In his detailed article "About Marina Tsvetaeva" in Novyi Zhurnal 1 Mark Slonim paints a touching and at the same time amusing picture of the first meeting with her. It was in a Berlin cafe in the summer of 1922. Slonim was at that time the literary editor of the Prague "Will of Russia".

He already knew and loved Tsvetaeva's poems, and he especially liked her collection, Separation, which had just come out. He invites her to give him poems for her magazine and, upon arrival in Prague, go to the editorial office in the city center, on the Coal Market.

Slonim says: “Having heard that the editorial office is located in the passage of the 18th century ... and occupies the room where, in 1787, Mozart, according to legend, wrote his Don Giovanni ..., M[arina] I[vanovna] quite seriously said: “Then I promise to work with you."

Slonim nevertheless considers it necessary to warn her about the political direction of the journal (it was an organ of the so-called socialist revolutionaries).

Tsvetaeva immediately answers him with a patter: “I’m not interested in politics, I don’t understand it, and, of course, Mozart outweighs it.” And Slonim adds: “I am still convinced that it was Mozart who influenced her decision” 3 .

This, of course, is not the only, but, perhaps, almost the most striking and convincing demonstration of that sincere, radical apoliticality inherent in Tsvetaeva's nature. It has completely different values, criteria, scales...

She cares about everything except politics.

Yuri Ivask once aptly wrote that Tsvetaeva's favorites - those whom she praised - belong mainly to two categories: they are (a) gifted, that is, "great", "high", cultural figures (poets, artists, or historical heroes and heroines), and, on the other hand, (b) persecuted (“deposed tsar, impoverished master, persecuted Jew, enslaved Czech”, etc.) 4 .

In fact, Tsvetaeva is always on the side of the vanquished. Remarkable in this regard is one passage in her diary article "Earthly Signs": "A thing offended begins to be right. Gathers all his strength - and straightens up, all his right to exist - and stands." And then, in brackets: "(NB. The effectiveness of persecuted ideas and people!)" 5 .

The extent to which Tsvetaev's ethics is beyond all political labels can also be judged by one phrase from a letter to Ivask (dated 1933): “... an abomination to which I do not submit anywhere, like any organized violence, in the name of whatever it may be , and whose name it may be titled" 6 . This explains, among other things, her hatred of her contemporary era: “I hate my age because it is the age of the organized masses…” 7 . The same explains the conviction, expressed in a letter to Salome Halpern in 1931, that she would not have to return to her homeland: “I would not have survived there, because indignation is my passion, and there is much to be indignant about” 8 .

In general, Tsvetaeva's attitude "to the century" is very instructive, but also difficult.

At first glance, it seems that it is all in the past: “... there is no place for me in the present and in the future. ... The era ... not so much against me as I am against it ... I hate it. She doesn't see me." — Toward the end of the story “The Ivy Tower” there is one passage where farewell is spoken of: “How nice it is to sit with your back to the horses when you say goodbye!

Instead of horses that are irreparably driven and will inevitably take us where we don’t want to, in the eyes of where we don’t want to, those from whom…” 10 . (Here Tsvetaeva has an ellipsis. Let’s finish for her: “those from whom you don’t want to leave.”) Citing this passage, the critic A.L. looking into the past, fascinated by it and in love with it” 11 .

But if Tsvetaeva personally, that is, as a person, is “against her age,” this, of course, is not true in relation to her work, to her technique. She herself is aware of this when she writes to Ivascu: “M.b. my voice (la portée de ma voix) corresponds to the era, I do not” 12 . Or: “... there is nothing new in me, except my poetic (dichterische) responsiveness to the new sound of the air” 13 .

Or another remarkable passage from an early letter (1927) to Leonid Pasternak. Tsvetaeva sends him her new collection "After Russia", but with a reservation (the letter is written in French): "Et ma prière - troisième et dernière - est de bien voulouir agréer, cher Monsieur, mon dernier livre de poésies /…/ et de n'en point appréhender la "nouveauté". J'appartiens aux temps passés par toutes mes racines. Et ce n'est que le passé qui fait l'avenir" 14 . We can agree that Tsvetaeva is not interested in politics.

But that she "doesn't understand it" (as she said to M. L. Slonim) seems less convincing.

Indeed, for all the alienation of politics, Tsvetaeva, in my opinion, perfectly understands the “political” (or rather, “literary-political”) circumstances in which she is destined to live. So, in the first letter to Ivask, where she, with amazing insight, with a surprisingly clear consciousness of all these problems, describes her “ creative biography"and its current (1933) position, we read:

“In short: from 1912 to 1920, writing continuously, I did not release ..., due to the absence of a writer in me (this social function of a poet) - not a single book. … In 1922 I go abroad, and my reader remains in Russia, where my poems (1922-1933) 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 not my own: local!

The content seems to be “ours”, but the voice is theirs. Then "Versts" (cooperation with the Eurasians), and the final expulsion of me from everywhere, except for the Socialist-Revolutionary "Will of Russia". I owe a lot to her, because they did not get tired of typing - for months! - the most incomprehensible things for themselves: the whole "Pied Piper" (6 months!), "The Poem of the Air", volunteer (Socialist-Revolutionaries who hate whites!) "Red Bull", etc.

But The Will of Russia is now over.

What remains is Chisla, which can't stand me, Novy Grad, loving but publishing only articles, and—damn them! - "Modern] Notes", where the situation is as follows: - "We have poetry, in general, in the backyards. We want 12 poets on 6 pages" (words of letters, editor Rudnev - to me, in front of witnesses). …

So here I am without a reader, in Russia without books. Let something in this “autobiographical sketch” seem to us exaggerated, not always fair - but one cannot but agree that in general Tsvetaeva quite clearly observes the situation, perfectly “understands it”. Her assertion, of course, that she is "withdrawn from circulation" in emigration is exaggerated. On closer examination of the emigrant periodicals of that era, it is precisely the large number of Tsvetaev's publications that strikes.

For example, from the index of "Modern Notes" (for 1920-1937, 65 issues in total) it is clear that Tsvetaeva's works appeared in no less than 29 issues, moreover, sometimes two or three things in one issue, so that in total about forty works were published. In "The Will of Russia" - hardly less (as we have seen, Tsvetaeva acknowledges this with gratitude) 16 .

At the same time, the independent, “apolitical” Tsvetaeva is a constant victim of the well-known “censorship”.

Most often this is censorship of the literary, that is, editorial order. In Sovremennye Zapiski, for example, her article “Art in the Light of Conscience” (namely this article!) Was abbreviated “exactly by half”, and her “Ode to a Walk” was even abandoned because “at the last second they doubted the intelligibility” the average reader" 17 . A similar thing happened in Latest News: “I am being cruelly mocked here,” she writes to Ivascu in 1935, “playing on my pride, my need and my lack of rights (There is no protection).

My last piece (Mother's Tale) was mutilated: forty unauthorized editorial abbreviations in the middle of a phrase. There are also examples of censorship of a purely political nature, as happened in the autumn of 1928. To the question of journalists: “What can you say about Russia after reading Mayakovsky?” (in the Café Voltaire in Paris), Tsvetaeva answered without hesitation: “What power is there” - and for this she was removed by Milyukov for two years from Latest News, which had just begun to publish poems from Swan Camp! 19

However, if a researcher is struck by the large number of published works of Tsvetaeva, he is no less struck by the relatively small number of reviews or critical articles about them: as if, in fact, the emigration has little interest in her work, not to mention the Soviet Union, where her name will be for a long time almost "banned". (True, according to S. Karlinsky, the Soviet critics of the 1930s, although they were hostile to Tsvetaeva for political reasons, nevertheless “apparently appreciated her poetic work.”) 20

But even in exile there was undoubtedly a number of sincere, real admirers.

As early as 1924, M. L. Slonim, complaining about the scarcity of Russian literature in exile, argued that the only true poets outside of Russia were Tsvetaeva and Khodasevich 21 . For Prince Svyatopolk-Mirsky (1926), modern Russian poetry is, above all, Tsvetaeva and Pasternak 22 .

For A. L. Bem (1933) "perhaps the most important phenomena of our émigré literature" are Tsvetaeva and Remizov 23 . But in our current context (i.e., talking about “two literatures”), the main thing, it seems to me, is that such critics perceive Tsvetaeva’s work already in the 20s and 30s not as “emigrant”, but precisely as Russian literature .

In 1927, in a detailed article entitled “Ten Years of Russian Literature,” Slonim devotes several pages to a discussion of the poetry of Blok, Mayakovsky, Yesenin, Gumilyov, Khlebnikov, Pasternak, Tikhonov, and Tsvetaeva. For Slonim, the most characteristic thing in the new Russian poetry is “work on the word, ... an attempt to return to the fullness of the word, to its original expressiveness, love for the game of words and images.”

Most prominent representatives this new poetry, he considers Pasternak, Tikhonov and Tsvetaeva; he even finds that "the pathos and movement of Tsvetaeva's poetry are extremely characteristic of the whole decade" 24 . In Ivask (1936) we read: “The features of the new style of our era are outlined in Tsvetaeva's poetry” 25 .

Finally, in the aforementioned article about Tsvetaeva and Remizov as “the biggest phenomena in ... émigré literature,” Bem nevertheless makes a reservation: “Yes, in conscience, the etiquette of “emigrant” literature is not applicable to them. They are a phenomenon of Russian literature in all its enduring significance.

There were, of course, others who understood little or nothing about Tsvetaeva's work. On the Soviet side, such as Semyon Rodov, who, stating indignantly (already in 1922) that Tsvetaeva’s poems, “as it should be“ authentic ”according to Zamyatin’s terminology, are full of mysticism, despair, forebodings of a near end,” quotes one poem from the cycle "Craft":

The evening sun is kinder than the noon sun
Fanatic - the sun does not warm at noon

Rodov quotes - in full - this poem (only 6 stanzas) in order to draw a characteristic conclusion: “The poem becomes clear when we put “bourgeoisie” instead of “Sun in the afternoon”, “proletariat” instead of “The sun at noon” 27.

But even in emigration there were people like Boris Zaitsev, for whom Tsvetaeva's poems "acquired the most screaming rhythms", for whom "variegation and mannerisms in the word, hysteria and breakdown became unbearable" 28 . There was also Georgy Adamovich, who, according to Vl. Markova (1956), “several times… casually (sometimes for no reason, unfairly or even out of place) hurts her” 29 .

The same Adamovich, who found, despite some “paradise Tsvetaeva lines (who denied it?)”, that after all “... there was nothing to take from her. Tsvetaeva was undoubtedly very smart, but too defiantly smart, too in her own way - almost a sign of weakness - and with constant "overshoots" 30 . The same Adamovich, finally, who back in 1955 could write with irony, cruelly and cold-bloodedly: “There was apparently something else in her, very sad: unfortunately, it remains unknown to us” 31 .

In conclusion of my report, a few words about Tsvetaeva's husband.

According to Archbishop John of San Francisco (D. A. Shakhovsky), Sergei Efron was “a man of fate even more terrible than that of Tsvetaeva” 32 . This was, in any case, a man whose fate played a fatal role in the life - and in the death - of his wife.

Unlike Tsvetaeva, Efron was not one of those who remained true to his past. Already in the 1920s, he became more and more convinced that the White campaign, the White movement, was a terrible mistake in his life. In his article "On Volunteerism" (1924) it is easy to note the beginning of a well-known disappointment, a "painful overestimation" 33 . In 1926, Efron published the story “Tyl” in the magazine “Good-meaning”, in which he presents the White Cause in an extremely unfavorable light 34 .

In 1932, Tsvetaeva wrote to her Czech friend Anna Teskova: “S[ergey] Ya[kovlevich] has completely gone to Soviet] Russia, he sees nothing else, and sees in her only what he wants” 35 . The following year, the “revaluation of values” reached the point that Efron applied for a Soviet passport.

He was refused, Tsvetaeva considered this “great happiness”: in a letter to Salome Halpern, she claims that in any case she does not intend to return to her homeland, “because I left her once already” 36 .

In another letter to Halpern (1934), she repeats her firm decision not to return, adding that her husband feels "torn between homeland and family" 37 . By the end of 1935, she writes to the same A. A. Teskova about her son, that he “lives torn between my humanism and almost fanaticism - his father ...” 38

The thing is that Efron, meanwhile (without the knowledge of his wife) became a member of the so-called. Union for Homecoming.

This step, which at first, i.e., in the light of "reassessment", might have seemed understandable, even "natural", turned out to be fatal in time. The "Union of Return" soon turns into the "Union of Friends of the Soviet Motherland", in the end Efron becomes - willy or not, consciously or unconsciously - nothing more than an agent of the GPU. This is not just "suspicion" or malicious gossip; this is not fiction, not slander.

This, unfortunately, is a bitter truth, a truth which I had to verify recently, on the basis of a dossier in the Swiss national archives, dedicated to the case of Ignatius Reiss, who was assassinated by agents of the GPU in September 1937 at Pyully near Lausanne 39 .

The investigation into the Reis case convincingly and indisputably established that Efron not only took part in tracking down Reis (and, by the way, in tracking down L. Trotsky's son, Andrey Sedov), but that, together with other "friends of the Soviet motherland", he led the assassination from Paris and that, and another.

That is why, in the article “Wet business” in Lausanne (1938), V. Zenzinov includes Efron among the “murderers of the second and third order”, next to Beletsky, the Grozovsky couple, Gertrude Schildbach, Schwarzenberg, Klepinin and others. 40. After the very first interrogations by the investigating authorities, Efron (like Klepinin) considered it best to disappear and eventually managed to return to his homeland through red Spain.

In the meantime, all the other persons involved in the murder of Reis managed to escape, so that after a year and a half of vain searches, Swiss justice was forced to stop the case, which ended in the so-called. non-lieu 41 .

From the moment Reis was killed, the whole tragedy (and this is a real, genuine tragedy in the strict Greek sense of the word) goes to an inevitable fatal denouement. Above Efron's head (he knows too much!) Already hangs a death sentence. But now, in the sober light of all these events, it becomes clear to us that with the flight of Efron, the fate of Marina Tsvetaeva was also decided.

After all, the husband and daughter Ariadna (Alya) are already in Russia; and son George (Mur), also a staunch communist, bothers his mother with tireless requests to return to his homeland. Moreover, for Tsvetaeva herself, rejected and rejected by almost everyone, life in France becomes (as far as possible) even more lonely and hopeless. This explains the famous phrase of Vl. Markova (1956): "Tsvetaeva is on the conscience of Paris" 42 .

The same explains the question, full of remorse, Yuri Terapiano: “How could we allow her to reach such depths of despair? How did we allow her to leave amid such general indifference? 43

But even in the Soviet Union there were those who Tsvetaeva remained "on her conscience."

Al. Gladkov in his memoirs conveys the following words from a conversation with Boris Pasternak (dated February 1942): “It is my fault that at one time I did not dissuade her from returning to the Soviet Union. What was waiting for her here? She was a beggar in Paris, she died a beggar with us. Here, the worst still awaited her - a senseless and nameless tragedy of the destruction of all loved ones ... "

To Gladkov’s question: “Who is to blame for the fact that, having returned to her homeland, she turned out to be so lonely and homeless, which, in essence, apparently, led her to death in Yelabuga?”, Boris Leonidovich answers (“without a second's hesitation”): "I! - and adds: We, all. Me and others. I, and Aseev, and Fedin, and Fadeev. And we all…” 44

Tsvetaeva's loneliness has become legendary. As in everything that concerns her life, no one has described this loneliness better than herself. I remember a terrific passage in Ivask’s first letter: “No, my dear, not with those, not with these, not with thirds, not with hundredths, and not only with ‘politicians’, but I and with writers — not, with anyone, alone , all my life, without books, without readers, without friends - without a circle, without an environment, without any protection, involvement, worse than a dog ... "45

One of the reasons for this loneliness was, in the apt expression of S. Sokolnikov, "the struggle of two camps, which so indifferently crushed Tsvetaeva." About this struggle, he noted (in 1958) that it "has not died down yet." Twenty years have passed and, alas, it has not died down even now. Fortunately, it can be stated that studies of Tsvetaeva's work have made, both "there" and "here", noticeable steps forward.

One cannot but agree with Sokolnikov when he says: “We can only be grateful to those who, on both sides of the frontier, collect the poet's creative heritage. For Tsvetaeva is remarkable not only for her “moral greatness,” but also for her peculiar and original technique of verse” 46 .

But Tsvetaeva's loneliness is also partly from the "torments of creativity", from her unshakable fidelity to the craft. She minted Ivaska: “I never, never cared about anything except poetry” 47 . And Boris Pasternak will say about her: “She lived a heroic life. She performed feats every day. These were feats of loyalty to the only country of which she was a subject - poetry" 48 . This country - isn't it that ... the country of Dreams and Loneliness - Where are we - Majesty, Highness, which she mentions in her "Swan Camp"?

NOTES:

See "About Marina Tsvetaeva - from memories", Novy Zhurnal No. 100 (September 1970), pp. 155-179 and No. 104 (September 1971), pp. 143-176.
Marina Tsvetaeva, "Separation - a book of poems", Moscow-Berlin, Helikon Publishing House, 1922.
"New Journal" No. 100, pp. 155-156.
In the article "Noble Tsvetaeva" (2nd edition, in the collection: Marina Tsvetaeva, "Swan Camp - Perekop", Paris 1971, p. 19.
Marina Tsvetaeva, "Excerpts from the book" Earthly Signs "", ("The Will of Russia" No. ½, 1924, p. 89).
Letter dated April 4, 1933. See “Letters from M. I. Tsvetaeva to Yu. M. Karpovich and Dm. Chizhevsky, New York 1956, p. 212.
Ibid., p. 214. (Letter to Ivask, April 3, 1934)
Unpublished letter dated September 7, 1931, op. based on the book by S. Karlinsky, Simon Karlinsky, Marina Cvetaeva - Her Life and Art, Berkeley/Los Angeles 1966, p. 285, approx. 6. (Here is a reverse translation from English.)
Letter to Ivask dated April 3, 1934. See “Letters… to Y.P. Ivask…”, pp. 214-215.
See "M. I. Tsvetaeva. Uncollected Works",.. herausgegeben von GNTHER Wytrzens, München, Wilhelm Fink Verlag, 1971, p. 468.
A. Bem, "Letters on Literature - The Truth of the Past", in the journal "Molva" (Warsaw) No. 189 (412), 1933.
Letter to Ivask dated April 3, 1934. See “Letters… to Y.P. Ivask…”, p. 214.
Letter to Ivask, May 12, 1934 (“Letters… to Ivask…”, p. 215.)
Letter dated October 11, 1927, op. based on the book "Marina Tsvetaeva, Unpublished Letters", Paris 1972, pp. 251-252.
Letter to Ivask, April 4, 1933 (“Letters… to Ivask…”, pp. 211-212.)
My figures are based on data given in the book: "Modern Notes, Index No. 1-LXV for 1920-1937." , Paris b.g. (1939?). Meanwhile, my colleague N. E. Andreev (Cambridge) drew my attention to the fact that in his article “Modern Notes” (in the book “Russian Literature in Emigration”, a collection of articles edited by N. Poltoratsky, Pittsburgh 1972, p. . 353-360) M. Vishnyak states as “an indisputable fact” that “out of 70 books of Contemporary Notes, Tsvetaeva was printed in 36 books” (p. 357). However, in the last 5 books of Sovremennye Zapiski (i.e., No. 66-70), not a single work of Tsvetaeva was published; the figures given by Vishniac seem to be exaggerated. But the main thing here, of course, is not so much in exact numbers, but in the (really indisputable) fact that Sovremennye Zapiski actually printed a significant number of Tsvetaeva's works.
See letters to Ivask dated April 4, 1933 (p. 214) and May 12, 1934 (p. 217).
Letter to Ivask, March 8, 1935 (p. 224).
See Simon Karlinsky, Marina Cvetaeva - Her Life and Art, p. 76-77.
There, r. 85.
In the article “Literary responses. Living literature and dead critics (The Will of Russia, No. 4, 1924, p. 58).
See Sovremennye zapiski XXVII (1926), pp. 569 et. Also in the article "Poets and Russia", "Versts" No. 1, Paris 1926, p. 145.
See note. eleven.
See Will of Russia No. 10, 1927, pp. 61-75, especially pp. 73-74.
In the article “An attempt to outline a topic. 1. New Spartans", in the magazine "Sword" (Warsaw) dated March 8, 1936.
See note. eleven.
In the article “A Quiet Corner” (in the book: Semyon Rodov, “In literary battles - Articles, notes, documents 1922-1925”, Moscow 1926, pp. 90-91).
See Boris Zaitsev, "Far", Washington, ILLA, 1965, p. 133.
See Vladimir Markov, Marginal Notes (Experiments, Book 6, New York 1956, p. 62).
See Georgy Adamovich, "Poetry in Emigration" ("Experiments", book 4th, New York 1955, p. 49).
There.
See Marina Tsvetaeva, Unpublished Letters, p. 340.
See Sovremennye Zapiski XXI (1924), pp. 376-380.
See "Well-intentioned, a journal of Russian literary culture", Vol. II, March-April, Brussels 1926, pp. 35-46.
Letter dated October 16, 1932, op. according to the article by S. Karlinsky, "New about the emigrant period of Marina Tsvetaeva" (in the book "Russian literature in emigration ...", edited by N. Poltoratsky, p. 212).
Unpublished letter dated October 2, 1933, op. based on the book by Simon Karlinsky, Marina Cvetaeva - Her Life and Art, p. 89-90 (back translation from English).
Ibid., p. 90 (back translation). Unpublished letter dated April 6, 1934.
Letter dated December 28, 1935, op. according to the article by S. Karlinsky, “New about the emigrant period of Marina Tsvetaeva”, p. 272.
I express my sincere gratitude to those Swiss authorities, in particular the director of the Swiss National Archives and the head of the Ministère public in Bern, who so kindly placed at my disposal all the documents relating to the Reiss case.
In the magazine "Sword" (Warsaw), No. 21, 22 and esp. 23, 1938.
See National-Zeitung (Basel) No. 537, 17.X1.1938, Gazette de Lausanne No. 62/63, 4.Sh.1939; see also note. 39.
See Vladimir Markov, Marginal Notes, p. 62.
In the article "Prose of Marina Tsvetaeva", in the newspaper "New Russian word” of March 7, 1954 (here is a reverse translation from English, quoted from the book Simon Karlinsky, Marina Cvetaeva - Her Life and Art, p. 99).
See Alexander Gladkov, Meetings with Pasternak, Paris 1973, p. 53.
Letter to Ivask, April 4, 1933 (“Letters… to Ivask…”, p. 213.)
In the article "Poetry of nobility", in the journal "Frontiers" No. 37 (1958), pp. 213-237.
In the article "Noble Tsvetaeva" (1st edition, in the collection: Marina Tsvetaeva, "Swan camp: poems 1917-1921", Munich 1957, pp. 7-15), p. 15.
See Alexander Gladkov, Meetings with Pasternak, pp. 52-53.

Topic: The poetic world of M.I. Tsvetaeva

Goals:

To interest students in the personality of M.I. Tsvetaeva; captivate with poetic creativity;

Consider the features of the poetic world of M.I. Tsvetaeva, expand knowledge about poetry;

Continue to work on the analysis of a poetic text, developing the skills of independent and creative thinking.

Equipment for the lesson:

Use of ICT: computer presentation.
Recording of the novel "I like that you are not sick of me." Recording of the waltz by E. Doga “My gentle and gentle beast…”

Methods.

Problem presentation method.
Partial search method.

Lesson structure:

1. Organizational moment.

2. Checking homework.

3. Actualization of basic knowledge.

4. The stage of assimilation of new knowledge.

5. The stage of consolidation and application of knowledge.

6. Ensuring that students comprehend methods, techniques for analyzing a work of art for meaningful conclusions on the topic of the lesson.

7. Conclusion. Summarizing. Reflection.

8.Information about homework.

During the classes.

1. Organizational moment.

Introductory speech of the teacher about the work of M.I. Tsvetaeva:

Today in the lesson we will continue our acquaintance with the work of the Russian poet of the first half of the 20th century Marina Ivanovna Tsvetaeva.

(slide number 1)

She never referred to herself as a "poetess", always a poet. She entered the history of Russian poetry as a subtle lyricist, a deep psychologist, and a bright dramatic personality.

Her life and work is an expressive page of our spiritual life.

E.Doga's waltz from the movie "My affectionate and gentle beast" sounds.

(The teacher reads the poem "To my poems written so early ...")

2. Checking homework.

Conversation on the work of M.I. Tsvetaeva:

The time has certainly come for her poetry. Reading her lines, pondering her word, comprehending the changeable feelings of the lyrical heroine, we restore the image of M.I. Tsvetaeva, her poetic world.

The purpose of the lesson:

(slide number 2).

Today in the lesson we will get acquainted with the features of the poetic world of M.I. Tsvetaeva, expand our knowledge of poetry, continue to work on the analysis of a poetic text, developing the skills of independent and creative thinking.

How relevant, modern does Tsvetaeva sound to us today?

How do you imagine the poetic coat of arms of M.I. Tsvetaeva? (Protection of the poetic coat of arms.)

How do you imagine Tsvetaeva's poetry collection? (Exhibition of poetry collections, their commentary).

The name of M.I. Tsvetaeva is associated with the Tambov region. (Student's message).

3. Actualization of basic knowledge.

Expressive reading of the poem "Longing for the Motherland" and its analysis.

Teacher:

A) - In the work of M.I. Tsvetaeva there is no topic more painful than the theme of Russia, there is no unity stronger than unity with the spirituality, culture of their people. M.I. Tsvetaeva in a letter to Teskova (1930) exclaims: “How deeply right you are - to love Russia so! Old, new, red, white - all! Russia has accommodated - everything ... Our duty, or rather, the duty of our love - to contain it all. (slide number 3)

Expressive reading of the poem "Longing for the Motherland!" (student reads).

b) Work on the selected task.

1. What words in one or another variation are repeated in the poem?

2. Find the same-root words for the word "native".

Why is there a whole family nest in the poem?

What are the most commonly used punctuation marks? What is their purpose?
What figurative and expressive means are assigned a key role in the work?
What does the lyrical hero say about his social status?
Without which lines do you think the poem would have acquired a different meaning? What allows us to assert: for M.I. Tsvetaeva, “homeland” and “rowan” are semantically close concepts?
What is this poem about? M.I. Tsvetaeva has this line: “I recognize love by pain ...” How could one formulate the idea of \u200b\u200bthe poem, if one were to rely on these words?

4. The stage of assimilation of new knowledge.

Introductory speech of the teacher:

a) - Passionately in love with life, infected with frantic creative energy, she early felt the burden of loneliness, misunderstanding. This was aggravated by the warehouse of her nature - rebellious, recalcitrant, always inclined to go against generally accepted views and tastes in everything. Such is Tsvetaeva in life, such is she in her work. Everything is unusual, unpredictable.

So what is Tsvetaeva's love?

b) Expressive reading of quotes, opposed to each other in tone, from love poems (read by students).

The poetic image of M.I. Tsvetaeva is unique. Familiarize yourself with quotes that are opposed to each other in tone from love poems.

Quotes about love.

You are silent, and I will be silent.

We once with the obedience of wax

Surrendered to the fatal ray.

This feeling is the sweetest sickness

Our souls tormented and burned.

That's why you feel like a friend

It's hard for me sometimes."

2. “I don’t want either love or honors:

Intoxicating. - Do not fall!

I don't even want an apple

Seductive from the tray ... "

3. “It is impossible for what was unsteady sadness,

Say: "Be passion! Grief, madness, radiate!”

Your love was such a mistake

But without love, we perish, Wizard!

4. “How do you live with downtime

A woman? Without deities?

empress from the throne

Overthrow (from it descended),

How do you live - fuss -

Shrinking? Getting up - how?

With a duty of immortal vulgarity

How are you, poor man?"

5. “Where does such tenderness come from?

And what to do with her, lad

Crafty, the singer is a stranger,

With eyelashes - no longer?

c) Work in pairs.

Exercise: 1) Make up an associative series that arises after meeting M.I. Tsvetaeva’s reflections on love.

5. The stage of consolidation and application of knowledge.

Answer the question: "What is the peculiarity of the love lyrics of M.I. Tsvetaeva?" (slide number 4)

For M.I. Tsvetaeva, to love means to live. Love is a “fatal duel”, a dispute, a conflict and most often a break.

Teacher:

The poems of M.I. Tsvetaeva are melodic, sincere, charming, composers constantly turn to them, and then they turn into romances of amazing beauty. The song "I like that you are not sick of me ..."

6. Ensuring that students comprehend methods, techniques for analyzing a work of art for meaningful conclusions on the topic of the lesson.

Teacher:

Lyrics - a kind of literature that reflects the experiences, feelings, thoughts of the author in connection with life impressions, circumstances; in a lyrical work, the inner world of a person is revealed.

In your opinion, what is the peculiarity of the poetics of M.I. Tsvetaeva?

We will try to answer this question by analyzing the poems.

Group work.

Expressive reading of the poem and performance of tasks to the text.

(Each group has different poems and tasks).

Igroup working with poetry. "What others do not need - bring me!" (1918)

1 group

What others do not need - bring me!

Everything must burn on my fire! (purification)

I beckon life, I beckon death

In an easy gift to my fire.

The flame loves - light substances:

Last year's brushwood - wreaths - words.

The flame - blazes with such food!

You will rise - purer than ashes!

I am a Phoenix bird, I sing only in fire!

Support my high life!

I burn high and burn to the ground,

And may the night be bright for you!

Ice bonfire - fire fountain!

I carry my high camp high,

I carry my high dignity high -

Interlocutors and heirs!

Questions

Explain Why are dashes and exclamation points used? (conflict, passion)
Analyze, what is the meaning of oxymorons? (the path of the poet is asceticism)
Argument his understanding of the poetic line: Everything must burn on my fire!”? (creation)
Match images of the lyrical heroine and the Phoenix bird.

5. Interpret poem: " Last year's brushwood - wreaths -

Words"? (a wonderful literary tradition)

6.Interpret last line. (Conformity to high literary tradition)

Teacher:

The poet is endowed with a special spiritual vision. He is able to penetrate into the future with the same freedom and ease as into the present and the past. Tsvetaeva foresaw a lot - both in her own fate and in the fate of her loved ones.

One of the prophecies that came true is in a poem dedicated to her husband, S.Ya. Efron.

IIgroup works with the poem "I defiantly wear his ring" (1914)

2group

I defiantly wear his ring!

His face is too narrow

Like a sword.

Two ancient bloods.

Two abysses.

In his person I am faithful to chivalry,

Such - in fateful times -

Questions and tasks:

Explain
Meditate
Argument
Explain

2group

I defiantly wear his ring!

Yes, in eternity - a wife, not on paper! -

His face is too narrow

Like a sword.

His mouth is silent, corners down,

Excruciatingly gorgeous eyebrows.

Tragically merged in his face

Two ancient bloods.

He is thin with the first subtlety of the branches.

His eyes are beautifully useless! -

Under the wings of outstretched eyebrows -

Two abysses.

In his person I am faithful to chivalry,

To all of you who lived and died without fear! -

Such - in fateful times -

They compose stanzas - and go to the chopping block!

Questions and tasks:

Explain the presence of many exclamation marks. (call)
Explain what are the features psychological portrait the addressee of the lyric?
Meditate over what is the role of the last verse in each stanza. (paradoxical conclusion)
Argument Why is the verse "Two Abysses" the shortest? (eyes-soul-doom)
Explain the meaning and meaning of oxymorons. (desire and inability to express themselves)
Name the most essential property of the soul of a lyrical heroine.

In the work of Tsvetaeva, there is often such a phenomenon as poems - miniatures, which contain very large topics, and this speaks of the poet's super-skill.

IIIgroup works with the poem "Opened the veins: unstoppable."

2group

I defiantly wear his ring!

Yes, in eternity - a wife, not on paper! -

His face is too narrow

Like a sword.

His mouth is silent, corners down,

Excruciatingly gorgeous eyebrows.

Tragically merged in his face

Two ancient bloods.

He is thin with the first subtlety of the branches.

His eyes are beautifully useless! -

Under the wings of outstretched eyebrows -

Two abysses.

In his person I am faithful to chivalry,

To all of you who lived and died without fear! -

Such - in fateful times -

They compose stanzas - and go to the chopping block!

Questions and tasks:

Explain the presence of many exclamation marks. (call)
Explain what are the features of the psychological portrait of the addressee of the lyrical work?
Meditate over what is the role of the last verse in each stanza. (paradoxical conclusion)
Argument Why is the verse "Two Abysses" the shortest? (eyes-soul-doom)
Explain the meaning and meaning of oxymorons. (desire and inability to express themselves)
Name the most essential property of the soul of a lyrical heroine.

3 group

Opened the veins: unstoppable

irretrievably gushing life.

Substitute bowls and plates!

Every plate will be small,

The bowl is flat. over the edge and past –

Into the black earth, feed the reeds.

Irrevocable, unstoppable

irretrievably verse screeching.

Questions and tasks:

Explain why is there no division into stanzas in the poem? (rush! Stream of consciousness)
Watch how Tsvetaeva's passion is conveyed here. (Repetitions that give intensity to the action - the “outburst” of life and verse).
Argument that emphasize the same words referring to both life and verse? (The inseparability of life, creativity and death of an artist who always lives on his last breath).
Define, what Tsvetaeva's motif sounds in the poem. (The motive of the artist's eternal conflict with the "flat" world that does not understand him).
comment, how the poem reveals Tsvetaeva's idea of the "coexistence" of times. (the coexistence of the past and the future - in the present; the idea of creation in the name of the future, in Tsvetaev's way very often - past the present, despite today's misunderstanding? ("Over the edge - and past").
Make a conclusion what is the poetic idea of the poem? (Awareness of the eternal the cycle of being - death that nourishes the earth - from which the reed grows - nourishes the future life, just as each "spilled" verse nourishes the creativity of the present and future).

Teacher:

She did not imitate anyone, she tried not to borrow anything from anyone. (slide number 6)

Features of poetics:

emotional tension;

Conciseness of thought;

Richness of intonation

Line elasticity;

fast rhythm

unexpected rhyme

Peculiar use of trails.

An expressive reading of the poem "How many of them have fallen into the abyss."

Exercise: 1) write down the "light" and "dark" words. (6-7 words)

2) Underline 3-4 words that are most important to you.

Make suggestions.

Teacher:

Everything is dramatically intertwined and connected in life path Tsvetaeva: a series of losses and a thirst for gains, homelessness, wormwood bitterness of a foreign land, foreignness in one's native land, fearlessness of introspection and a passion for self-deception. But Marina Tsvetaeva took away “her black staff”, but she left us “golden leaves” - poems!

Poems that radiate love are permeated with love.”

7. Conclusion. Summarizing. Reflection.

№\№	F. I. student	1	2	3	4	5	6	7	8	9
1

1 Are you satisfied with how the lesson went?

2 Were you interested?

3 Have you managed to acquire new knowledge?

4 Were you active in the lesson?

5 Do you enjoy doing your homework?

6 Was the teacher attentive to you?

7 Did you manage to show knowledge?

8 How would you rate yourself?

9 What grade would you give a teacher?

8.Information about homework.

Differentiated homework.

Igroup(strong students): miniature essay “I read M.I. Tsvetaeva…”

IIgroup(middle students): draw up a thesis plan on the topic:

"The originality of the lyrics of M.I. Tsvetaeva"

IIIgroup(weak students): come up with questions for analysis for the collection of M.I. Tsvetaeva "Poems to Pushkin"

Literature lesson in 10th grade.

A.A. Fet. Analysis of the poem

“Air City.

Goals:

Consider what the lyrical hero of the poem feels and represents;

Consider the artistic originality of the poetic text;

Processing the skills of analyzing a lyrical work;

Development of creative abilities of students.

Lesson type.

A lesson in learning new material.

Method:

Partial search.

Lesson structure:

1. Organizational moment.

2.Organization of the class for learning activities.

3. Motivation is the stage of updating the subjective attitude of students.

4. The stage of assimilation of new knowledge. Analysis of A.A. Fet's poem "Air City".

5. Conclusion. Summarizing.

6.Information about homework.

During the classes

1. Organizing moment.

Introductory speech of the teacher:

Understanding a poetic text is the work of the soul.

Classical poetry helps to enrich oneself not only spiritually and morally, but also gradually raises one to the level when a person is able to understand and create.

Today in the lesson we will talk about the poetic creation of A.A. Feta. His poetry teaches to see, hear, understand, love the world, native land, its beauty.

2 .Organization of the class for learning activities.

Conversation:

What poems by A.A. Feta caught your attention when you picked up the collection?

Justify your choice.

Expressive reading of poetry by A.A. Feta by students

(With a detailed answer to the question: “What did you feel while reading this poem?”).

Question to all students: “What figurative associations does the poetry of A.A. Feta?

3. Motivation is the stage of updating the subjective attitude of students.

Question: “How do you imagine the poetic coat of arms of A.A. Feta?

"Verbal-pictorial composition"(students get the opportunity to express themselves in drawings and a monologue).

Whose composition is the most successful, accurately conveys the poetic world of Fet?

How do you see the lyrical hero in the poetry of A.A. Feta?

Commenting on the plan-prospect about the work of A.A. Feta by students.

Conversation:

What is the artistic originality of A.A. Feta?

(What are characteristics lyrics by A. Fet?)

4. The stage of studying new material. Analysis of A.A. Fet's poem "Airship"

Conversation:

Do you like to watch floating clouds?

What are your feelings about this?

What do you represent?

The lyrical hero of the poem by A.A. Feta "Air City" also liked to watch the clouds.

The purpose of our lesson: to consider what the lyrical hero of the poem felt, represented, the artistic originality of the poetic text, and this will require knowledge of literary theory, your reading and life experience.

Expressive reading of a poem by A.A. Feta “Air City” (student)

Conversation:

How did you feel while listening to this poem?

What did you imagine?

What artistic images emerged?

What feelings did the lyrical hero experience, what is the reason for this?

Analysis of A.A. Fet's poem “Airship.

Drawing up a table (How does the poet describe artistic images?)

Artistic images. Bizarre

Cloud Chorus

Roofs, walls

Domes are golden

My city, white, familiar, dear,

The sky is airy, pink

The earth is dark asleep.

What can you say about the lyrical hero, his thoughts? (The lyrical romantic hero, when the earth fell asleep, he goes out to admire the clouds).

Let's observe: "What sound recording technique does the author use in the first stanza?" (Assonance)

His story about the picture he saw, using assonance, conveys the melody of the choir. (the chorus is a well-organized song).

What is the meaning of the word "Quirky"?

Look up the meaning of the word "Fancy" in the Ozhegov dictionary:

1. Artsy, intricate.

In what sense do you think the author uses this word? In the first meaning: the clouds created an intricate figure - the city, the second meaning: the picture of the air city is not only intricate, accessible to the lyrical hero, but also capricious: it can crumble, melt at any moment. The clouds do not crumble, but float away, leaving the hero with nothing.

Pick up synonyms for the word "bizarre" (unusual, fabulous, wonderful).

What role does the epithet "bizarre" play?

Why is the choir named like that? (So the pictures created by the play of the clouds are fabulous, wonderful.)

What is new for understanding the nature of the lyrical hero gives the second stanza? The air city is a hero's dream city.

What is the meaning of the phraseological unit "create castles in the air"? (following phraseological units)

This is how the air city became inaccessible to the hero, although his image turns into an obsessive dream.

Why does the hero call the city mine, native, familiar?

(He drew a picture of this city for himself more than once. The city is the dream of a hero, only his).

Pay attention to the color scheme of the stanza. How does color help us understand the character's mood and thoughts? The hero's dream is painted in light colors: "white city", "pink sky". "She is pure, and suddenly the dark earth." This is not just a color contrast, it is also an antithesis: a pure dream of a hero and a sinful land on which there is no place for his white city.

Compare the first and second stanza. Read them carefully and thoughtfully.

The earth fell asleep - the absence of life. (metaphor).

The clouds are floating - they are full of life, and the hero lives with them.

The last stanza is very sad. The clouds disappear, the airy city disappears, the hero's dream collapses, he remains alone on the dark asleep earth.

How does the syntax help to reveal the main idea of this stanza? (With the help of inversion, the words "air" and "floats" are highlighted). The hero's dream is "airy", that is, fragile, floats away to the north. The antithesis "beckons" - "does not give" emphasizes the tragedy of the hero.

How can you explain the dash in the last stanza? (a sign of an allied proposal in which the second part is opposed to the first).

Can we say that this poem belongs to landscape lyrics? (This is a philosophical poem. The landscape is only an occasion to reflect on life, dreams and reality).

5. Conclusion. Summarizing.

Conclusion. The features of Fet's lyrics are such that landscape lyrics turn into philosophical ones. One must be attentive to the word, the image, in order to understand the poet's verses.

6.Information about homework.

Homework: (differentiated).

A) write a mini-essay "What is the" music of the verse "?

B) Write a dictionary entry for the "Dictionary of the Fet Language"

Training program

elective course on orthoepy.

"What's the best way to say it?" (grade 9)

Explanatory note.

The program is designed for 17 hours.

The purpose of the course is the formation and education of a modern linguistic personality who owns the system of norms of the modern Russian literary language, increasing the level of communicative competence, improving language abilities that allow using all the wealth of Russian language means in different situations communication.

The designated goal contains a complex of multi-level tasks - from the correction and updating of knowledge on communicative grammar and orthoepy to acquaintance with the patterns of the speech process and the qualities of cultural speech.

As a result of studying the course, the student must know:

The laws of constructing skillful speech;

The qualities of good speech as an indicator of the intellectual and spiritual wealth of the speaker and a manifestation of the public culture of speech;

Lexical, grammatical and stylistic norms of the modern Russian literary language and the requirements for the need to comply with them;

Rules of speech etiquette.

own:

Expressive and expressive means and the basics of speech technique;

Systemic knowledge in the field of communicative grammar and orthoepy of the Russian language;

Speech skills necessary for the preparation and pronunciation of monologue and dialogic texts.

In order to generate interest and positive motivation for the study of the Russian language (humanitarian profile), the course content includes in-depth study material on the culture of speech, which qualitatively distinguishes it from the mandatory basic. The course analyzes the forms and types of speech, considers the categories of communication, differentiates groups of speech disorders, shows ways to overcome them, characterizes the process of modern norm formation, categorizes groups of speech disorders and shows ways to overcome them.

Educational and thematic plan.

№/№	Name of topics	Number of hours	Form of occupation	Activities	Dates
1.	The concept of a culture of speech	1	Lecture with elements of conversation	Acquaintance with the elements of cultural speech. Note-taking.
2.	Communicative qualities of cultural speech	1	Lecture with elements of conversation
3.	Expressiveness as a communicative quality	2	Lecture with elements of conversation	Note-taking, work with melodic drawings
4.	Speech technique. intonation	2	Workshop	Performing exercises on the technique of speech, tasks for intonation
5.	Purity as a communication quality	1	Lecture	note-taking
6.	Accuracy and consistency as communication qualities	1	Lecture with elements of conversation	Note-taking, discussion of linguistic tasks
7.	Accessibility, relevance as communicative qualities of speech	1	Lecture with elements of conversation	Note-taking, discussion of linguistic tasks (according to speech etiquette)
8.	Reality as a communicative quality of speech	1	Lecture with elements of conversation	note-taking
9.	Modern speech realities. Classification of speech disorders.	2	Lecture with elements of conversation	Taking notes, doing grammar exercises
11.	Speech errors	2	Lecture with elements of conversation Workshop	note-taking Performing exercises in vocabulary and statistics, test tasks
12.	Speech defects	3	Lecture with elements of conversation Workshop	note-taking, Doing Styling Exercises

Total 17 hours

Subject: M.I. Tsvetaeva . The main themes of Tsvetaeva's creativity. The conflict of everyday life and being, time and eternity.

Target : to introduce students to the main milestones of life, the themes and motifs of the lyrics; to show the exclusivity of the feelings of the lyrical heroine, the originality of her poetic world.

Tasks:1. Create an atmosphere of immersion in the work of the poet, arouse interest in the poet.

2. To improve the skills of analyzing a poetic text, the ability to compare, generalize, expressively read poems, create a situation of success in the lesson, develop the creative abilities of students.

3.Fform instudentslove for beauty, respect for a person, feelings of compassion andmoderation; graftdevelop an interest in poetry.

Teaching method: partially exploratory.

Forms of organization cognitive activity students: frontal, individual.

Type of lesson: learning new material.

Technology: development of critical thinking, AMO technology

Teaching aids: songs, poems by M.I. Tsvetaeva,multimedia equipment, presentation, guide cards.

Take poetry - this is my life ...

My whole life is a romance with my own soul...

M.I. Tsvetaeva

During the classes.

Org.moment

1. Introductory speech of the teacher.

Our modern life is a boiling cauldron of events, problems, disappointments, and yet joys... There is a lot of fuss and momentary impressions in our lives. Sometimes you want to stop, be alone with yourself, think about different things not in a hurry, but seriously. Someone then goes for a walk in the woods. The other gets on the train and hurries to meet the even eternal breath of the sea. The third opens a volume of poetry, reads his favorite poets. The thoughts of poets are always useful - both in joy and in sorrow, in illness and in full health. They teach not only to work, but also to achieve peace of mind. They teach you to breathe evenly, with dignity, to live. They are our spiritual healers.

Sounds a romance to the verses of M. Tsvetaeva "I like that you are not sick of me..."

Teacher:

You know this song. What mood does she create? What do you know about the author of this text? (A song was performed on Tsvetaeva's verses performed by Alla Pugacheva from the film "The Irony of Fate, or Enjoy Your Bath").

2. Introduction - the formulation of the educational problem (topics and objectives of the lesson).

Epigraph of our lesson:“My whole life is a romance with my own soul” - these are the words of Tsvetaeva. She also said: "Take poetry - this is my life."

Teacher: try, based on the proposed quotes by Tsvetaeva,formulate the problem of the lesson.

Sample answer:

Today we have a discovery lesson, the discovery for ourselves of the work of the great Russian poetess of the Silver Age M.I. Tsvetaeva.

At the lesson, we read poems, analyze them, turn over the pages of creativity.

Let's try in our lesson to "get sick" with the poetry of M. Tsvetaeva.

What topics of poetry can you name, recalling the previously studied works of poets of the 19th and 20th centuries? Name them.

Unfortunately, many of our compatriots do not know the work of the poetess, i.e. Not "Sick" them. Therefore, our task today is for you to discover the work of M. Tsvetaeva, so unusual, incomprehensible, but sincere. cluster

3. Discovery of new knowledge - the search for a solution to the problem by students.

Expressive reading by the teacher, students of poems and their analysis.

1.) Marina Tsvetaeva entered literature at the turn of the century, in a troubled and troubled time. Like many poets of her generation, she has a sense of the tragedy of the world. Conflict over time was inevitable for her. She lived by the principle: to be only yourself. But Tsvetaeva's poetry is opposed not to time, not to the world, but to the vulgarity, dullness, pettiness that lives in it. The poet is the protector, the herald of millions of the destitute:

If the soul was born winged,

What are her mansions and what are her huts!

That Genghis is her khan and that the Horde!

I have two enemies in the world, two twins inextricably merged:

Tsvetaeva was destined to become a chronicler of her difficult era. Almost without touching the tragic history of the twentieth century in her work, she revealed the tragedy of the attitude of a person - a contemporary.

The lyrical heroine of her poetry cherishes every moment, every experience, every impression.

2.) "Lyrical heroine"

The personality of the poet is revealed in the image of the lyrical hero. The lyrical hero is close to the lyrical "I". He brings to us the reflections and experiences of the poet-artist, opens spiritual world Tsvetaeva and discovers the origins of her work.

A name is given to a person at birth and often determines his whole life. What does the name Marina mean?

(Marine) associations with the sea

Individual task (reading the poem by heart) and collective analysis of the poem:

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 created fromclay who is created fromflesh -

The coffin and tombstones.

- In the sea font baptized -and in flight

His - certainly broken!

Through every heart, through every net

My willfulness will break through.

Me - do you see these dissolute curls?

You can't make earthy with salt.

Crushing on your granite knees,

I am resurrected with every wave!

Long live the foam - cheerful foam -

1. Who are the characters in this poem? (This is Marina and those who are created from clay, those are ordinary mortal people. This opposition alone makes one think about the peculiarities of Marina's character and attitude.)

2 . Task for the group. Write in two columns the words related to these characters.

Ordinary people: Marina:

stone, clay silver, sparkle, foam, betrayal

flesh, tombstone, coffin, slab christened, in flight, broken

heart, nets, earth salt, self-will, dissolute curls

granite knees. I rise, foam.

1. What is the main (key) word in the first stanza? (Change). Is it equivalent to the word "betrayal" in this context? Why?

2. Why does the heroine with her dissolute curls not want to become the salt of the earth? (She does not want to lose her freedom, to become a hero: she does not want to litter the shore, as salt water does.)

Conclusion: Marina is everyone, therefore she is “a matter of treason”, therefore she breaks - resurrects. This is her soul.

Now you see for yourself that Marina Tsvetaeva is far from an ordinary person. And she doesn't want to be like everyone else. Why? Maybe we will find the answer by getting acquainted with the main milestones of her fate?

3.) Milestones of life.

With a red brush (by heart, ind. task)

The rowan lit up.

Leaves were falling.

I was born.

Hundreds argued

Bells,

The day was Saturday:

John the Theologian.

To me to this day

I want to gnaw

hot rowan

Bitter brush.

This is how Marina Tsvetaeva wrote about her birthday. What is autobiographical about this poem? What symbolic details did you notice?

Rowan forever entered the heraldry of her poetry. Burning and bitter, at the end of autumn, on the eve of winter, it became a symbol of fate, also transitional and bitter, blazing with creativity and constantly threatening the winter of oblivion.

mountain ash

Chopped

Dawn.

Rowan -

fate

Bitter.

Rowan -

gray-haired

Descents…

Rowan

fate

Russian.

1934

1. Why does the poem for 34 years sound like pain, anguish, a line is torn? (Written in exile. The lyrical heroine finds it difficult, lonely, she yearns for her homeland.)

2. What is the symbolic meaning of the image of the mountain ash? (Rowan is a symbol of fate. Chopped, bitter, the road of life goes down a gray descent.)

3. And what word could stand in this row, rhyming with mountain ash, fate? (Marina. Put this word at the beginning of the row: Marina - mountain ash - fate)

M. Tsvetaeva rushes home. In the same year, she wrote the poem "Longing for the Motherland! .."

What does the rowan symbolize? (rowan - Russia, Motherland).

4.) "Family"

Like right and left hand

Your soul is close to my soul.

We are adjacent, blissfully and warmly,

Like right and left wings.

But the whirlwind rises - and the abyss lies

From right to left wing!

What image-symbol appears in this poem?

(The right and left hands are two halves of the whole.

The right and left wings are a symbol of the flight of a soul in love).

What associations are associated with the word "abyss"?

What does abyss mean?

The abyss of love, the abyss of feelings, the abyss of desires, the abyss of possibilities, the abyss of time...

Abyss is an abyss.

The poem was written in 1918. What whirlwind, what abyss separates the heroes?

Fizkultminutka.

I picked up lines of poems in which there are actions that we will reproduce with you, the work of M. Tsvetaeva will help us. (Vika, music)

Oh people, get up!
Under a deep breath
Raise your hands to the sky.
Look for the cloud with your eyes.
Look under your feet.
Look around the open spaces.
Rub the ashes with your hands.
Having given rest to their forces from disputes,
Let's get back to the conversation.

3. “What have I done to you, people, if I feel like the most unfortunate of the unfortunate, the most destitute person ?!”

nailed

Nailed to the pillory

Slavic conscience of the old,

With a snake in my heart and a brand on my forehead,

I affirm that I am innocent.

I claim that I have peace

Communion before communion.

That it's not my fault that I'm with my hand

I stand in the squares - for happiness.

Review all my goodness

Tell me, am I blind?

Where is my gold? Where is the silver?

In my hand - only a handful of ashes!

And that's all that flattery and entreaty

I begged the happy ones.

And that's all I'll take with me

To the land of silent kisses.

Why did the lyrical heroine turn into a beggar? (She has lost everything, suffers hardships, begs for alms)

Why is she pilloried? (She's an innocent victim of time)

What does he pray for before Holy Communion? (Keep what she has left - a handful of ashes from her former happy life.)

What lines of this poem can help in a difficult life situation?

Distance: miles, miles ...

We were planted, planted, planted,

To be quiet

On two different ends of the earth.

Distance: versts, gave ...

We were glued, unsoldered,

In two hands they parted, crucified,

And they did not know that it was an alloy

Inspiration and tendons...

Not quarreled - quarreled,

Stratified…

Wall and moat.

They settled us like eagles

Conspirators: miles, gave ...

Not upset - lost.

Through the slums of the earth's latitudes

Dispersed us like orphans.

The poem wasAwritten in 1925 In the Czech Republic, in exile, and dedicated to B. Pasternku.

What mood does the poem convey?

- What is it about?

- His the main idea?

(A poem about separation, about 2 forcibly separated people => about violent separation).

- Highlight the key, from your point of view, words that help to understand the state of the lyrical hero?

(write these words in a column on the board)

How would you define the genre of the poem?

(passionate, nervous monologue, monologue - reproach).

(line breaks) “I do not like poems that are pouring, torn and yes” (M. Tsvetaeva).

- Pauses? Why are there so many?

( The pauses maintain a restrained tone; they slow down the pace of speech, restrain the violent manifestation of feelings, and keep the reader's attention. The pause is displaced, so the poem “stumbles”.

What consonant is repeated at the beginning?

(R))

What is the name of this technique?

(alliteration)

[r] - sharp, beating, separating.

Keywords. What part of speech is dominant?

(verb in past tense).

- Is it by chance?

(this is connected with the main idea of the poem, mainly - the image of separation).

- What offers prevail?

(Single-part, indefinitely personal).

- What signs cause questions?

(dashes, dots - Tsvetaeva's favorite signs)

TO What features of Tsvetaeva's language did you see?

( - the rhythm is the basis, the nerve of the verse;

Laconism

Pause)

It is impossible to read her poems between times, they require counter work of thought. “I do not believe the verses that pour. Rip - yes. Her rhythm is always intriguing. It's like a physical heartbeat.

5.) "Home"

1939 Return to Russia. Arrest of husband and daughter, sister. No work, no housing. Not many dared to communicate with an emigrant, the country lived in a vicious circle - "from dusk to dawn", in endless anticipation of the squeal of tires under the window and a knock on the door. “I won’t write poetry anymore,” she once said.

I refuse to be.

In the bedlam of nonhumans

I refuse to live!

With the wolves of the squares

I refuse - howl.

1941 - the war began, evacuation to Yelabuga with his son. Attempts to get a job are futile: she is an immigrant. There is a place for a dishwasher in the dining room of the Litfond, where she writes a statement. Will they take it? There was another place - translators from German in the NKVD. Is it possible? After all, she is the wife, mother and sister of the repressed. But such a proposal was received, it was necessary either to agree, or ... Loneliness, the inability to work, thoughts about the death of her husband, the uselessness of reading Russia - led Tsvetaeva to suicide.

Tsvetaeva acted as her conscience told her, preserving her personality and defending her right as a poet and a person to be free.

At the cemetery of the city of Yelabuga there is such an inscription: "Marina Tsvetaeva is buried in this part of the cemetery." Maybe it's symbolic that there is no her grave. Marina with her winged soul could not die, she soared over the sinful world in her poems, she gained immortality.You know that suicides are not buried in the church, but M. Tsvetaev was buried: permission for the funeral was given by the Patriarch of All Rus' Alexy II. And when he was asked what allowed him to make an exception for Marina Tsvetaeva, he replied: "People's love." Remember, "You still love me, for the fact that I will die ...". The people fulfilled her request: we love her.

4. Conversation - generalization.

- Have the poems of the poetess left a trace in your soul? How many topics of M. Tsvetaeva's creativity have we touched on today?

(The more brilliant the poet, the more responses he leaves in the soul.)

(Her poems disturb the soul, heart).cinquain

The student readsmemorize the poem "My poems ... their turn will come ...".

To my poems written so early

That I did not know that I am a poet,

Ripped off like spray from a fountain

Like sparks from rockets

Bursting like little devils

In the sanctuary where sleep and incense

My poems about youth and death -

Unread verses!

Scattered in the dust at the shops

(where no one took them and does not take them!),

My poems are like precious wines

Your turn will come.

Summary of the lesson. Reflection

I want to end our conversation with another discovery - the will of M. Tsvetaeva:

Where fate would not tell you to live,
In noisy light or in rural silence,
Waste without an account and boldly
All the treasures of your soul:.
*****************
Thank you with heart and hand,
Because you love me so

Homework. Write an essay "The lyrics of Marina Tsvetaeva are ...", using written sketches and the impressions that you got from the lesson.Learn a poem by M. Tsvetaeva. Write an essay on the topic “My impressions of the first meeting with the work of M. Tsvetaeva.

Song to the verses of M. Tsvetaeva "How many of them fell into this abyss."

Erokhina Elena

The essay "Marina Tsvetaeva: personality, fate, creativity" was completed by a 9th grade student Yelena Erokhin. Elena tried to fully reveal the topic of the essay. It reflects the personality of Marina Tsvetaeva, her personal fate, her attitude to the poetry of other authors, her work.

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Marina Tsvetaeva: personality, destiny, creativity.

Introduction

The turn of the 19th and 20th centuries is an important page in the life of literature associated with great names such as Balmont, Bryusov, Gumelev, Akhmatova, Yesenin. These are the poets silver age", who created a new concept of the world and man in this world. The poetry of that time amazes with its many colors and polyphony. Representatives of the emerging literary movements (acmeism, futurism, symbolism) proclaimed the liberation of poetry from the ambiguity of images, affirmed the individuality of the perception of the world by each individual, denied the "dullness and wretchedness" of life. They considered the inner spiritual experience of a person to be the criterion for cognition of the world. The work of the poets of the "Silver Age" is distinguished by the depth of thought, the mastery of the word, the ability to comprehend the life of the spirit, the historical, literary and socio-civil problems of their works. M.I. Tsvetaeva also belongs to the brilliant poet of the “Silver Age”, who once said: “I do not believe the verses that are poured. They are torn - yes! I like Tsvetaeva's poetry. The strength of her poems, it seems to me, is not in visual images, but in a bewitching stream of constantly changing rhythms, she is a poet who is always looking for truth, a rushing spirit, a poet of the ultimate truth of feeling, a bright and unique talent.

Fate, personality, creativity

Moscow childhood.

Marina Ivanovna Tsvetaeva was born on September 26, 1892 in Moscow. Her father, Ivan Vladimirovich Tsvetaev, a well-known art historian, philologist, professor at Moscow University, director of the Rumyantsev Museum and founder of the Museum of Fine Arts on Volkhonka (now the Pushkin State Museum of Fine Arts), came from a family of a priest in the Vladimir province. Ivan Vladimirovich was widowed early, and his first wife, Varvara Dmitrievna Ilovaiskaya, the daughter of a prominent historian, from whom he left two children - son Andrei and daughter Valeria - did not stop loving for the rest of his life. This was constantly felt by his daughters from his second marriage - Marina and Anastasia. However, he was affectionately attached to his second wife, Maria Alexandrovna Mein. She, a romantic, selfless woman, having parted with her beloved, got married to replace the mother of orphaned children. Maria Alexandrovna came from a Russified Polish-German family, she was an artistic kind, a talented pianist who studied with Rubinstein. Asya, the youngest daughter, wrote in her Memoirs: “Our childhood is full of music. On our mezzanines, we fell asleep to the sound of my mother's playing, which came from below, from the hall, a brilliant and full of musical passion. When we grew up, we recognized all the classics as “mother's” - “it was mother who played ...”. Beethoven, Mozart, Haydn, Schumann, Chopin, Grieg… to the sound of music we went to sleep.” Having devoted herself to the family, Maria Alexandrovna sought to convey to her children everything that she herself revered: poetry, music, old Germany, Ondine, contempt for physical pain, the cult of St. Helena, “with one against all, with one without all.” Rejection and rebellion, consciousness of exaltation and chosenness, love for the defeated became the defining moments of education that shaped the image of Tsvetaeva. “After such a mother, there was only one thing left for me: to become a poet,” she wrote in her autobiographical essay “Mother and Music” (1934). Other essays by Marina Tsvetaeva will also be devoted to grateful memories of her parents: “Mother's Tale” (1934), “Father and His Museum” (1933).

The happy time of childhood, associated with Christmas trees, mother's stories, the magic of book discoveries and human meetings, which took place in a cozy old house in Trekhprudny Lane near the Patriarch's Ponds, was interrupted by an unexpected illness of the mother. Maria Alexandrovna fell ill with consumption, her health required a warm and mild climate, and in the fall of 1902 the Tsvetaev family went abroad. They live in Italy, Switzerland, Germany, Marina continues her education in the Catholic pensions of Lausanne and Feibug. The majesty of the Swiss Alps and the fabulousness of the German Black Forest will forever remain in the memory of Tsvetaeva. In 1905, the Tsvetaev family spends in the Crimea, where Marina experienced a youthful passion for revolutionary romance - the idol of that time was Lieutenant Schmidt. In the summer of 1906, the Tsvetaevs leave for the ancient town of Tarusa on the Oka, where they usually spent the summer months. There, in July, without having recovered, Maria Alexandrovna died. The bitterness of this loss will never be erased in the soul of Marina:

From an early age, who is sad is close to us,

Laughter is boring and homely shelter is alien ...

Our ship is not a good moment sent off

And floats at the behest of all winds!

All paler azure island - childhood,

We are alone on deck.

Apparently sadness left a legacy

You, O mother, to your girls!

("Mame")

The formation of the poet

In the autumn of 1906, of her own free will, she entered a boarding school at a Moscow private gymnasium, preferring to live among strangers, but not within the walls of an orphaned house in Trekhprudny. she reads a lot and randomly, distinguishing herself in the gymnasium not so much in mastering the subjects of the compulsory program, but in the breadth of her cultural interests. She is fond of Goethe, Heine and the German romantics, the story of Napoleon and his unfortunate son, the Duke of Reichstadt, the hero of E. Rostand's play "Eaglet", which Tsvetaeva translated (the translation did not survive), the sincerity of the confessional "Diary" of her contemporary, an early deceased artist, Maria Bashkirtseva, Leskov and Aksakov, Derzhavin, Pushkin and Nekrasov. Later, she will name her favorite books: The Nibelungen, The Iliad and The Tale of Igor's Campaign, her favorite poems are Pushkin's To the Sea, Lermontov's Date, Goethe's The Forest King. Tsvetaeva early felt her independence in tastes and habits, and always defended this property of her nature in the future. She was wild and impudent, shy and conflicted, in five years she changed three gymnasiums.

In 1909, sixteen-year-old Tsvetaeva made a trip to Paris on her own, where she listened to a course in old French literature at the Sorbonne. In the summer of 1910, together with their father, Marina and Asya went to Germany. They live in the town of Weiser Hirsch, not far from Dresden, in the family of a pastor, while Ivan Vladimirovich collects materials for the future museum on Volkhonka in the museums of Berlin and Dresden. And in the autumn of the same year, Marina Tsvetaeva, still a student of the gymnasium, published a collection of poems "Evening Album" at her own expense.

Tsvetaeva began writing poetry at the age of six, not only in Russian, but also in French and German, then she keeps a diary and writes stories. The poet Ellis, who appeared in the Tsvetaeva family (a pseudonym of L.L. Kobylinsky), contributed to Marina's acquaintance with the work of the Moscow Symbolists. Symbolism is a literary trend, it is characterized by the assertion of the individuality of the perception of the world and the orientation towards evoking the emotional reaction of the reader with the help of symbolism. Symbolist poems were directed towards the ideal and the mystical (Sologub, Blok, Bryusov, Tsvetaeva). She visited the Musaget publishing house, listened to Bely's "dancing" lectures, she was attracted and at the same time repulsed by the personality and poetry of Valery Bryusov, she dreamed of entering this unfamiliar but attractive world. And she, without hesitation, sends her first collection to Bryusov, Voloshin, to the Musaget publishing house with a "request to look." Straightforwardness, truthfulness and sincerity in everything until the end were sources of joy and grief for Tsvetaeva all her life. Later, she will clearly formulate the life principle, which she unconsciously followed from childhood: “The only duty on earth of a person is the truth of the whole being.” Favorable reviews of Bryusov, Gumilyov, Voloshin and others followed the collection. Bryusov noted the diary immediacy that distinguishes the author from among adherents of extremes of aestheticism and abstract fantasizing, and a certain “insipidity” of the content (which hurt Tsvetaeva’s pride), Voloshin’s review was full of benevolence towards “a young and inexperienced book”. He even found it necessary to visit the young Tsvetaeva at her home, and after a serious and meaningful conversation about poetry, their long-term friendship begins, despite the big difference in age. Before the revolution, she often visited him in Koktebel, and later she recalled these visits to the then deserted corner of the Eastern Crimea as the happiest days in her life.

In her first book, Tsvetaeva invited readers to the country of a happy childhood, beautiful, although not always cloudless. All poems in the collection are united by the orientation towards a romantic vision of the world through the eyes of a child. This was also reflected in the name of the fictitious Ole Lukoye publishing house, named after Andersen's fairy-tale hero, who brings fairy-tale dreams to children. Semi-childish "impressions of being" are only conditionally divided into sections: "Childhood", "Love", "Only shadows". They naively, but directly and sincerely reflect the main motives of her future work: life, death, love, friendship ... However, this collection already contains poems in which the voice of not just a talented child is heard, but a poet. Her lyrical heroine in the poem "Prayer" is filled with a feverish love for life, a love that yearns for the absolute:

I want everything: with the soul of a gypsy

Go to the songs for robbery,

For all to suffer to the sound of the organ

And the Amazon rush into battle

…………………………………..

I love the cross, and silk, and paints,

My soul is a trace of moments ...

You gave me childhood - better than a fairy tale

And give me death - at seventeen!

Without graduating from high school, in the spring of 1911, Tsvetaeva left for Koktebel to Voloshin. Here she met Sergei Efron, an orphan, the son of populist revolutionaries. In January 1912, she marries him and publishes a second collection of poems dedicated to him, The Magic Lantern. The poems of this collection continued the theme of childhood, chosen at the beginning, rehashing the old motives. Unsurprisingly, the critical response was more than muted. Acmeists, members of the Poets Workshop, S. Gorodetsky and N. Gumilyov honored Tsvetaeva's book with several disapproving reviews, and Bryusov expressed obvious disappointment. Offended by critical reviews, Tsvetaeva arrogantly wrote: "If I were in the shop, they would not swear, but I will not be in the shop." Indeed, she never associated herself with any literary group, did not become an adherent of any literary direction. In her understanding, the poet should always be alone. “I don’t know literary influences, I know human ones,” she claimed. Tsvetaeva responded to Bryusov's review with a poem:

I forgot that the heart in you is only a night light,

Not a star! I forgot about it!

What is your poetry from books

And out of envy of criticism. Early old man

You again to me for a moment

Seemed like a great poet...

(“V.Ya. Bryusov”, 1912)

In September 1912, Tsvetaeva had a daughter, Ariadna, Alya, to whom numerous poems would be addressed.

Everything will be yours,

And everyone is quiet with you.

You will be like me

; - no doubt -

And it's better to write poetry ...

("Ale", 1914)

A poem dedicated to Ariadne. When I first began to get acquainted with the lyrical works of M.I. Tsvetaeva, a completely new world of maternal love opened up to me. Why? Because I love my mother very much, I love children, and also because someday I will be a mother myself. Mother (Marina) and daughter (Ariadna) were connected by strong and sensitive bonds. And when I read a poem dedicated to Ariadne, the thought came to me that this topic is the line in Tsvetaeva's poetry, where her life and work are closest to each other. It seems to me that this is a key theme in all her work. I did a little research and this is what I came up with.

The theme of motherhood, like no other, is closely intertwined with the biography of Tsvetaeva, which means that the lyrical heroine is closest to the poetess.

The theme of home, childhood, mother has always dominated Tsvetaeva's lyrics (poems about mother, home, about herself as a child). Ariadne was born - this is a new impetus to the topic of motherhood. Tsvetaeva, having become a mother, retained her childish, enthusiastic perception of the world: her child is a miracle, God's gift. She feels anxiety and responsibility for her children's life (1912). A little later, she will write about her daughter as a sister, a friend. But mother and daughter are always one.

The theme of childhood will be continued by Tsvetaeva in the 30s. This little study helped me understand her as a person and a poet.

I read her poem “You will be innocent, thin” (1914), where Tsvetaeva appears as a prophetess. This is a lullaby that a young mother sings to her daughter. The past flows into the future, forming, as it were, a sign of infinity, and the link between these time layers is the word "now" and it, sibyl(?)...

Alya is the main character of the prediction. She travels in time from antiquity ("swift Amazon") to the Middle Ages ("captivating mistress"), then to modern times ("queen of the ball"). Tsvetaeva will endow her daughter with immortality and militancy (“and many will be pierced, queen, by your mocking blade”). She is very similar to the daughter of Zeus (“everything will be submissive to you and everyone will be quiet with you” ...). She is majestic and beautiful, like Pallas Athena, protected by a helmet and armed with a blade. But instead of a weapon, there is a sharp mind (“your mocking blade”), and the helmet is beauty (“and perhaps you will wear your braids like a helmet”). Indeed, Ariadne will then achieve this correspondence thanks to the faith of the efforts of her mother. At the age of six, the daughter will write: “My mother is very strange, she does not look like her mother. Mothers always admire their child, but Marina does not like small children. From my point of view, in this case, Marina Tsvetaeva simply did not like to spoil children, did not like lack of independence in them. She was very attracted by the purity of children's souls. She calls her daughter “thin”, “innocent”, “swan”, the girl’s eyes are “bright two failures in the heavenly abyss”. Tsvetaeva tried to raise Alya to the level of her consciousness, because her daughter is a friend for her, so Ariadna called her mother by name: "Marina". But why, in the poem, Alya looks down on the poetess and people (“the house is not the earth, but the sky”, the mother is not Tsvetaeva, but art in general ...”, “you will be the queen ... of young poems”). Tsvetaeva - a mother considers her child the embodiment of all the best (like any mother). But nevertheless, the poetess understands that mother and daughter are very similar: “pride and timidity” (strong and imperious character-inaction), refinement of the soul (“captivating mistress”).

We can conclude that by drawing the image of her daughter, Tsvetaeva speaks about herself. “Everything”, “everyone”, “many” - this is the maximalism of the poetess, her demands “too much from herself from loved ones” were also reflected in the character of her daughter.

Tsvetaeva M.I. from childhood she was a little capricious and sometimes did not find a common language with her mother, who, in turn, saw a reflection of her nature in a girl. It seemed to the mother that the similarity of characters would bring misfortune to Marina, so she tried to tame and level her daughter. The struggle for individuality, for one's own "I" separated Marina from the whole world, therefore, after becoming a mother, the poetess tried to prevent Ariadne from becoming "alien" in her mind. This will be the most main goal in raising a daughter. Surrounded by care, love, understanding, Tsvetaeva believed that she and Ariadne were one.

In the poem "The Fourth Year" (1916), Tsvetaeva already looks at her daughter differently. The girl has matured, showing character (“arms crossed”, “mute mouth”, “eyebrows shifted-Napoleon!”, “You are watching the Kremlin”). Does this comparison with Bonaparte detract from the daughter's dignity? No. Tsvetaeva was "in love with Napoleon", and such a comparison only confirms the mother's love for the child, although she did not indulge Ariadne's weaknesses, but became more and more critical of her. When Ariadne grew up, she recalled that her mother called the little man she painted a freak, calling for diligence.

Later, the image of the Kremlin as a symbol of Moscow, the “city of the heart” of Tsvetaeva is closely intertwined with the image of Ali. The poetess says that it is in Moscow that Ariadne will have to “stare and grieve”, “taking the crown” (“A Poem about Moscow”).

The lyrical heroine Tsvetaeva in the poem "The Fourth Year" is tormented by emotional experiences ("Letters to read impudent", "bite your mouth", "squeeze your whiskey deadly"). She seems to feel the future suffering of her daughter, so she tries to prevent her from entering the world of adults. The poetess encourages her "swan" to go forward past the "churches, gates, palaces" without giving up. The poem ends with a picture of ice drift. Ice drift is a symbol of the continuous flow of time: cold, hard, dangerous. But it will pass, you just have to endure.

M. Tsvetaeva has a whole cycle of works dedicated to Ariadne and younger children: Irina and Georgy. Poems dedicated to the eldest daughter are cheerful. Tsvetaeva, the mother, predicted a happy fate for her firstborn, and she was not mistaken: Alya proved herself to be a wonderful artist, translator, and poet. “I lived my life!,” Ariadna Sergeevna will write later, “you can’t call it life: persecution, repression, camps ...”. The daughter publishes the last collection of her mother "My Pushkin", translations of "Just a Heart".

In August 1913, the father of Marina Tsvetaeva, Ivan Vasilyevich, died. Despite the loss, these years, marked by family harmony, many meetings, spiritual uplift, will become the happiest in her life. The restraint with which criticism met her second book makes Tsvetaeva think about her poetic individuality. Her verse becomes more elastic, energy appears in it, the desire for a short, expressive manner is clearly felt. In an effort to logically highlight the word, Tsvetaeva uses a font, an accent mark, as well as free handling of a pause, which is expressed in numerous dashes that enhance the expressiveness of the verse. In the unpublished collection "Youthful Poems", which combined poems of 1913 - 1914, Tsvetaeva's special attention to detail, everyday detail, which acquires for her special meaning. Tsvetaeva implements the principle stated by her in the preface to the collection “From Two Books”: “Reinforce every moment, every gesture, every breath! But not only a gesture - the shape of the hand that threw it”; not only a sigh - and a cut of the lips, from which he, lightly, flew off. Do not despise the outside!.. ”emotional pressure, the ability to express in words the fullness of feelings, tireless inner spiritual burning, along with diary, become the defining features of her work. Speaking about Tsvetaeva, Khodasevich noted that she “seems to so value every impression, every spiritual movement, that her main concern becomes to fix the largest number of them in the most strict sequence, without considering, without separating the important from the secondary, looking for something that is not artistic, but, rather, psychological certainty. Her poetry aspires to become a diary…”

In the restless and passionate soul of Tsvetaeva, a dialectical struggle is constantly going on between life and death, faith and unbelief. She is overwhelmed with the joy of being and at the same time she is tormented by thoughts about the inevitable end of life, causing a riot, a protest:

I won't accept eternity!

Why was I buried?

I did not want to land

From your beloved land.

In a letter to V.V. Tsvetaeva wrote to Rozanov with her frankness and desire to speak out to the end: “... I do not at all believe the existence of God and the afterlife.

Hence the hopelessness, the horror of old age and death. The complete inability of nature to pray and submit. Mad love for life, convulsive, feverish thirst for life.

Everything I said is true.

Maybe you will push me away because of this. But it's not my fault. If there is a God, he created me like this! And if there is an afterlife, I will certainly be happy in it.”

Tsvetaeva is already beginning to realize her worth, foreseeing, however, that her time will not come soon, but will definitely come:

To my poems written so early

I didn't know that I was a poet...

………………………………………..

... Scattered in the dust in shops

(Where no one took them and does not take them!),

my poems are like precious wines,

your turn will come.

(“To my poems written so early…”, 1913)

Moscow theme

a turning point in her creative destiny was a trip in the winter of 1916 to Petrograd - Petersburg of Blok and Akhmatova - with whom she dreamed of meeting and ... did not meet. After this trip, Tsvetaeva realizes herself as a Moscow poet, competing with her Petrograd relatives in craft. She strives to embody her capital, standing on seven hills, in words, and to present her beloved city to her favorite Petersburg poets: Blok, Akhmatova, Mandelstam. This is how the cycle "Poems about Moscow" and the lines addressed to Mandelstam arise:

From my hands - miraculous city

Accept, my strange, my beautiful brother

(“From my hands - a city not made by hands ...”)

Love for the "Chrysostom Anna of All Rus'", the desire to give her "something more eternal than love" explains Tsvetaeva the emergence of the cycle "Akhmatova"

And I give you my hail of bells,

Akhmatova! - and your heart to boot.

(“O muse of lamentation, most beautiful of muses!”)

The cycle “Poems to Blok” appears in the same passionate monologue of love, with which Tsvetaeva was not personally acquainted and briefly, without exchanging a single word with him, she will see only once, in May 1920. For her, Blok is a symbolic image of poetry. And although the conversation is conducted on “you”, it is clear that Blok for her is not a real-life poet who carries a complex, restless world in his soul, but a dream created by romantic imagination (the epithets that Tsvetaeva endows him with are typical: “gentle ghost”, “ knight without reproach”, “snow swan” and others). The sound of the verses of this cycle is amazing:

Your name is a bird in your hand

Your name is ice on the tongue

One - the only movement of the lips,

Your name is five letters.

Ball caught on the fly

Silver bell in the mouth...

("Your name is a bird in your hand")

At the same time, in Tsvetaeva's poems, folklore motifs that were not characteristic of her before, the chant and prowess of a Russian song, conspiracy, ditties appear:

Opened the iron chest,

She took out a tearful gift, -

With a large pearl ring,

With big pearls...

(“Opened the iron chest”)

Revolution

Tsvetaeva did not take close to the February or October revolutions. However, in the spring of 1917, a difficult period began in her life. “You can’t jump out of history,” she would later say. Life at every step dictated its conditions. The carefree times when you could do what you wanted are a thing of the past. Tsvetaeva is trying to get away from external life in poetry, and, despite the hardships of everyday life, the period from 1917 to 1920 will become extremely fruitful in her life. During this time she wrote more three hundred poems, six romantic plays, a fairy tale poem "The Tsar Maiden".

In April 1917, Tsvetaeva gave birth to a second daughter. At first she wanted to name her Anna in honor of Akhmatova, but then she changed her mind and called her Irina: “after all, fates do not repeat themselves.”

And to live in Moscow becomes more and more difficult and in September Tsvetaeva leaves for the Crimea to Voloshin. In the midst of the October events, she returns to Moscow and, together with Sergei Efron, again goes to Koktebel, leaving her children in Moscow. When, after some time, she comes for them, it turns out to be impossible to return to the Crimea. Her long separation from her husband, who joined the ranks of Kornilov's army, begins.

Tsvetaeva stoically endured separation and increasingly difficult living conditions. In the fall of 1918, she travels near Tambov for groceries, tries to work at the People's Commissariat for National Affairs, from where, six months later, being unable to comprehend what was demanded of her, she left, vowing never to serve. In the most difficult time, in the fall of 1919, in order to feed her daughters, she gave them to the Kuntsevsky orphanage. Soon, Alya, who was seriously ill, had to be taken home, and on February 20, little Irina died of starvation.

Two hands, lightly lowered

On a baby's head!

There were - one for each -

I have been given two heads.

But both - clamped -

Furious - as she could! -

Snatching the elder from the darkness -

Didn't save the little one.

(“two hands, lightly lowered”, 1920)

Tsvetaeva has always remained out of politics. She, like Voloshin, was "above the fray", condemned the fratricidal war. However, after the defeat of the Volunteer Army, historical and personal upheavals, merging together (confidence in the death of the cause that Sergei Efron served, as well as confidence in the death of himself), caused a note of high tragic sound in Tsvetaeva’s work: “Volunteerism is a good will to die” . In the collection "Swan Camp" with poems about the heroic and doomed path of the Volunteer Army, there was least of all politics. In e verses, longing for the ideal and noble warrior sounds, they are filled with abstract pathos and myth-making. “I’m right, since I’m offended,” will become Tsvetaeva’s motto, the romantic defense of the vanquished, and not politics, moves her pen:

White Guard, your path is high:

Black business - chest and temple.

God's white is your work:

Your white body is in the sand

("White Guard, your path is high", 1918)

"Russia taught me the Revolution" - this is how Tsvetaeva explained the appearance in her work of genuine folk intonations. Folk, or, as Tsvetaeva said, “Russian” themes, which manifested itself in her work as early as 1916, every year got rid of literature more and more, became more natural. Tsvetaeva's interest in Russian poetic origins manifested itself in the cycle about Stenka Razin, the poems "Forgive me, my mountains! ..", "The rich fell in love with the poor", "But I already cried like a woman ..." and others. She turns to large genres, and the epic poem The Tsar Maiden (autumn 1920) opens a number of Russian epic works by Tsvetaeva. It was followed by the poem "Egorushka" about the miraculous deeds of the organizer of the land of the Russian Egory the Brave, entirely composed by Tsvetaeva herself, then a short poem "Alleys" (1922). In the spring of 1922, Tsvetaeva began to work on her most significant of the "Russian" poems, "Well done", completed already in exile, in the Czech Republic. Ancient Rus' appears in Tsvetaeva's poems and poems as an element of violence, self-will and unbridled revelry of the soul. Her Rus' sings, wails, dances, prays and blasphemes to the full extent of Russian nature.

Berlin. Emigration.

In May 1922, Tsvetaeva seeks permission to travel abroad. For some time she lives in Berlin, where she was helped to get a job in the Russian boarding house Ehrenburg. In Berlin, the short-lived center of Russian emigration, where, thanks to the friendly relations between Germany and Russia, Soviet writers often came, Tsvetaeva met Yesenin, whom she had known a little before, and became friends with Andrei Bely, managing to support him in a difficult hour for him. Here she began an epistolary acquaintance with Boris Pasternak, under the strong impression of his book "My Sister Life".

Two and a half months spent in Berlin turned out to be very intense both humanly and creatively. Tsvetaeva managed to write more than twenty poems, in many ways not similar to the previous ones. Among them are the cycle "Earthly Objects", poems "To Berlin", "There is an hour for those words ..." and others. Her lyrics become more complicated, she goes into secret encrypted intimate experiences. The theme seems to remain the same: earthly and romantic love, eternal love, but the expression is different.

Remember the law

Do not own here!

So that later - in the City of Friends:

In this empty

In this cool

Heaven for men

all in gold -

In a world where the rivers are reversed,

On the banks of the river

Take in an imaginary hand

Imagination of the other hand

In August, Tsvetaeva left for Prague to see Efron. In search of cheap housing, they wander around the suburbs: Macroposy, Ilovishchi, Vshenory - villages with primitive living conditions. With all her heart, Tsvetaeva fell in love with Prague, the city that inspired her, in contrast to Berlin, which she did not like. The difficult, semi-impoverished life in Czech villages was compensated by closeness to nature - eternal and invariably towering over the "earthly baseness of days" - hiking in the mountains and forests, friendship with a Czech writer and translator

A.A. Teskova (their correspondence after Tsvetaeva's departure to France was a separate book, published in Prague in 1969).

The most cherished theme of Tsvetaeva was love - a bottomless concept for her, absorbing endless shades of experiences. Love has many faces - you can fall in love with a dog, a child, a tree, your own dream, a literary hero. Any feeling other than hatred and indifference is love. In the Czech Republic, Tsvetaeva is finishing the poem "Well Done", about the mighty, all-conquering power of love. She embodied her idea that love is always an avalanche of passions that falls on a person, which inevitably ends in separation, she embodied in the “Poem of the Mountain” and “Poem of the End”, inspired by a stormy romance with K.B. Razdevich. The cycle "The Ravine", the poems "I love, but the flour is still alive ...", "Ancient vanity flows through the veins ..." and others are dedicated to him.

The lyrics of Tsvetaeva of that time also reflected other feelings that worried her - contradictory, but always strong. Passionate, poignant verses express her longing for her homeland ("Dawn on the Rails", "Emigrant"). Letters to Pasternak merge with lyrical appeals to him ("Wires", "Two"). Descriptions of the Prague outskirts (“Factory”) and echoes of their own wanderings from apartment to apartment are combined in anguish from inescapable poverty. She continues to reflect on the special fate of the poet (the cycle "Poet"), on his greatness and defenselessness, power and insignificance in the world "where crying is called a runny nose":

What am I to do, singer and first-born,

In a world where the blackest is gray!

Where inspiration is stored, like in a thermos!

With this immensity

In the world of measures?!

(!What am I to do, blind man and stepson…”, 1923)

On February 1, 1925, Tsvetaeva's son Georgy was born, whom she had long dreamed of, in the family he will be called Moore. A month later, she began to write the last work in Czechoslovakia - the poem "Pied Piper", called "lyrical satire". The poem was based on a medieval legend about a flutist from Hammeln, who saved the city from the invasion of rats, luring them into the river with his music, and when he did not receive the promised payment, he lured all the young children out of the city with the same flute. He took them to the mountain, where they were swallowed up by the abyss that opened under them. On this external background, Tsvetaeva imposes the sharpest satire, denouncing all sorts of manifestations of lack of spirituality. Pied Piper-flutist - personifies poetry, rats (fat burghers) and city dwellers (greedy burghers) - soul-destroying life. Poetry takes revenge on life that did not keep its word, the musician takes children away to his charming music and drowns them in the lake, granting them eternal bliss.

In the fall of 1925, Tsvetaeva, tired of the miserable rural conditions and the prospect of raising her son "in the basement", moved with her children to Paris. Her husband was due to graduate in a few months and join them. Tsvetaeva was destined to live in Paris and its suburbs for almost fourteen years.

Life in France has not become easier. The emigrant environment did not accept Tsvetaeva, and she herself often went into open conflict with the literary abroad. S.N. Andronikova-Galpern recalled that “immigrant circles hated her for her independence, non-negative attitude towards the revolution and love for Russia. The fact that she did not renounce either the revolution or Russia pissed them off.” Tsvetaeva felt unnecessary and alien, and in her letters to Teskova, forgetting about past hardships, she fondly recalled Prague.

In the spring of 1926, through Pasternak, Tsvetaeva met in absentia with Rainer Maria Rilke, whom she had long admired. Thus was born the epistolary "novel of the three" - "Letters of the Summer of 1926". Experiencing a creative upsurge, Tsvetaeva writes the poem “From the Sea” dedicated to Pasternak, and she dedicates “Attempt at the Room” to him and Rilke. At the same time, she created the poem "Ladder", in which her hatred of "the satiety of the well-fed" and "the hunger of the hungry" found expression. The death at the end of 1926 of the never seen Rilke deeply shocked Tsvetaeva. She creates a requiem poem, a lament for her native poet "New Year", then "The Poem of the Air", in which she reflects on death and eternity.

And in the lyrics, Tsvetaeva increasingly acts as an accuser of the spiritual impoverishment of bourgeois culture, the vulgarity of the philistine environment surrounding it.

Who is the dude? Old man? Athlete?

Soldier? - No devils, no faces,

Not years. Skeleton - if not

Faces: newspaper sheet!

…………………………………

What for such gentlemen -

Sunset or dawn?

void swallowers,

Newspaper readers!

("Newspaper Readers")

The poetic language of Tsvetaeva is changing, having acquired a certain high tongue-tied tongue. Everything in the verse is subject to a pulsating flashing and suddenly breaking rhythm. The bold, impetuous fragmentation of the phrase into separate semantic pieces, for the sake of almost telegraphic brevity, in which only the most necessary accents of thought remain, becomes a characteristic sign of her style. She deliberately destroys the musicality of the traditional poetic form: “I do not believe in the verses that flow. They are torn - yes!

Some of the success that accompanied Tsvetaeva in the émigré literary world in the first two years in Paris is fading away. Interest in her poetry is declining, although her poems "The Pied Piper" and "Ladder" are published, and in 1928 a collection of poems "After Russia (Lyrics of 1922-1925)" is published, poetic works are becoming increasingly difficult to arrange in print. Her husband's earnings were small and random, he rushed from one occupation to another: he acted as an extra in films, tried his hand at journalism. Already at the end of the 20s, he increasingly accepted what was happening in Soviet Russia and begins to dream of returning home. In the early 1930s, he was recruited by Soviet intelligence and became one of the most active figures in the "Union of Homecoming". The Czech scholarship was coming to an end. “Emigration makes me a prose writer,” Tsvetaeva admitted. Prose was written faster and more readily published, so by the will of fate in the 30s, the main place in Tsvetaeva's work was occupied by prose works. Like many Russian writers in exile, she turns her gaze to the past, to a world that has sunk into oblivion, trying to resurrect that ideal atmosphere from the heights of the past years in which she grew up, which shaped her as a person and a poet. This is how the essays “The Bridegroom”, “The House at Old Pimen”, the already mentioned “Mother and Music”, “Father and His Museum” and others arise. The death of her contemporaries, people whom she loved and revered, is the reason for the creation of requiem memoirs: “Living about the Living” (Voloshin), “The Captive Spirit” (Andrei Bely), “An Otherworldly Evening” (Mikhail Kuzmin), “ The Tale of Sonechka ”(S.Ya. Holliday). Tsvetaeva also writes articles devoted to the problems of creativity (“The Poet and Time”, “Art in the Light of Conscience”, “Poets with History and Poets Without History” and others). A special place is occupied by Tsvetaeva's "Pushkiniana" - the essays "My Pushkin" (1936), "Pushkin and Pugachev" (1937), the poetic cycle "Poems to Pushkin" (1931). She bowed to the genius of this poet from infancy, and works about him are also autobiographical.

But prose could not supplant poetry. Writing poetry was an inner necessity for Tsvetaeva. Not a single collection of poems is now complete without a peculiar ode to her faithful friend - desk(cycle "Table"). Often in her poems slips nostalgic intonations for the lost home. But recognizing the future for Soviet Russia, for itself, it sees no point in returning to its homeland. “I am not needed here, I am impossible there,” she wrote in a letter to Teskova. Only the next generation, the generation of children, Tsvetaeva believes, will be able to return home. The future belongs to children and they must make their own choice, not looking back at their fathers, because “our conscience is not your conscience!” and “our quarrel is not your quarrel”, and therefore “Children! Make your own battles of your days.” In Poems to the Son, Tsvetaeva admonishes her seven-year-old Moore:

Our homeland will not call us!

Go, my son, go home - forward -

To your land, to your age, to your hour, - from us -

To Russia - you, to Russia - the masses,

In our hour - the country! at this hour - the country!

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

Return

In the spring of 1937, full of hope for the future, Tsvetaeva's daughter, Ariadna, left for Moscow, having taken Soviet citizenship at the age of sixteen. And in the fall, Sergei Efron, who continued his activities in the "Union of Homecoming" and cooperation with Soviet intelligence, became involved in a not very clean story that received wide publicity. He had to leave Paris in a hurry and secretly cross to the USSR. Tsvetaeva's departure was a foregone conclusion.

She is in a difficult mental state, she has not written anything for more than six months. Prepares to send your archive. The September events of 1938 brought her out of creative silence. The German attack on Czechoslovakia aroused her stormy indignation, which resulted in the cycle "Poems to the Czech Republic".

O mania! Oh mummy

Greatness!

burn down

Germany!

Madness,

Madness

You create!

("Germany")

On June 12, 1939, Tsvetaeva and her son leave for Moscow. The joy of family reunion does not last long. In August, the daughter was arrested and sent to the camp, and in October, the husband of Tsvetaeva. Tsvetaeva wanders with Moore, who is often ill, in strange corners, standing in lines with transfers to Alya and Sergei Yakovlevich. To feed herself, she is engaged in translations, headlong into work. “I translate by ear - and by spirit (things). This is more than meaning,” such an approach implied truly ascetic labor. I didn't have enough time for my poetry. Among the translation notebooks, only a few beautiful poems were lost, reflecting her state of mind:

It's time to shoot amber

It's time to change the dictionary

It's time to put out the lantern

Above the door…

(February 1941)

Pasternak and Tarasenkov are trying to support her, in the fall of 1940 an attempt is made to publish a small collection of her poems. Marina Ivanovna carefully compiles it, but because of the negative review of K. Zelinsky, who declared the poems "formalistic", although he praised them in personal meetings with Tsvetaeva, the collection was stabbed to death.

In April 1941, Tsvetaeva was accepted into the trade union committee of writers at Goslitizdat, but her strength was running out: “I wrote mine, I could still, but I can’t freely.”

demise

The war interrupted her work on the translation of G. Lorca, the magazines are not up to poetry. On August 8, unable to withstand the bombing, Tsvetaeva, along with several writers, was evacuated to the town of Yelabuga on the Kama. There is no work, even the blackest, for her. She is trying to find something in Chistopol, where most of the Moscow writers are. On August 28, hopeful, she returns to Yelabuga.August 311941committed suicide (hanged herself) in the Brodelnikovs' house, where she and her son were assigned to stay. She left three suicide notes: to those who will bury her (“evacuated”,Aseevand son). The original note by the “evacuees” was not preserved (it was confiscated as material evidence by the police and lost), its text is known from the list that Georgy Efron was allowed to make.
Note to son:

Purr! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Alya - if you see - that you loved them until the last minute and explain that you are in a dead end.

Aseev's note:

Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to your place in Chistopol - just take him as a son - and that he study. I can do nothing more for him and only destroy him. I have 450 rubles in my bag. and if you try to sell all my things. There are several handwritten books of poetry and a pack of prose prints in the chest. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love like a son - deserves. And forgive me. Didn't take it out. MC. Don't ever leave him. I would be extremely happy if I lived with you. Leave - take with you. Don't quit!

Note to the "evacuees":

Dear comrades! Don't leave Moore. I beg the one of you who can take him to Chistopol to N. N. Aseev. The steamboats are terrible, I beg you not to send him alone. Help him with the luggage - fold and take it. In Chistopol I hope for a sale of my things. I want Moore to live and study. It will disappear with me. Addr. Aseeva on the envelope. Do not bury alive! Check well.

Marina Tsvetaeva was buried on September 2, 1941 at the Peter and Paul Cemetery in St.Yelabuga. The exact location of her grave is unknown. On the south side of the cemetery stone wall, where her lost last refuge is located, in 1960 the sister of the poetess,Anastasia Tsvetaeva, "between four unknown graves of 1941" set up a cross with the inscription "Marina Ivanovna Tsvetaeva is buried in this side of the cemetery." In 1970, a granite tombstone was erected on this site. Later, at the age of 90,Anastasia Tsvetaevabegan to assert that the grave is located at the exact place of the burial of her sister and all doubts are just speculation. Since the beginning of the 2000s, the location of the granite tombstone, framed by tiles and hanging chains, has been called the “official grave of M.I. Tsvetaeva” by the decision of the Union of Writers of Tatarstan. The exposition of the Memorial Complex of M. I. Tsvetaeva in Yelabuga also shows a map of the memorial section of the Peter and Paul Cemetery indicating two “version” graves of Tsvetaeva - according to the so-called “churbanovskaya” version and the “Matveevskaya” version. There is still no single evidentiary point of view on this issue among literary critics and local historians.

Boris Pasternak said about her death: “Marina Tsvetaeva all her life was shielded from everyday work, and when it seemed to her that this was an unaffordable luxury and for the sake of her son she had to temporarily sacrifice an exciting passion and take a sober look around, she saw chaos, not passed through creativity, motionless , unaccustomed, inert, and recoiled in fright, and, not knowing where to escape from horror, hid in a hurry in death, put her head in a noose, as if under a pillow.

Her grave is unknown.

Once, while in exile, she wrote:

And to my name

Marina - add: martyr.

I would like to end my essay with a poem by M.I. Tsvetaeva “Who is created from stone, who is created from clay”, because, as it seems to me, it is precisely this poem that reflects the essence of M.I. Tsvetaeva.

Marina Ivanovna Tsvetaeva (September 26 (October 8), 1892, Moscow - August 31, 1941, Yelabuga) - Russian poetess, prose writer, translator, one of the greatest poets of the 20th century. The author of poems: “I like that you are not sick with me”, “I want a mirror where there is dregs ...” and other wonderful works.

Marina Tsvetaeva 1912.

Marina Tsvetaeva in childhood. 1893

Her father, Ivan Vladimirovich, is a professor at Moscow University, a well-known philologist and art critic; later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts.
Ivan Vladimirovich Tsvetaev, father of Marina Tsvetaeva. 1903

Maria Mein (by origin - from a Russified Polish-German family), was a pianist, a student of Nikolai Rubinstein.
Maria Alexandrovna Tsvetaeva, née Maine. 1903 Mother of Marina and Anastasia Tsvetaeva.

Marina began writing poetry at the age of six, not only in Russian, but also in French and German. A huge influence on the formation of her character was exerted by her mother, who dreamed of seeing her daughter as a musician.
Anastasia Tsvetaeva, Alexandra Ivanovna Dobrokhotova, Marina Tsvetaeva. 1903

Tsvetaeva's childhood years were spent in Moscow and Tarusa. Due to her mother's illness, she lived for a long time in Italy, Switzerland and Germany. Elementary education received in Moscow, in a private women's gymnasium M. T. Bryukhonenko; continued it in the pensions of Lausanne (Switzerland) and Freiburg (Germany). At the age of sixteen she made a trip to Paris to listen to a short course of lectures on old French literature at the Sorbonne.
Anastasia Tsvetaeva, Marina Tsvetaeva, Vladislav Alexandrovich Kobylyansky. 1903

Marina and Anastasia Tsvetaeva in childhood with friends. Nervi, 1903

After the death of his mother from consumption in 1906, they stayed with their sister Anastasia, half-brother Andrei and sister Valeria in the care of their father, who introduced children to classical domestic and foreign literature and art. Ivan Vladimirovich encouraged the study of European languages, made sure that all children received a thorough education.
Anastasia (left) and Marina Tsvetaeva. Yalta, 1905

In 1910, Marina published (at the printing house of A. A. Levenson) with her own money the first collection of poems - "Evening Album", which included mainly her school work.
Marina Tsvetaeva. 1910

Her work attracted the attention of famous poets - Valery Bryusov, Maximilian Voloshin and Nikolai Gumilyov. In the same year, Tsvetaeva wrote her first critical article, Magic in Bryusov's Poems. The "Evening Album" was followed two years later by the second collection "Magic Lantern".
Marina Tsvetaeva. Koktebel, 1911.

In 1911, Tsvetaeva met her future husband Sergei Efron; in January 1912, she married him. In September of the same year, Marina and Sergey had a daughter, Ariadna (Alya).
Marina Tsvetaeva and Sergey Efron. Moscow 1911.

Sergei Efron and Marina Tsvetaeva. Moscow, 1911.

Marina Tsvetaeva and Sergey Efron. Koktebel, 1911.

Anastasia (left) and Marina Tsvetaeva. Moscow, 1911.

Anastasia Tsvetaeva (left), Nikolai Mironov, Marina Tsvetaeva. 1912 Nikolai Mironov is the insane and unquenchable love of Anastasia Tsvetaeva.

Sergei Efron (Marina's husband) and Marina Tsvetaeva. 1912

In the foreground, from left to right: Sergei Efron, Marina Tsvetaeva, Vladimir Sokolov.
Koktebel, 1913.

From left to right: Elena Ottobaldovna Voloshina,
Vera Efron, Sergei Efron, Marina Tsvetaeva,
Elizaveta Efron, Vladimir Sokolov, Maria Kudasheva,
Mikhail Feldstein, Leonid Feinberg.
Koktebel, 1913.

The restraint with which criticism met her second book made Tsvetaeva think about her poetic individuality. Her verse became more elastic, energy appeared in it, the desire for a concise, short, expressive manner was clearly felt. In an effort to logically highlight the word, Tsvetaeva used the font, the accent mark, as well as the free handling of the pause, which was expressed in numerous dashes that enhance the expressiveness of the verse. In the unpublished collection "Youthful Poems", which combined poems of 1913 - 1914, Tsvetaeva's special attention to details, everyday details, which acquire special significance for her, was noticeable.
Tsvetaeva implemented the principle stated to her in the preface to the collection “From Two Books”: “Reinforce every moment, every gesture, every breath! But not only a gesture - the shape of the hand that threw it”; not only a sigh - and a cutout of the lips from which he, lightly, flew off. Do not despise the outside!..” Emotional pressure, the ability to express in words the fullness of feelings, tireless inner spiritual burning, along with diary, became the defining features of her work. Speaking about Tsvetaeva, Khodasevich noted that she “seems to so value every impression, every spiritual movement, that her main concern becomes - to fix the largest number of them in the most strict sequence, without considering, without separating the important from the secondary, looking for something that is not artistic, but, rather, psychological certainty. Her poetry aspires to become a diary…”.
Marina Tsvetaeva. 1913

Many of Tsvetaeva's poems of this period were noted by the conciseness of thought and the energy of feeling: “You are coming, you look like me ...”, “Grandmother”, “Some ancestor of mine was a violinist ...” and other works. She wrote fiery poems inspired by people close to her in spirit: Sergei Efron and his brother, Peter Efron, who died early from tuberculosis. She turned to her literary idols Pushkin and Byron ("Byron", "Meeting with Pushkin").
Marina Tsvetaeva (left) and M.P. Cuville (Kudasheva).
Koktebel, 1913.

From left to right: Anastasia Tsvetaeva, Sergei Efron, Marina Tsvetaeva.
Moscow, Trekhprudny lane, 8.
1913

The cycle of poems "Girlfriend" Tsvetaeva dedicated to the poetess Sofya Parnok, in which she admired everything - both the "unique hand" and "Beethoven's forehead." The most famous was the poem “I want by the mirror, where is the dregs…” fanned with the sadness of farewell:
I see: the mast of the ship,
And you are on deck...
You are in the smoke of the train ... Fields
In the evening complaint...
Evening fields in the dew
Above them are crows...
- I bless you for everything.
Four sides!
In the restless and passionate soul of Tsvetaeva, there was a constant struggle between life and death, faith and unbelief:
I won't accept eternity!
Why was I buried?
I did not want to land
From your beloved land.
In a letter to V.V. Rozanov, Tsvetaeva wrote with her characteristic frankness and desire to speak out to the end: “I do not at all believe in the existence of God and the afterlife. Hence the hopelessness, the horror of old age and death. Complete inability of nature to pray and submit. Mad love for life, convulsive, feverish thirst for life. Everything I said is true. Maybe you will push me away because of this. But it's not my fault. If there is a God, he created me like this! And if there is an afterlife, I will certainly be happy in it.”
To my poems written so early
I didn't know that I was a poet...
………………………………………..
... Scattered in the dust in shops
(Where no one took them and does not take them!),
my poems, like precious views,
your turn will come.
(“To my poems written so early…”, 1913)
The First World War passed by Tsvetaeva. Despite the fact that her husband had been traveling with an ambulance train for some time, risking his life, and she was very worried about him, Tsvetaeva lived detachedly, as if in the last century, absorbed in her inner world. “My whole life is a romance with my own soul,” she said.
Marina Tsvetaeva. Feodosia 1914.

The turning point in her creative destiny was a trip in the winter of 1916 to Petrograd - Petersburg of Blok and Akhmatova - with whom she dreamed of meeting and ... did not meet. After this trip, Tsvetaeva realized herself as a Moscow poet, competing with her Petrograd brethren in craft. She sought to embody her capital, standing on seven hills, in words, and to present her beloved city to her beloved Petersburg poets - Blok, Akhmatova and Mandelstam. This is how the cycle "Poems about Moscow" and the lines addressed to Mandelstam arose:
From my hands - miraculous city
Accept, my strange, my beautiful brother
(“From my hands - a miraculous city ...”)
And, of course, love for the “Chrysostom Anna of All Rus'”, the desire to give her “something more eternal than love,” Tsvetaeva explained the emergence of the Akhmatova cycle.
And I give you my hail of bells,
Akhmatova! - and your heart to boot.
(“O muse of lamentation, most beautiful of muses!”)
In this and other poems of the cycle, with Tsvetaeva's inherent strength and energy of expression, her enthusiastic and loving attitude towards the poetess, whose meeting took place only in 1941, sounded.
You make me freeze the sun in the sky,
All the stars in your hand!
Ah, if only - the doors wide open -
Like the wind to enter you!
And babble, and sob,
And cool look down,
And, sobbing, calm down,
As in childhood, when they forgive.
("You will freeze the sun in the sky")
The same passionate monologue of love appeared before the readers and the cycle “Poems to Blok”, with which Tsvetaeva was not personally acquainted and briefly, without exchanging a single word with him, saw him only once - in May 1920. For her, Blok was symbolically poetry. And although the conversation was conducted on “you”, it was clear that Blok for her was not a real-life poet carrying a complex, restless world in his soul, but a dream created by romantic imagination:
Your name is a bird in your hand
Your name is ice on the tongue
One - the only movement of the lips,
Name - yours - five letters.
Ball caught on the fly
Silver bell in the mouth...
("Your name is a bird in the hand")
Tsvetaeva's excessive amorousness was often attributed to the fact that she lived in an unreal world and fell in love with people she invented, but who had real names and real outlines. Marina was short-sighted and reluctant to wear glasses - she liked to see the world fuzzy, she painted it with her imagination. So she painted the men she was fascinated with, and in reality, coming closer to a person, she could even confuse him. Once she met one of the former admirers on the street and did not recognize him. The man was outraged. Tsvetaeva apologized: “Oh, I didn’t recognize you, because you used to have a mustache!” Former lover completely wilted: "I never had a mustache ...".
In Rostov-on-Don, a book by Lily Feiler was published, in which the author assured: "Tsvetaeva was always ready to make love with a man or woman." In reality, many of Tsvetaeva's novels remained on paper - in letters, in poetry. But in 1914 she met the poetess and translator Sophia Parnok. This acquaintance Tsvetaeva later called "the first catastrophe in her life." Their relationship lasted two years, and everything happened in front of her husband, Sergei Efron, who raised their young daughter Alya. In the end, a stormy parting led Tsvetaeva to the conclusion: “To love only women (a woman) or only men (a man), obviously excluding the usual reverse, what a horror! And only for women (for a man) or only for men (for a woman), obviously excluding the unusual native - what a bore! Sofya Parnok subsequently gave her description to her former mistress: "The coldness of the snake's cunning and slipperiness ...". But after breaking up with Parnok, Tsvetaeva by no means became an exemplary wife. Her romantic correspondence with Bachrach, Pasternak, Rilke, Steiger was not quoted only by the lazy. And to V. Rozanov, for example, she wrote: “Oh, how I love you and how I tremble with delight, thinking about our first meeting in life - maybe awkward, maybe ridiculous, but real
Marina Tsvetaeva 1914.

Marina Tsvetaeva 1914.

Marina (left) and Anastasia Tsvetaeva. Feodosia, 1914.

Tsvetaeva did not take close to the February or October revolutions. However, in the spring of 1917, a difficult period began in her life. “You can’t jump out of history,” she later said. Life at every step dictated its conditions. The carefree times when you could do what you wanted are a thing of the past. Tsvetaeva tried to get away from the horrors and hunger of external life in poetry, and, despite all the hardships, the period from 1917 to 1920 became exceptionally fruitful in her life. During this time, she wrote more than three hundred poems, six romantic plays and a fairy tale poem "The Tsar Maiden".
In 1917, Tsvetaeva became close to a circle of artistic youth from the Second and Third Studios of the Art Theater directed by Vakhtangov. She began to write plays reminiscent of her once beloved Rostand and Blok's lyrical dramas. She drew plots from the gallant eighteenth century. Her plays were filled with romantic passions, the drama of love and always ended in separation. The best of them were "Adventure", "Fortune" and "Phoenix". They were written in simple, elegant and witty verse.
In 1917, Tsvetaeva gave birth to a daughter, Irina, who died of starvation in an orphanage in Kuntsevo (then in the Moscow region) at the age of 3 years. The years of the Civil War turned out to be very difficult for Tsvetaeva. Sergei Efron served in the White Army. Marina lived in Moscow, in Borisoglebsky Lane. During these years, a cycle of poems "The Swan Camp" appeared, imbued with sympathy for the white movement. In 1918-1919 Tsvetaeva wrote romantic plays; poems "Egorushka", "Tsar Maiden", "On a Red Horse" were created.
Daughters of Marina Tsvetaeva: Alya and Irina.

It became more and more difficult to live in Moscow, and in September Tsvetaeva left for the Crimea to Voloshin. In the midst of the October events, she returned to Moscow and, together with Sergei Efron, again went to Koktebel, leaving her children in Moscow. When, after some time, she came for them, it turns out to be impossible to return to the Crimea. She began a long separation from her husband, who joined the ranks of Kornilov's army. Tsvetaeva stoically endured separation and increasingly difficult living conditions. In the fall of 1918, she traveled near Tambov for groceries, tried to work at the People's Commissariat for National Affairs, from where, six months later, unable to comprehend what was required of her, she left, vowing never to serve again. In the most difficult time, in the fall of 1919, in order to feed her daughters, she gave them to the Kuntsevsky orphanage. Soon, Alya, who was seriously ill, had to be taken home, and in February 1920, little Irina died of starvation.
Two hands, lightly lowered
On a baby's head!
There were - one for each -
I have been given two heads.
But both - clamped -
Furious - as she could! -
Snatching the elder from the darkness -
Didn't save the little one.
(“two hands, lightly lowered”, 1920)
In her work, Marina Tsvetaeva has always remained out of politics. She, like Voloshin, was "above the fray", condemned the fratricidal war. However, after the defeat of the Volunteer Army, historical and personal upheavals, merging together (confidence in the death of the cause that Sergey Efron served, as well as confidence in the death of himself), caused a note of high tragic sound in Tsvetaeva’s work: “Volunteerism is a good will to die” . In the collection "Swan Camp" with poems about the heroic and doomed path of the Volunteer Army, there was least of all politics. Her poems sounded longing for the ideal and noble warrior, they were filled with abstract pathos and myth-making. “I’m right, since I’m offended,” will become Tsvetaeva’s motto, the romantic defense of the vanquished, and not politics, moved her pen:
White Guard, your path is high:
Black business - chest and temple.
God's white is your work:
Your white body is in the sand
("White Guard, your path is high", 1918)
“Russia was taught to me by the Revolution,” this is how Tsvetaeva explained the appearance of genuine folk intonations in her work. Folk, or, as Tsvetaeva said, "Russian" themes, which manifested itself in her work as early as 1916, every year got rid of literature more and more, became more natural and sincere. Tsvetaeva's interest in Russian poetic origins manifested itself in the cycle about Stenka Razin, the poems "Forgive me, my mountains! ..", "The rich fell in love with the poor", "But I already cried like a woman ..." and other works. She turned to large genres, and the epic poem "The Tsar Maiden", written in the autumn of 1920, opened a number of Russian epic works by Tsvetaeva. It was followed by the poem "Egorushka" about the miraculous deeds of the organizer of the land of the Russian Egory the Brave, entirely composed by Tsvetaeva herself, then a small poem "Lane", written in 1922. In the spring of 1922, Tsvetaeva began working on her most significant of the "Russian" poems, "Well Done", which she completed already in exile, in the Czech Republic. Ancient Rus' appeared in Tsvetaeva's poems and poems as an element of violence, self-will and unbridled revelry of the soul. Her Rus' sang, lamented, danced, prayed and blasphemed in the full breadth of Russian nature.
The poems of 1916 - 1920 were combined by Tsvetaeva in the book "Milestones" in 1921. By chance, the first part of the book “Miletes. Poetry. Issue 1" was published a year later - in 1922. As in her early collections, all Tsvetaeva's attention was directed to the rapidly changing objects of her state of mind, to herself as the embodiment of all the fullness of earthly existence:
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.
And further…
Crushing on your granite knees,
I am resurrected with every wave!
Long live the foam - cheerful foam -
High sea foam!
(“Who is made of stone, who is made of clay”, 1920)
During this period, poems about the high destiny of the poet appeared in the work of Tsvetaeva. She believed that inspiration is the only master of the poet, and only by burning in the fire, sacrificing everything to him, is he able to live on earth. Only inspiration was able to pull a person out of the routine of life, take him to another world - the azure "sky of the poet."
In the black sky - the words are inscribed,
And beautiful eyes blinded ...
And we are not afraid of the deathbed,
And the passionate bed is not sweet to us.
In sweat - writing, in sweat - plowing!
We know a different zeal:
Light fire, dancing over the curls -
Breath - inspiration.
A large layer in her lyrics of this time was made up of love poems, an endless confession of the heart: “I am a wanderer to your pen ...”, “I wrote on a slate board ...”, “Don’t repair courts hastily ...”, a cycle with the famous “Primed to a pillory ...” . In many of Tsvetaeva's poems, her secret hope broke through, the hope of meeting the dearest person to her, for whom she had lived all these years. Among them was the Sputnik cycle, with a modest dedication to SE. For almost four years, Tsvetaeva had no news of her husband. Finally, in July 1921, she received a letter from him from abroad, where he was after the defeat of the White Army. At the request of Tsvetaeva, he was found by Ehrenburg, who had gone abroad. Tsvetaeva instantly decided to go to her husband, who studied at the University of Prague, where the Masaryk government paid stipends to some Russian emigrants at the expense of the gold reserves exported to civil war From Russia.
In May 1922, Tsvetaeva obtained permission to travel abroad. For some time she lived in Berlin, where Ilya Ehrenburg helped her get settled in a Russian boarding house. In Berlin, the short-lived center of Russian emigration, where, thanks to the friendly relations between Germany and Russia, Soviet writers often came, Tsvetaeva met Yesenin, whom she had known a little before, and became friends with Andrei Bely, managing to support him in a difficult hour for him. Here her epistolary acquaintance with Boris Pasternak began, under the strong impression of his book “My Sister Life”.
Two and a half months spent in Berlin turned out to be very intense for her both humanly and creatively. Tsvetaeva managed to write more than twenty poems, in many ways not similar to the previous ones. She created the cycle "Earthly Objects", poems "Berlin", "There is an hour for those words ..." and other works. Her lyrics became more complicated, she went into secret encrypted intimate experiences. The theme seemed to remain the same: earthly and romantic love, eternal love, but the expression was different.
Remember the law
Do not own here!
So that later - in the City of Friends:
In this empty
In this cool
Heaven for men -
all in gold -
In a world where the rivers are reversed,
On the banks of the river
Take in an imaginary hand
Imagination of the other hand.
In August 1922, Tsvetaeva left for Prague to live with Efron. In search of cheap housing, they wandered around the suburbs: Makroposy, Ilovishchi, Vshenory - villages with primitive living conditions. With all her heart, Tsvetaeva fell in love with Prague, the city that inspired her, in contrast to Berlin, which she did not like. The difficult, semi-beggarly life in the Czech villages was compensated by the proximity to nature - eternal and invariably towering over the "earthly baseness of days", hiking in the mountains and forests, as well as friendship with the Czech writer and translator A.A. Teskova. Their correspondence after Tsvetaeva's departure to France later formed a separate book, published in Prague in 1969.
The famous "Poem of the Mountain" and "Poem of the End" dedicated to Konstantin Rodzevich were written in the Czech Republic. In 1925, after the birth of their son George, the family moved to Paris. In Paris, Tsvetaeva was strongly influenced by the atmosphere that had developed around her due to her husband's activities. Efron was accused of being recruited by the NKVD and participating in a conspiracy against Lev Sedov, Trotsky's son.
Marina Tsvetaeva. August 23, 1922.

Far left - Marina Tsvetaeva.
Behind stands on the left - Sergei Efron. Right: Konstantin Rodzevich.
Prague, 1923

The most cherished theme of Tsvetaeva was love - a bottomless concept for her, absorbing endless shades of experiences. Love for Tsvetaeva was many-sided - you can fall in love with a dog, a child, a tree, your own dream or a literary hero. Any feeling, except for hatred and indifference, was love for Tsvetaeva. In the Czech Republic, Tsvetaeva completed the poem "Well Done" about the mighty, all-conquering power of love. She embodied her idea that love is always an avalanche of passions that falls on a person, which inevitably ends in separation, she embodied in the "Poem of the Mountain" and "The Poem of the End", inspired by a stormy romance with K.B. Razdevich. The cycle "The Ravine", the poems "I love, but the flour is still alive ...", "Ancient vanity flows through the veins ..." and other works were dedicated to him.
The lyrics of Tsvetaeva of that time also reflected other feelings that worried her - contradictory, but always strong. Passionate, poignant verses expressed her longing for her homeland in the poems "Dawn on the Rails" and "Emigrant". Letters to Pasternak merged with lyrical appeals to him in the verses "Wires" and "Two". The description of the Prague outskirts in the work "Factory" and the echoes of moving from apartment to apartment were combined into anguish from inescapable poverty. She continued to reflect on the special fate of the poet in the “Poet” cycle, on his greatness and defenselessness, power and insignificance in the world “where crying is called a runny nose”:
What am I to do, singer and first-born,
In a world where the blackest is gray!
Where inspiration is stored, like in a thermos!
With this immensity
In the world of measures?!
(!What am I to do, blind man and stepson…”, 1923)
On February 1, 1925, a son was born to Tsvetaeva, named George. She had long dreamed of a boy, and affectionately called Moore.
Marina Tsvetaeva 1924.

Marina Tsvetaeva 1928. Pontyac.

Marina Tsvetaeva. Czechoslovakia, 1925.

Since the 1930s, Tsvetaeva and her family have lived almost in poverty. Financially, Salome Andronikova helped her a little.
No one can imagine the poverty in which we live. My only income is from what I write. My husband is sick and cannot work. My daughter earns a penny sewing hats. I have a son, he is eight years old. The four of us live on this money. In other words, we are slowly dying of hunger.
Marina Tsvetaeva. 1930s.

Marina Tsvetaeva. Savoy, 1930

Marina Tsvetaeva (left). 1935

On March 15, 1937, Ariadne left for Moscow, the first of the family to have the opportunity to return to her homeland. On October 10 of the same year, Efron fled France, becoming involved in a contract political assassination.
In 1939, Tsvetaeva returned to the USSR after her husband and daughter, lived at the NKVD dacha in Bolshevo (now the Memorial House-Museum of M. I. Tsvetaeva in Bolshevo), the neighbors were the Klepinins. On August 27, Ariadne's daughter was arrested; on October 10, Efron. On October 16, 1941, Sergei Yakovlevich was shot at the Lubyanka (according to other sources, in the Oryol Central); Ariadne, after fifteen years of imprisonment and exile, was rehabilitated in 1955.
Marina Ivanovna Tsvetaeva. 1939

Sergei Efron.

The war found Tsvetaeva translating Federico Garcia Lorca. The work was interrupted. On August 8, Tsvetaeva and her son left on a steamer for evacuation; On the eighteenth, she arrived with several writers in the town of Yelabuga on the Kama. In Chistopol, where the evacuated writers were mostly located, Tsvetaeva received permission for a residence permit and left a statement: “To the council of the Literary Fund. I ask you to take me to work as a dishwasher in the opening canteen of the Litfond. August 26, 1941". On August 28, she returned to Yelabuga with the intention of moving to Chistopol.

On August 31, 1941, she committed suicide (hanged herself) in the Brodelshchikovs' house, where she and her son were sent to stay. She left three suicide notes: to those who will bury her, to the “evacuees”, to Aseev and to her son. The original note by the “evacuees” was not preserved (it was confiscated as material evidence by the police and lost), its text is known from the list that Georgy Efron was allowed to make.
Note to son:
Purr! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Ala - if you see - that you loved them until the last minute and explain that you are in a dead end.
Aseev's note:
Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to your place in Chistopol - just take him as a son - and that he study. I can do nothing more for him and only destroy him. I have 450 rubles in my bag. and if you try to sell all my things. There are several handwritten books of poetry and a pack of prose prints in the chest. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love like a son - deserves it. And forgive me. Didn't take it out. MC. Don't ever leave him. I would be extremely happy if I lived with you. Leave - take it with you. Don't quit!
Note to the "evacuees":
Dear comrades! Don't leave Moore. I beg the one of you who can take him to Chistopol to N. N. Aseev. The steamboats are terrible, I beg you not to send him alone. Help him with the luggage - fold and take it. In Chistopol I hope for a sale of my things. I want Moore to live and study. It will disappear with me. Addr. Aseeva on the envelope. Do not bury alive! Check well.

Marina Tsvetaeva was buried on September 2, 1941 at the Peter and Paul Cemetery in Yelabuga. The exact location of her grave is unknown. On the south side of the cemetery, near the stone wall where her lost last refuge is located, in 1960 the sister of the poetess, Anastasia Tsvetaeva, "between four unknown graves of 1941" set up a cross with the inscription "Marina Ivanovna Tsvetaeva is buried in this side of the cemetery." In 1970, a granite tombstone was erected on this site. Later, already at the age of 90, Anastasia Tsvetaeva began to assert that the grave was located at the exact burial place of her sister and all doubts were just speculation. Since the beginning of the 2000s, the location of the granite tombstone, framed by tiles and hanging chains, has been called the “official grave of M.I. Tsvetaeva” by the decision of the Union of Writers of Tatarstan. The exposition of the Memorial Complex of M. I. Tsvetaeva in Yelabuga also shows a map of the memorial site of the Peter and Paul Cemetery, indicating two “version” graves of Tsvetaeva - according to the so-called “churbanovskaya” version and the “Matveevskaya” version. There is still no single evidentiary point of view on this issue among literary critics and local historians.
Grave of Marina Tsvetaeva in Yelabuga.