In Marina Tsvetaeva’s poetry, incentive sentences are ubiquitous. As Brodsky said - main sign Its syntax is a dash - and this sign crosses out the entire literature of the century.

The goal of any artistic style is to influence the feelings and thoughts of readers and listeners with the help of created images. Art style assumes preliminary selection linguistic means, use of all language means.

It is no secret that a writer’s skill is determined by his general talent, and his ability to express this talent in a certain form; to see the reality around us in our own way, with his worldview, his language and style. All signs of mastery should organically complement each other. Marina Tsvetaeva preferred to work on rhythm, in a word, to bring her playing with sounds to perfection.

Following the unconventionality and power of Pushkin’s poetic phrases, Tsvetaeva looks for similar phrases in the language of another historical era. Having been in the “Pushkin school”, true poets then go out into freedom, into space, into the sphere of their own poetic possibilities. Pushkin's school does not constrain. And he frees the great poet:

The critic is whining, the whiner is echoing:

“Where is Pushkin’s (sob)

Knowing of limits?" Feeling - seas

Forgot - about granite

……………….

This and that to Pushkin's huts

Pretend that you yourself are trash!

Like from the shower! Like from a cannon -

Pushkin - according to nightingales... Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.354

Rethinking individual phrases, Marina Tsvetaeva, with their help, creates images of contemporaries and historical figures. Its uniqueness of language and style must be constantly taken into account. So, “Pushkin was killed not by a white head, but by some kind of gap.” In the modern dictionary, a space is an empty space. Space between letters, between lines. Tsvetaeva’s space turns into actor tragedy.

The narrative of Tsvetaeva’s poetry must be built “from within” “with the help of her poetic voice, arising in the distant depths of the word. All Tsvetaeva’s poetry is born from music, which she transforms into words; the enormous temperament and volcanic humor that lives in her lines expresses her poetic worldview.

“The word is creativity, like anything else, only following the trail of folk and natural hearing. Walking by ear. Verbal art combines both a logical and a figurative-emotional way of comprehending reality. When the artifact is complete, it is capable of a particularly strong effect on a person and is more massive in its capabilities” Zubova L.V. Poetry of M. Tsvetaeva, M.: Education, 1989, p.4

In the essay “The Poet on Criticism,” Tsvetaeva writes: “And what is reading if not unraveling, interpretation, extracting the secret that remains behind the lines, the limit of words. Reading is, above all, co-creation. I'm tired of my stuff, which means I read well and read good things. The reader's fatigue is not a devastating fatigue, but a creative one. Co-creative. It does honor to both the reader and me.”

Many researchers of Marina Tsvetaeva’s work note that mentally and spiritually Tsvetaeva developed faster, more rapidly than her own poetic word: Marina was already Tsvetaeva, and her poem had not yet left the nursery.

Rhythm and meter were subordinated to her fever of inhalation and exhalation, she tore the line, changed the rhythm, discarded everything that interfered with the movement - the rapid flight of a sparingly feathered and well-aimed arrow. An accurate eye made the goal clearly visible and achievable. Expression and logic gave her poems a sharp originality, the bright fireworks of a holiday, the thunder and glow of poetic rebellion.

In poetry, life, everyday life, love, Tsvetaeva was a romantic. Everything that came into her field of vision was miraculously and festively transformed, began to sparkle and live with a tenfold thirst for life. In her own words, she constantly felt “a mad love for life, a convulsive thirst to live.”

Musical talent was internally related to poetic literary talent; it was sound that led her to verse and meaning. Both rhyme and meaning from Tsvetaeva resonate. Even in linguistic analysis poetry of Marina Tsvetaeva by contemporaries, we find the following lines: “intonation sorcery, divination over meanings.” Voloshin, a poet and friend, with whom Tsvetaeva often stayed, and in whose house more than one of her poems was born, notes: “Marina’s poems were on a par with her personality.”

There is always sparkle and impulsiveness in Tsvetaeva’s poetry. Esoteric motifs about the frailty of the physical body, constant romanticization of the ordinary (rags and rags, frayed, torn), emotional contrasts (splendor - rags) - all this together creates an extremely high emotional background:

You are wearing rags, my dear one,

Formerly tender flesh.

I've torn everything up, torn it up, -

Only two wings remain.

Dress me in your splendor

Have mercy and save.

And the poor decayed rags -

Take it to the sacristy. Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.339

Tsvetaeva usually does not have any smooth increase in height. She immediately starts with a sonic boom, with a full exhalation. It is no coincidence that most of her poems arose impulsively and improvisedly.

Tsvetaeva is an unpredictable, nervous, impetuous and reckless poet. The poem falls on the reader (and Tsvetaeva’s reader must be, first of all, a listener) like a powerful and unexpected sound wave - the ninth! - immediately to the shaft. As a poet, as an artist, she grew not so much into herself, but into a word that, with its sound and meaning, could convey the most important melodies of her soul. Tsvetaeva herself writes about her contemporaries-poets: “it was not they who grew and changed, it was their linguistic “I” that grew and matured to them.”

In her poems we find expression, where the verse not only sounds, sobs, threatens, but even seems to gesticulate:

Remember: all heads are dearer to me

One hair from my head.

And go yourself..- You too,

And you too, and you.

Stop loving me, stop loving everyone!

Watch out for me in the morning!

So that I can go out calmly

Stand in the wind. M. Tsvetaeva, works in 2 volumes, M.: “Enlightenment”, 1989, p.123

Such were the properties of her personality that Tsvetaeva treated almost any topic as an existential, cosmic problem. Tsvetaeva was not inclined to rely on inspiration and never waited for it, believing that it comes in the midst of work - almost like dedication to the material. Marina Tsvetaeva perceived the world and the collisions of life only through the prism of this lofty unearthly, responding to everything that happened like a Poet.

As Whitman said, “Great poetry comes only from great readers.”

“Reading,” says Tsvetaeva, “is participation in creativity” - this, of course, is the poet’s statement; In this statement we see a note of despair, extremely muted by the author and female pride, of the poet, who is very tired of the ever-increasing - with each subsequent line - gap with the audience. Turning to prose, Tsvetaeva shows her reader what a word - thought - phrase consists of; she tries - often against her will - to bring the reader closer to herself: to make him equal.

There is another explanation for the methodology of Tsvetaeva’s poetry. Since the emergence of the genre, any piece of art- a story, a story, a novel - they are afraid of one thing: the reproach of unreliability. Hence - either the desire for realism, or compositional delights. Ultimately, every writer strives for the same thing: to overtake or retain the lost and current Time. For this, the poet has caesura, unstressed feet, dactylic endings; Tsvetaeva quite unconsciously uses the dynamics of poetic speech - in principle, the dynamics of a song, which in itself is a form of reorganization of Time. If only because the poetic line is short, for each word in it, often for each syllable, there is a double or triple semantic load. The plurality of meanings presupposes a corresponding number of attempts to comprehend, that is, many times; and what is there if not a unit of Time?

Tsvetaeva imposes her technology on the genre, imposes herself. This does not come from an obsession with one’s own person, as is commonly thought, but from an obsession with intonation, which is much more important to her than both the poem and the story.

The effect of authenticity of the narrative is achieved by using dramatic arrhythmia. Tsvetaeva, who does not need to borrow anything from anyone, begins with the utmost structural compression of speech and ends with it; a product of instinctive brevity.

The literature created by Tsvetaeva is the literature of “above-text”; if its consciousness “flows”, it is in the mainstream of ethics; “Marina often begins a poem with the top “C,” said Anna Akhmatova. Such was the property of her poetic voice, her speech always began from the end of the octave, in the upper register, at its limit, after which only a descent or, at best, a plateau is conceivable. However, the timbre of her voice was so tragic that it provided a feeling of lifting for any length of sound. This tragedy did not come from the biography: it happened before. The biography only coincided with him, echoed him. This timbre is clearly discernible already in “Youthful Poems”:

To my poems, written so early,

That I didn’t even know that I was a poet...

This is no longer a story about oneself: it is a renunciation of oneself. The biography had no choice but to follow the voice, constantly lagging behind it, because the voice overtook events, the speed of sound. “Experience in general always lags behind anticipation. I. Brodsky, Brodsky about Tsvetaeva: interviews, essays, M.: Nezavisimaya Gazeta, 1997

“I don’t need anything for myself” - Tsvetaeva’s whole life is a confirmation of her poems.

Thunder, loud heart!

Kiss me hotly, love!

Oh, this roar is brutal!

Daring - oh! - blood. - Soul of Love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.356

Romanticism as a mood, as a desire to escape from real reality into the world of fiction and dreams, as a rejection of life and reality, the eternal “search for infinity in the finite,” the subordination of mind and will to feelings and moods - is the predominant element of Tsvetaeva’s poetry, its psychological basis, with its the creative power of “madness”, with the symbolic content of everyday words. Its most important sign was the analogy of a face, fleetingness, momentariness, in which Eternity was reflected.

In Tsvetaeva’s poetry there is constant dynamics and development, on top of everything material, ruthlessness towards what has already been created, towards the past: “Death is not in the future, it is in the past”:

(What I’m saying, don’t listen!

Everything is grinding - womanly)

I'll destroy it myself in the morning

Your creation. Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p. 398, My path does not lie past your house, April 27, 1920

A romantic poet wants to express his experience in a work; he opens his soul and confesses; He's looking for means of expression, which could convey his emotional mood as directly and vividly as possible; and the poetic work of a romantic is of interest to the extent of the originality, richness, and interesting personality of its creator. A romantic poet always fights against all conventions and laws. He's looking for new form, absolutely corresponding to his experience; he is especially acutely aware of the inexpressibility of experience in its entirety in the conventional forms of art accessible to him.

………………………..

Don't light the candle

In the church darkness.

I don't want eternal memory

On our native soil! Tsvetaeva, works in 2 volumes, M.: “Enlightenment”, 1989, p.154

Poets look into the eyes of God, and encourage the world to understand what is not mediated by formulas - Knowledge:

O world, understand! Singer - in a dream - open

The law of the star and the formula of the flower. Tsvetaeva, works in 2 volumes, M.: “Enlightenment”, 1989, p.157

Is it possible for a poet not to burn? Is it possible to observe the measure? (“with this immensity in the world of measures”). For the Russian poet Marina Tsvetaeva, this turned out to be impossible:

What others don't need, bring it to me!

Everything must burn in my fire!

………………………………….

Bird - Phoenix - I only sing in the fire!

Support my high life!

I'm burning high - and burning to the ground!

And may your night be bright! Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.390, September 2, 1918

These verses capture the moment that sounds.

You can see in Tsvetaeva’s poems, under the cover of tragedy, lightness and sparkle (“Youth”):

Flare your crimson skirt,

My youth! My darling

Dark! The ruin of my soul!

My youth! Console, sleep! Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.418, Youth, part 2, November 20, 1921

Wrinkled pedestrian

Don't admire the sail!

Oh, no need for youth

To admire - old age!

Some go to the sand, some go to school.

To each his own.

On people's heads

Leisya, oblivion! Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.388, July 27, 1918

Incentive sentences in Tsvetaeva’s poetry breathe Freedom, liberation from all attachments, and from emotional intensity, including purification through burning, the limitless capacity of Tsvetaeva’s own personality, and, ultimately, insight

Oh, doesn't preen for a meeting

Love. - Don’t be angry at the vernacular

Speeches, I would not advise you to neglect:

That chronicle is fire speech.

Disappointed? Say it without fear!

Then - uprooted from friendships and friendships

Spirit. - Into the confusion of anchors and hopes

Epiphany is an irreparable gap! Soul of love, poetry collection, Chelyabinsk: South Ural book. Publishing house, 1991, p.424, S.E., January 23, 1922

The style of M. Tsvetaeva’s poetry is original, new and brightly individual. The Tarusa psyche told the world her poetic truth: “What has life done to me? - Poetry".

Poetic originality Marina Tsvetaeva

I don't believe in poetry

Which are pouring.

They are torn - yes!

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

If there are poets who perceive the world through vision, who know how to look and consolidate what they see in visual images, then Marina was not one of them. The world opened up to her not in colors, but in sounds. “When I was born instead of the desired, predetermined, almost ordered son Alexander, my mother, proudly swallowing a sigh, said: “At least there will be a musician.” The musical element was very strong in Tsvetaeva’s work. There is not a trace of peace, tranquility, or contemplation in her poetry. She is all in the storm, in the whirlwind movement, in action and deed. Moreover, she was characterized by a romantic view of creativity as a stormy impulse that captures the artist, a hurricane wind that carries him away. When you open any book, you are immediately immersed in its element - in an atmosphere of spiritual burning, immensity of feelings, constant departure from the norm, dramatic conflict and confrontation with the outside world.

Tsvetaeva’s eternal and dearest theme is freedom and self-will of a soul that knows no measure. She values and admires this beautiful, inspiring freedom:

Not divorced by a sense of proportion -

Faith! Aurora! Souls are azure!

Fool is a soul, but what Peru

Didn’t give in - souls for nonsense?

Tsvetaeva’s poetry itself is free. Her word is always fresh, not worn out, direct, specific, and does not contain extraneous meanings. Such a word conveys a gesture not only mental, but also physical; it, always stressed, highlighted, intonationally emphasized, greatly increases the emotional intensity and dramatic tension of speech: “Here! Rip! Look! It flows, doesn't it? Prepare the vat!”

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

In her versification, Tsvetaeva came close to the rhythm of Mayakovsky:

Overturned...

Notes, planets -

Let's shower!

- He'll take it out!!!

The end... No...

According to Marina, this is how “physical heartbeat - the heartbeat - of a stagnant horse or a tied up person.”

The poetry of Marina Tsvetaeva is unmelodic, unsung, and disharmonious. On the contrary, it absorbed the roar of waves, peals of thunder and a cry lost in the aria of a sea storm. Tsvetaeva exclaimed: “I don’t believe the poems that flow. They are torn - yes! She knew how to tear a poem, crush it into small parts, “scatter it into dust and rubbish.” The unit of her speech is not a phrase or a word, but a syllable. Tsvetaeva is characterized by the division of poetic speech: word division and syllable division:

To Russia - you, to Russia - the masses,

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

The pause plays a special role in Tsvetaeva’s system of means of expression. A pause is also a full-fledged element of rhythm. In contrast to the usual placement of pauses at the end of a line, Tsvetaeva’s pauses are shifted, often falling in the middle of the line or in the next stanza. Therefore, the poet’s rapid verse stumbles, breaks off, rises:

Twenty years of freedom -

Everyone. Fire and home -

Everyone. Games, sciences –

Everyone. Labor for anyone

If only there were hands.

Syntax and intonation seem to erase the rhyme. And the point here is Tsvetaeva’s desire to speak completely and accurately, without sacrificing meaning. If a thought does not fit into a line, you must either “finish” it or break off mid-sentence, forgetting about rhyme. Since the thought has already been formed, the image has been created, the poet considers it unnecessary to end the verse for the sake of completeness of meter and compliance with rhyme:

Not a stranger! Yours! My!

She treated everyone as they were at dinner!

- Long life, my love!

I'm cheating for my new fiancé...

On the march -

Tsvetaeva always wanted to achieve maximum expressiveness with a minimum of funds. For these purposes, she extremely compressed and condensed her speech, sacrificed epithets, adjectives, prepositions, other explanations, and constructed incomplete sentences:

All the splendor -

Trumpets are just babbling

The grass is in front of you.

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

Marina Tsvetaeva is the brightest star of poetry of the 20th century. In one of her poems she asked:

"Think about me easily,

It's easy to forget about me."

Many tried to reveal, approve, overturn, and challenge Tsvetaeva’s talent. Writers and critics from Russia abroad wrote differently about Marina Tsvetaeva. Russian editor Slonim was confident that “the day will come when her work will be rediscovered and appreciated and will take its rightful place as one of the most interesting documents of the pre-revolutionary era.” Marina Tsvetaeva’s first poems, “Evening Album,” were published in 1910 and were accepted by readers as the poems of a real poet. But during the same period, Tsvetaeva’s tragedy began. It was a tragedy of loneliness and lack of recognition, but without any taste of resentment or injured vanity. Tsvetaeva accepted life as it was. Since she is at the beginning of her creative path considered herself a consistent romantic, she voluntarily surrendered herself to fate. Even when something came into her field of vision, it immediately transformed miraculously and festively, began to sparkle and tremble with some tenfold thirst for life.

Gradually, the poetic world of Marina Tsvetaeva became more complex. The romantic worldview interacted with the world of Russian folklore. During emigration, Marina Tsvetaeva's poetry absorbs the aesthetics of futurism. In her works, she moves from melodious and spoken intonation to oratorical intonation, which often breaks into a scream or wail. Tsvetaeva futuristically attacks the reader with all poetic devices. Most of the Russian emigration, in particular those living in Prague, responded to her with an unfriendly attitude, although they recognized her talent. But the Czech Republic still remained in the memory of Marina Tsvetaeva as a bright and happy memory. In the Czech Republic, Tsvetaeva finishes her poem “Well done.” This poem was the poetess’s guardian angel; it helped her survive the most difficult times during the initial period of her existence in the depths.

In Berlin, Marina Tsvetaeva works a lot. In her poems one can feel the intonation of hard-won thoughts, weariness and burning feelings, but something new has also appeared: bitter concentration, internal tears. But through melancholy, through the pain of experience, she writes poems filled with selflessness and love. Here Tsvetaeva creates "Sibyl". This cycle is musical in composition and imagery and philosophical in meaning. It is closely connected with her “Russian” poems. During the emigrant period, an enlargement of her lyrics was observed.

It is just as impossible to read, listen, and perceive Tsvetaev’s poems calmly, just as it is impossible to touch exposed wires with impunity. Her poems include a passionate social element. According to Tsvetaeva, the poet is almost always opposed to the world: he is a messenger of the deity, an inspired mediator between people and heaven. It is the poet who is contrasted with the rich in Tsvetaev’s “Praise...”.

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

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

During her Parisian years, she wrote little lyric poetry; she worked mainly on poems and prose, memoirs and criticism. In the 30s, Tsvetaeva was almost never published - her poems came in a thin, intermittent trickle and, like sand, into oblivion. True, she manages to send “Poems to the Czech Republic” to Prague - they were preserved there like a shrine. This is how the transition to prose took place. For Tsvetaeva, prose, while not being verse, nevertheless represents the most authentic Tsvetaeva poetry with all its other inherent features. In her prose, one can not only see the personality of the author, with her character, passions and manner, well known from poetry, but also the philosophy of art, life, and history. Tsvetaeva hoped that prose would shield her from the emigrant publications that had become unfriendly. The last cycle of poems by Marina Tsvetaeva was “Poems for the Czech Republic”. In them she warmly responded to the misfortune of the Czech people.

And to this day, Tsvetaeva is known and loved by many millions of people, not only here in Russia, but also in many countries around the world. Her poetry has become an integral part of our spiritual life. Other poems seem so old and familiar, as if they have always existed, like a Russian landscape, like a rowan tree by the road, like full moon, flooding the spring garden...

At the beginning of her career, Marina Ivanovna Tsvetaeva (1892-1941) considered herself and was a consistent romantic. She most fully expressed in Russian literature neo-romantic trends that marked the Silver Age. A striking sign of Russian romanticism was the gypsy theme. She turned out to be one of the central ones in Tsvetaeva’s early lyrics. On the pages of her first books we notice the influence of Byron, Pushkin as a romantic, Batyushkov. Her favorite words are never And forever- words denoting romantic extremes. With all its unique originality, it became the successor to the traditions of expressionism and cubo-futurism. Her methods of poetic speech are precisely futuristic: intense attention to the sound of speech, words and word formation, an abundance of pauses (Tsvetaev’s dashes correspond not to syntax, but to emotions), syntax that is opposed to everyday speech, verse that violates the norms of syllabonics, oratorical intonation that breaks into a scream, scream. The main technique for Tsvetaeva is semantic variation. Some thought arises in her mind, usually in a metaphorical form, in the form of an aphoristic formula. This germ of the poem becomes an invariant, an unchanging basis; it varies many times, and these variations form the main fabric of the work.

The first collection of poems - “Evening Album” (1910), collections “Magic Lantern”, “From Two Books”, “Milestones”, “Craft”, “After Russia” and others. Poems “Tsar-Maiden”, “Poem of the Mountain” , “Poem of the End”, “Poem of the Staircase”, “Poem of the Air”, “Bus”, etc. Plays “The End of Casanova”, “Phaedra”, etc. Essay “My Pushkin”.

The first book contains sketches, lyrical pictures, sketches of life situations, mental conflicts. Painterly impressionism appears in the titles of the poems: “Dortoir in Spring”, “In the Luxembourg Garden”, “Lady in Blue”, “Watercolor”, “Books in Red Bound”. Also musical associations. Artistic synthesis.

She did not belong to any of the poetic groups. But there was an influence of symbolism, which manifested itself, first of all, in the idea that the poet is a mediator between the human world and the astral plane and his role on earth is transformative. Tsvetaeva’s artistic nature, the absence of any efforts aimed at creating the poet’s image, is an organic entry into literature.

The second book and subsequent collections revealed Tsvetaeva’s “visionary” inclinations ( "To my poems...") and aphorism of the syllable ( “You look like me”, “Byron”, “Pushkin”, How many of them have fallen into this abyss”, “Grandma” and etc.). Tsvetaeva’s poetic nature manifested itself through romantic maximalism: the polarity of images, their grotesqueness, a sharply defined spiritual and moral conflict, the conflict of Dreams and reality, everyday life and Existence. The romantic conflict between the human and the vulgar is one of the central ones in Tsvetaeva’s work. Poem "Newspaper Readers". Rebellion. At the same time, in her work she strives for harmony, reconciliation from a duel, be it love-duel, love-discord, parting or duel with the world and herself through repentance and repentance. Poem “Yesterday I looked you in the eye” (“Forgive me for everything, for everything, / My dear, what I did to you”). Poem “I like that you are not sick with me”: the final lines remove the “mask of bravado”: "Because you are sick, Alas, not me, / Because I’m sick, Alas, not by you". Sound recording: poem “Quite: I’m eaten up by you...” (consonant occasional antonyms). Tsvetaeva often has ellipses. Speech “imaginary irregularities”. Graphics: dash in the middle of a word.

The lyric cycle “Swan Camp” is dedicated to the white movement.

Emigration. Spiritual Acceptance Soviet Union. "Poems to my son". In 1939 ᴦ. returned to the USSR. The husband was shot, the daughter was sent to a concentration camp. Suicide during evacuation in Yelabuga. Brodsky believed that Tsvetaeva was the greatest Russian poet of the 20th century, although, of course, this is subjective, because Tsvetaeva has many chaotic, tortured and frankly weak poems.

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"Moscow childhood"

poetess Tsvetaeva lyrics

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

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

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

The Tsvetaev family lived in a cozy mansion in one of the ancient Moscow alleys; spent the summer in the Kaluga town of Tarusa, and sometimes on trips abroad. All this was the spiritual atmosphere that breathed into Marina Tsvetaeva’s childhood and youth. She early felt her independence in tastes and habits, and firmly defended this quality of her nature in the future. At the age of sixteen she accomplished independent trip to Paris, where she took a course in Old French literature at the Sorbonne. While studying in Moscow private gymnasiums, she was distinguished not so much by her mastery of compulsory curriculum subjects, but by the breadth of her general cultural interests.

The making of a poet

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

In the first two books of poems (“Evening Album” and “Magic Lantern”) and the poem “The Sorcerer” Marina Tsvetaeva carefully describes home life (children’s room, “hall”, mirrors and portraits), walks on the boulevard, reading, music lessons, relationships with mother and sister imitate the diary of a high school student who, in this atmosphere of a “children’s” sentimental fairy tale, grows up and becomes familiar with the poetic. The confessional, diary-like nature is accentuated by the dedication of the “Evening Album” to the memory of Maria Bashkirtseva. Maria Bashkirtseva is a Russian artist who wrote the book “Diary” in French. In the poem “On a Red Horse,” the story of the poet’s development takes the form of a romantic fairy-tale ballad.

Poetic world and myth

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

One of the important images of this period of Tsvetaeva’s work is the image Ancient Rus'. She appears as an element of violence, self-will, unbridled revelry of the soul. An image emerges of a woman devoted to rebellion, autocratically surrendering to the whims of her heart, in selfless daring, as if breaking free from under the age-old oppression that weighed on her. Her love is willful, does not tolerate any obstacles, is full of audacity and strength. She is either a shooter of the Zamoskvoretsky riots, or a sorceress-princess, or a wanderer of long roads, or a participant in bandits of robbers, or almost the noblewoman Morozova. Her Rus' sings, laments, dances, prays and blasphemes to the full extent of Russian irrepressible nature.

"After Russia"

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

This was always the case with her, throughout the entire period of her difficult life abroad. Courageously fighting poverty and illness, in an atmosphere of complete alienation from emigrant literary circles, suffering from moral loneliness, she did not let go of the pen, creating poetry.

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

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

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

“The Poem of the End” is an extensive, multi-part dialogue about separation, where in deliberately everyday conversations, sometimes sharply abrupt, sometimes tender, sometimes evilly ironic, those who part forever take their last journey through the city.

Much more complex is the “Poem of the Staircase,” where the staircase of a house crowded with urban poverty is a symbolic image of all the everyday troubles and sorrows of the have-nots against the backdrop of the well-being of the haves and the prosperous. A staircase along which people ascend and descend, along which they carry the miserable things of the poor and the heavy furniture of the rich.

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

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

For you with every muscle

I'm holding on and I'm proud

The Chelyuskinites are Russians!

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

Features of poetic language

All of Tsvetaeva’s work is characterized by romantic maximalism, motives of loneliness, the tragic doom of love, rejection of everyday life, intonation and rhythmic expressiveness, and metaphor. The confessionalism, emotional intensity, and energy of feeling characteristic of Tsvetaeva’s poetry determined the specificity of the language, marked by the conciseness of thought and the rapidity of the unfolding of action. Most bright features Tsvetaeva’s original poetics in all periods of her life included intonation and rhythmic diversity (she used raeshny verse, that is, accented verse with paired rhymes, the rhythmic pattern of a ditty; folklore origins are most noticeable in the fairy tale poems “The Tsar Maiden”, “Well done”), stylistic and lexical contrasts (from vernacular and grounded everyday realities to the elation of high style and biblical imagery), for example:

I planted an apple tree:

Little ones - something funny,

To the old - youth,

The gardener is a joy.

I drink - I won't get drunk. Sigh - and a huge exhale.

And the blood murmuring underground roar,

So at night, disturbing the sleep of David,

King Saul was choking.

Other features of Tsvetaeva’s poetry are unusual syntax (the dense fabric of the verse is replete with the “dash” sign, often replacing omitted words), for example, “...Through the slabs - up - into the bedchamber - and to your heart's content!”, experiments with sound (for example, the constant play on paronymic consonances ; paronyms are words that are close in sound but different in meaning, for example, “hot with bitterness”) and others.

V.A. Rozhdestvensky wrote about Tsvetaeva’s poetry: “The strength of her poems is not in visual images, but in a bewitching flow of ever-changing, flexible, involving rhythms. Sometimes solemnly upbeat, sometimes colloquial and everyday, sometimes chanting, sometimes fervently mocking, in their richness of intonation they masterfully convey the flow of flexible, expressive, apt and capacious Russian speech... Her poems are always a sensitive seismograph of the heart, thoughts, any excitement , owning the poet"

End of the road

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

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

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What are the main features of Tsvetaeva’s poetry. Features of M's early lyrics