writes Ivinskaya, was then at a crossroads - to go home - not to go? Here is how Pasternak himself responded to this: “Tsvetaeva asked what I thought about this. I didn't have a definite opinion on this. I didn't know what to advise her."

“But Pasternak,” adds Ivinskaya, “in the context of mass repressions that followed the assassination of Kirov, could have advised Marina something more clear and definite.”

Imagine, however, for a moment that Pasternak tells Marina the truth about what is happening in Russia, about the millions of repressed people, about the suffocating atmosphere, about the impossibility for her to publish. Imagine! And Paris is buzzing: “Pasternak advised Tsvetaeva not to go to Russia!” Upon his return, Pasternak could be in trouble. But Pasternak was never a hero.

Not for the sake of Sergei Yakovlevich, a talented man in his own way, but who remained until the end of his days only "Marina Tsvetaeva's husband", the family returned to Moscow. She returned to meet Marina Ivanovna with a Russian reader. The family sought this meeting at any cost. The price was high. At first, spying, recruiting, killing, Sergei paid. And finally paid with his head. Sixteen years of camps and exile paid the daughter Ariadne. Marina and Moore paid with their lives.

The day when Pasternak found nothing to say “clear and definite” to Marina predetermined everything else. True, there was still a moment at the beginning of the war: Marina for some reason decided that Pasternak would let her live at his dacha in Peredelkino, give her a break from homelessness and poverty there. But for some reason Boris Leonidovich was not happy with this. And Marina Ivanovna left with her son for evacuation to Yelabuga. To death.

About the end of Marina Tsvetaeva they speak deafly. On Sunday, August 31, ten days after her arrival from Moscow, the mistress of the house, Anastasia Ivanovna Bredelshchikova, found Marina Ivanovna Tsvetaeva hanging on a thick nail in the hallway on the left side of the entrance. Before her death, she never took off the apron with the large pocket in which she had been doing housework that morning, sending Moore to clear the area under the airfield.

After the death of Marina Tsvetaeva, the products she brought from Moscow and 400 rubles remained. The mistress of the house said: "I could still hold out ... I would have time when they ate everything." She could, of course. How many people in Russia survived because they were waiting for a ration or a bath day.

(A. Kruchenykh (sitting on the left), Georgy Efron (Mur), Marina Tsvetaeva (left), L. Libedinskaya Kuskovo, summer 1941)

Upon learning that before her suicide, Marina Tsvetaeva went to Chistopol to see the poet Aseev and the writer Fadeev, Pasternak later grumbled: “Why didn’t they give her money? After all, I would return them later. ”

But even then I learned that Marina Ivanovna did not go to Chistopol for money, but for sympathy and help. I heard this story from Maklyarsky (also an employee of the INO NKVD and a friend of Khenkin - BT). Alya confirmed it to me deafly a few years later. But she quickly stopped talking about it.

Immediately upon the arrival of Marina Ivanovna in Yelabuga, the local commissioner of the NKVD called her to him and offered to "help". The provincial Chekist probably reasoned as follows: the woman came from Paris, which means she is not well in Yelabuga. If it’s bad, the dissatisfied will cling to her. Conversations will begin that will always make it possible to “reveal the enemies”, that is, to concoct a case. Or maybe the “case” of the Efron family came to Yelabuga with an indication of its linkage with the “organs”.

Telling me about this, Misha Maklyarsky honored the boorish security officer from Yelabuga, who failed to delicately approach, gracefully recruit, and vigilantly followed my reaction.

She was offered a denunciation.

(Moore's diary says that on August 20, Tsvetaeva was in the Yelabuga City Council - she was looking for a job. She was offered a job as a translator from German in the NKVD)

She expected that Aseev and Fadeev, together with her, would be indignant, protected from vile proposals. What is it to protect from? What to be angry about? Autumn 1941! Stalin rules the country! Yes, cooperation with the authorities, if you want to know, the greatest honor! You, citizen, if anything, have expressed confidence!

And therefore, fearing for themselves, fearing that, referring to them, Marina would destroy them, Aseev and Fadeev said the most innocent thing that people of their position could say in such circumstances. Namely: that everyone must decide for himself whether to cooperate with him or not to cooperate with the "authorities", that this is a matter of conscience and civic consciousness, a matter of political maturity and patriotism. Advice is no better worse than that that Pasternak once gave her. Boris Leonidovich, probably, would have pretended that he did not understand what she was talking about, would have mumbled something indistinct. As in the famous telephone conversation with Stalin about Mandelstam.

"Ah, why didn't they give her money?" Indeed - why? Marina returned to Yelabuga numb with despair. I don't know what Moore's son said to her then.

(Did Marina know that when Sergei Efron's friends killed Ignacy Poretsky, by pure chance they did not poison potassium cyanide his wife and small child? Hasn't she been with the executioners all these years?)

It was hard to live, but it became completely unbearable. And instead of meeting with the Russian reader, the only way out is a nail in the hallway and a piece of rope. Her farewell letter was confiscated by the authorities without a trace.

More in the Interpreter's Blog about Soviet pre-war writers:

Soviet science fiction writer Alexander Belyaev civil war for the rest of his life he was forced to hide his Socialist-Revolutionary past and service with the Whites (imaginary paralysis served as his protection). It is not surprising that the early cycle of Belyaev's fiction is unknown. One of his first dystopias was written in 1915.

In 1934, the party created the Union of Soviet Writers. In exchange for the correct position, the writers were guaranteed excellent content for those times - benefits, apartments, rest in sanatoriums, clothes. Hundreds of graphomaniacs sought to get into the SSP, making their way through denunciations and tantrums. Three notable cases in this series are the "writers" Prostoy, Blum and Henkina.

Municipal budgetary educational institution

"Lyceum No. 1" r.p. Chamzinka Chamzinsky district of the Republic of Mordovia

Tests on the work of M.I. Tsvetaeva

Grade 11

Prepared by the teacher

Russian language and literature

Pechkazova Svetlana Petrovna

Chamzinka

Explanatory note

Tests on the work of M.I. Tsvetaeva contain questions about the life and work of the poet.

For each question, there are several possible answers.

The presented resource can be used at the final lesson of literature on the work of the poet in grade 11.

Evaluation criteria:

"5" (excellent) - the work was done flawlessly,

"4" (good) - no more than 2 errors were made in the work,

"3" (satisfactory) - more than 2 errors were made in the work,

"2" (unsatisfactory) - more than 5 errors were made in the work,

Option I. Life and work of M.I. Tsvetaeva

The founder of which museum was the father of M. Tsvetaeva: A. museum fine arts in Moscow, B. Russian Museum in St. Petersburg, V. Tretyakov Gallery

Marina Tsvetaeva considered the highest mission of the poet: A. chanting of women's lot and women's happiness, B. upholding the highest truth - the poet's right to the incorruptibility of his lyre, poetic honesty, C. the poet's desire to be the bearer of the ideas of the time, his political tribune

M. Tsvetaeva was characterized by: A. a feeling of unity of thoughts and a sense of creativity, B. alienation from reality and self-absorption, C. reflection in poetry of thoughts related to the movement of time and changing the world

The lyrical hero of M. Tsvetaeva is identical to the personality of the poet:

A. yes, B. no

The tragedy of the loss of the Motherland sometimes results in the emigrant poetry of Marina Tsvetaeva:

A. in opposing himself, Russian, to everything non-Russian, B. in opposing himself to Soviet Russia, C. in misunderstanding and rejection of the revolution

To which of the poets of the "Silver Age" does the cycle of poems by M. Tsvetaeva dedicate: A. Pushkin, B. Akhmatova, V. Blok

Which of the poets is dedicated to the lines “In my melodious city, the domes are burning. / And the stray blind man glorifies the Light Savior. / And I give you my hail of bells, / ..! and your heart to boot":

A. Pushkin, B. Akhmatova, V. Blok

Determine what motive of creativity can be attributed to the following passage: “Dying, I won’t say: I was, / And I’m not sorry, and I’m not looking for the guilty. / There are more important things in the world / Passionate storms and labors of love ":

A. the theme of nature, B. intimate lyrics, C. the theme of the poet and poetry

Marina Tsvetaeva ended up in exile: A. for political reasons, B. due to an irresistible desire to meet her husband and the impossibility of his arrival in post-revolutionary Russia, V. for other reasons

Marina Ivanovna Tsvetaeva: A. died of an incurable disease, B. was killed during the Great Patriotic War, V. committed suicide

Indicate to which literary direction Tsvetaeva's work belonged: A. acmeism, B. futurism, V. out of the currents

Option II. Test based on the poem by M.I. Tsvetaeva

"Who is made of stone, who is made of clay" (1920)

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

And I'm silver and sparkle!

I care - treason, my name is Marina,

I am the mortal foam of the sea.

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

The coffin and tombstones...

- Baptized in the sea font - and in flight

His - incessantly broken! Through every heart, through every net

My willfulness will break through.

You can't make earthly salt.

Crushing on your granite knees,

I am resurrected with every wave!

Long live the foam - cheerful foam -

High sea foam!

2. The leading theme of the poem is the theme: 1) love and duty, 2) motherland and fate, 3) nature and man, 4) the poet and his fate

3. What is the name of the figurative and expressive means used in the poetic line “My willfulness will break through”: 1) metaphor, 2) metonymy, 3) comparison, 4) epithet

4. What are the features of the composition of this poem:

1) ring, 2) cyclic, 3) mirror, 4) without features

1) sees his connection with the prosaic earth, 2) compares himself with the foam of the sea, 3) listens to the opinions of others, 4) thinks about death

6. The poem was included in the collection: 1) “Evening Album”, 2) “Magic Lantern”, 3) “Poems to Blok”, 4) “Miles”

7. What is the name phonetic, used in the lines "Long live foam - merry foam - High foam of the sea!": ___________

8. Name the rhetorical question expressing the doubt of the lyrical heroine: ________________

9. What is the name of the syntactic device used in the line "Through every heart, through every network ...": _________________

10. Determine the size in which the poem is written: ___________

KEY:

Option III. Test based on the poem by M.I. Tsvetaeva

"Where does such tenderness come from" (1916)

Why such tenderness?

Not the first - these curls

I smooth and lips

I knew darker than yours.

Stars rise and fall,

Where does such tenderness come from?

Eyes rise and fall

At my very eyes.

Not so hymns yet

I listened in the dark night

Married - oh tenderness! -

On the chest of the singer.

Why such tenderness

And what to do with her, lad

Crafty, the singer is a stranger,

With eyelashes - no longer?

1. What type of lyrics does this poem belong to:

1) landscape, 2) patriotic, 3) love, 4) civil

2. The leading theme of the poem is the theme:

1) love, 2) motherland, 3) nature, 4) freedom

3. What is the name of the syntactic device used in the line “Where does such tenderness come from?”: 1) rhetorical question, 2) anaphora, 3) antithesis, 4) syntactic parallelism

4. Which stanza consists only of rhetorical questions:

1) first, 2) second, 3) third, 4) fourth

5. Lyrical heroine of the poem:

1) indifferent to love, 2) does not understand the reasons for the tenderness of the beloved, 3) is afraid of losing the beloved, 4) dreams of a new love

6. What type of trail is actively used by the author in the proposed fragment (“The eyes rose and went out / At my very eyes”): _________________

7. Name the line that reveals the features of the perception of the lyrical heroine: ________________

8. What is the name of the figurative tool used in the combinations "sly lad", "singer coming in": _________________

9. Determine the size in which the poem is written: ___________

10. To whom this poem is dedicated: _________________

KEY:

References:

Buneev R.N., Buneeva E.V., Chindilova O.V. Literature. Grade 11. Between tomorrow and yesterday. Eternal dialogue "in 2 books. – M.: Ballas, 2012

Korshunova I.N., Lipin E.Yu. Tests in Russian literature. - M .: Bustard, 2000

Romashina N.F. Literature tests for current and generalized control. - Volgograd: Teacher, 2007

Berezhnaya I.D. Current control of knowledge in literature. - Volgograd: Teacher, 2008

Mironova N.A. Literature tests in grade 11. - M .: Exam, 2008.

Emigration period in the work of Marina Tsvetaeva

I. The tragedy of the fate of the poet of the "Silver Age". 2

II. Creativity M. Tsvetaeva in the period of emigration. 2

1. Czech period of emigration. Relations with expatriates. 2

2. Longing for the Motherland. four

3. New motives in the work of a mature poet. 6

4. Contrasts of creativity M. Tsvetaeva. eight

5. Immersion in myth-making and the search for monumentality. eleven

6. Poems by M. Tsvetaeva - "The Poem of the Mountain" and "The Poem of the End". 13

7. Features of the dramaturgy of M. Tsvetaeva. fifteen

8. Moving to France. Appeal to the theme of the poet and poetry. eighteen

9. Trends in creativity M. Tsvetaeva to the beginning of the 30s. 21

10. Autobiographical and memoir prose of M. Tsvetaeva. 22

11. "Pushkiniana" Tsvetaeva. 23

12. Return to the Motherland. 26

III. The Significance of M. Tsvetaeva's Creativity for Russian Literature .. 27

Literature. 28

I. The tragedy of the fate of the poet of the "Silver Age"

The poets of the "Silver Age" worked in a very difficult time, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom is, often had to choose between free creativity and life. They had to go through ups and downs, victories and defeats. Creativity became a salvation and a way out, maybe even an escape from the Soviet reality that surrounded them. Motherland, Russia became a source of inspiration.

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

1. Czech period of emigration. Relations with emigrant circles

In the summer of 1921, Tsvetaeva received news from her husband, who, after the defeat of the White Army, ended up in exile. In January-May 1922, M. Tsvetaeva continued to write farewell poems. She wrote the poem "Lane" - farewell to Moscow. And on May 3 - 10, M. Tsvetaeva received Required documents to travel abroad with her daughter and on May 11 leaves Soviet Russia, initially to Berlin, and then to Prague, where S. Efron studied at the university.

The Czech period of emigration of Tsvetaeva lasted more than three years. In the early 1920s, it was widely published in white emigrant magazines. He managed to publish the books "Poems to Blok", "Separation" (both in 1922), the fairy tale poem "Well Done" (1924). During this time, she published two author's books in Berlin - “Craft. Book of Poems” (1923) and “Psyche. Romance "(1923), which included works recent years from among those written at home.

Soon, Tsvetaeva’s relationship with emigrant circles escalated, which was facilitated by her growing attraction to Russia (“Poems to the Son”, “Motherland”, “Longing for the Motherland! For a long time ...”, “Chelyuskintsy”, etc.). The last lifetime collection of poems - “After Russia. 1922 - 1925" - published in Paris in 1928.

In one of the most difficult moments for herself, Marina Tsvetaeva wrote bitterly: “... My reader remains in Russia, where my poems do not reach. In emigration, at first (in the heat of the moment!) they publish me, then, having come to their senses, they withdraw me from circulation, sensing something that is not my own - local!

Her poetic work of these years has undergone a significant change: it clearly marked a turn towards large-format canvases. Lyrics, in which its leading themes are predominantly preserved - love, creativity and Russia, only the latter has taken on a very definite nostalgic character - have been replenished with such works as "The Poet" ("Poet - starts talking from afar. / Poeta - starts talking far... ”), “An attempt at jealousy”, “Speak”, “I bow to Russian rye ...”, “Distance: miles, miles ...” While in exile, M. Tsvetaeva constantly thought about her homeland. In the poem addressed to B. Pasternak, notes of indescribable longing and sadness sound.

Russian rye bow from me,

Niva, where the woman is stagnant ...

Friend! Rain outside my window

Troubles and blessings in the heart ...

You, in the whistle of rain and trouble -

The same as Homer in hexameter.

Give me your hand - to the whole world!

Here - both of mine are busy.

In the literary world, she still kept to herself. Abroad, she lived first in Berlin, then for three years in Prague; in November 1925 she moved to Paris. Life was an emigrant, difficult, impoverished. I had to live in the suburbs, as the capital was beyond our means. At first, the white emigration accepted Tsvetaeva as their own, she was eagerly published and praised. But soon the picture changed significantly. First of all, a hard sobering came for Tsvetaeva. The White émigré environment, with mouse fuss and furious squabbling of all kinds of "factions" and "parties", immediately revealed itself to the poetess in all its pitiful and disgusting nakedness. Gradually, her ties with the white emigration are torn. It is printed less and less, some poems and works do not get into print for years or even remain in the author's desk.

Literature

1. Bavin S., Semibratova I. The fate of the poets of the Silver Age: Bibliographic essays. - M.: Prince. Chamber, 19s.

2. Memories of Marina Tsvetaeva. - M., 1992.

3. Gasparov Tsvetaeva: from the poetics of everyday life to the poetics of the word // Gasparov articles. - M., 1995. - S. 307-315.

4. Kedrov K. Russia - golden and iron cages for poetesses // Novye Izvestiya. - No. 66, 1998

5. Kudrova, they gave ... Marina Tsvetaeva: . - M., 1991.

6. Kudrova Marina Tsvetaeva. // "The World of the Russian Word", No. 04, 2002.

7. Osorgin M. . – M.: Olimp, 1997.

8. Pavlovsky mountain ash: About the poetry of M. Tsvetaeva. - L., 1989.

9. Razumovskaya M. Marina Tsvetaeva. Myth and reality. - M., 1994.

10. Saakyants Tsvetaeva. Pages of life and creativity (). - M., 1986.

11. Tsvetaeva M. In my melodious city: Poems, play, novel in letters / Comp. . - Saransk: Mordov. book. publishing house, 19s.

12. Tsvetaeva M. Simply - the heart ... // Home Library of Poetry. - Moscow: Eksmo-Press, 1998.

13. Schweitzer Victoria. Life and Being of Marina Tsvetaeva. - M., 1992.