Ministry of Education and Science of the Samara Region

State budget educational institution

secondary vocational education

Togliatti Socio-Economic College

Topic of educational and research work:

“Features of the artistic rhetoric of M.I. Tsvetaeva.

Subject: Literature.

Head of educational and research work M.P. Ivanova

Executed by E.S.Tikhonova

Group IS-11

Tolyatti

1. Introduction…………………………………………………….……………………3

2. Biography of Tsvetaeva M.A…..……………………………………………………4

3. The artistic world of M.I. Tsvetaeva..……………………………………….8

3.1. Features of the poetic world of Tsvetaeva M.I………………………….8

3.2. Techniques of contrast…………………………………………………………..10

3.3. The breadth of the emotional range of Tsvetaeva M.I…………………….13

3.4. Methods of poetic rhetoric of late romanticism in the work of Tsvetaeva M.I……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

3.5. Features of the poetic syntax of Tsvetaeva M.I…………………17

3.6. Symbols of Tsvetaeva M.I……………………………………………………18

3.7. Features of the fate of the poet………………………………………………….19

4. Conclusion……………………………………………………………………….22

5. List of sources used……………………………………………..23

1. Introduction

RHETORIC (Greek rhetorike "oratory"), a scientific discipline that studies the patterns of generation, transmission and perception of good speech and quality text.

At the time of its origin in antiquity, rhetoric was understood only in the direct meaning of the term - as the art of a speaker, the art of oral communication. public speaking. A broad understanding of the subject of rhetoric is the property of a later time. Now, if it is necessary to distinguish the technique of oral public speaking from rhetoric in a broad sense, the term is used to refer to the former. oratorio.

Rhetoric was considered not only the science and art of good oratory, but also the science and art of bringing to good, persuading good through speech.

Purpose of the study:

1) identify and describe potential opportunities language units implemented in special conditions poetic text.

2) show how the realization of the potential properties of the language allows the poet to express artistic means their understanding of the world, their philosophical position.

Object of study: The artistic world and rhetoric, the poetic world of Tsvetaeva M.I.

2. Biography of Tsvetaeva M.A.

Tsvetaeva Marina Ivanovna

Russian poetess.

She was born on September 26 (October 8), 1892, in a Moscow family. Father - I. V. Tsvetaev - professor of art, founder of the Moscow Museum of Fine Arts named after A. S. Pushkin, mother - M. A. Mein (died in 1906), pianist, student of A. G. Rubinstein, grandfather of half-sisters and brother - historian D. I. Ilovaisky. As a child, due to her mother's illness (consumption), Tsvetaeva lived for a long time in Italy, Switzerland, Germany; breaks in gymnasium education were replenished by studying in boarding schools in Lausanne and Freiburg. Fluent in French and German. In 1909 she took a course in French literature at the Sorbonne.
The beginning of Tsvetaeva's literary activity is connected with the circle of Moscow symbolists; she meets V. Ya. Bryusov, who had a significant influence on her early poetry, with the poet Ellis (L. L. Kobylinsky), participates in the activities of circles and studios at the Musaget publishing house. The poetic and artistic world of the house of M. A. Voloshin in the Crimea had an equally significant impact (Tsvetaeva stayed in Koktebel in 1911, 1913, 1915, 1917). In the first two books of poems "Evening Album" (1910), "Magic Lantern" (1912) and the poem "The Enchanter" (1914), a thorough description of home life (nursery, "halls", mirrors and portraits), walks on the boulevard, reading, music lessons, relations with her mother and sister, the diary of a high school student is imitated (confessional, diary orientation is accentuated by the dedication of the “Evening Album” to the memory of Maria Bashkirtseva), who, in this atmosphere of a “childish” sentimental fairy tale, grows up and joins the poetic. In the poem "On a Red Horse" (1921), the story of the poet's formation takes the form of a romantic fairy-tale ballad.

In the next books "Milestones" (1921-22) and "Craft" (1923), revealing the creative maturity of Tsvetaeva, the focus on the diary and fairy tale is preserved, but already being transformed into part of an individual poetic myth. In the center of the cycles of poems addressed to contemporary poets A. A. Blok, S. Parnok, A. A. Akhmatova, dedicated to historical figures or literary heroes - Marina Mnishek, Don Juan, etc., is a romantic person who cannot be understood by contemporaries and descendants, but also does not seek primitive understanding, philistine sympathy. Tsvetaeva, identifying herself with her characters to a certain extent, 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 romantic motifs of rejection, homelessness, sympathy for the persecuted, characteristic of Tsvetaeva's lyrics, are supported by the real circumstances of the poetess's life. In 1918-22, together with her young children, she was in revolutionary Moscow, while her husband S. Ya. Efron was fighting in the white army (poems 1917-21, full of sympathy for the white movement, made up the Swan Camp cycle). From 1922, Tsvetaeva's emigrant existence began (a short stay in Berlin, three years in Prague, from 1925 - Paris), marked by a constant lack of money, household disorder, difficult relations with Russian emigration, and increasing hostility of criticism. To the best poetic works of the emigrant period (the last lifetime collection of poems "After Russia" 1922-1925, 1928; "The Poem of the Mountain", "The Poem of the End", both 1926; the lyrical satire "The Pied Piper", 1925-26; tragedies on ancient subjects "Ariadne" , 1927, published under the title "Theseus", and "Phaedra", 1928; the last poetic cycle "Poems to the Czech Republic", 1938-39, was not published during his lifetime, etc.) philosophical depth, psychological accuracy, expressiveness of style are inherent.
Confession, emotional tension, energy of feeling, characteristic of Tsvetaeva's poetry, determined the specifics of the language, marked by the conciseness of thought, the swiftness of the deployment of lyrical action. The most striking features of Tsvetaeva's original poetics were intonational and rhythmic diversity (including the use of raesh verse, the rhythmic pattern of a ditty; folklore origins are most noticeable in the fairy tale poems "The Tsar Maiden", 1922, "Well Done", 1924), stylistic and lexical contrasts (from vernacular and grounded everyday realities to elevated high style and biblical imagery), unusual syntax (the dense fabric of the verse is replete with the dash sign, which often replaces omitted words), breaking the traditional metric (mixing classical stops within one line), experiments on sound (including the constant play on paronymic consonances, which turns the morphological level of the language into a poetically significant one), etc.

Unlike poetry, which did not receive recognition in the emigrant environment (Tsvetaeva's innovative poetic technique was seen as an end in itself), her prose was a success, willingly accepted by publishers and took the main place in her work of the 1930s. (“Emigration makes me a prose writer…”). "My Pushkin" (1937), "Mother and Music" (1935), "The House at the Old Pimen" (1934), "The Tale of Sonechka" (1938), memories of M. A. Voloshin ("Living about the living", 1933), M. A. Kuzmine (“The Otherworldly Wind”, 1936), A. Belom (“The Captive Spirit”, 1934) and others, combining the features of artistic memoirs, lyrical prose and philosophical essays, recreate the spiritual biography of Tsvetaeva. Letters of the poetess to B. L. Pasternak (1922-36) and R. M. Rilke (1926) adjoin prose - a kind of epistolary novel.

In 1937, Sergei Efron, who, for the sake of returning to the USSR, became an NKVD agent abroad, being involved in a contract political assassination, fled from France to Moscow. In the summer of 1939, following her husband and daughter Ariadna (Alei), Tsvetaeva returned to her homeland with her son Georgy (Mur). In the same year, both the daughter and the husband were arrested (S. 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. Being at the beginning of the war in the evacuation in the city of Yelabuga, now Tatarstan, she unsuccessfully tried to get support from the writers.
August 31, 1941 committed suicide.

3. The artistic world of M.I. Tsvetaeva

3.1. Features of the poetic world of Tsvetaeva M.I.

In 1934, one of the program articles by M. I. Tsvetaeva “Poets with history and poets without history” was published. In this work, she divides all artists of the word into two categories. The first includes the poets of the “arrow”, i.e., thoughts and developments that reflect the changes in the world and change with the passage of time - these are “poets with history”. The second category of creators - "pure lyric poets", poets of feeling, "circles" - these are "poets without history". She referred herself and many of her beloved contemporaries to the latter, in the first place Pasternak.

One of the features of the “poets of the circle”, according to Tsvetaeva, is lyrical self-absorption and, accordingly, detachment from real life, and from historical events. True lyrics, she believes, are closed on themselves and therefore “do not develop”: “Pure lyrics live with feelings. Feelings are always the same. Feelings have no development, no logic. They are inconsistent. They are given to us all at once, all the feelings that we are ever destined to experience; they, like the flame of a torch, are born squeezed into our chest.

Amazing personal fullness, depth of feelings and power of imagination allowed M. I. Tsvetaeva throughout her life - and she is characterized by a romantic feeling of the unity of life and creativity - to draw poetic inspiration from the boundless, unpredictable and at the same time constant, like the sea, her own soul . In other words, from birth to death, from the first lines of poetry to the last breath, she remained, according to her own definition, "a pure lyricist."

One of the main features of this "pure lyricist" is self-sufficiency, creative individualism and even egocentrism. Individualism and egocentrism in her case are not synonymous with egoism; they are manifested in the constant feeling of one's own dissimilarity to others, the isolation of one's being in the world of other - uncreative - people, in the world of everyday life. In early poems, this is the isolation of a brilliant child-poet, who knows his own truth, from the world of adults:

We know, we know a lot

What they don't know!
(“In the hall”, 1908-1910)

In youth - the isolation of the "immeasurable" soul in the vulgarized "world of measures." This is the first step towards creative and worldly antagonism between "I" and "they" (or "you"), between the lyrical heroine and the whole world:

you walking past me
To not mine and dubious charms, -
If you knew how much fire
So much wasted life...
... How much dark and formidable longing
In the head of my fair-haired ...
(“You walking past me…”, 1913)

3.2. Contrast techniques

An early awareness of the confrontation between the poet and "the rest of the world" was reflected in the work of the young Tsvetaeva in the use of a favorite technique of contrast. This is a contrast between the eternal and the momentary, being and everyday life: someone else's ("not mine") charms are "doubtful", because they are aliens, therefore, "my" charms are true. This straightforward opposition is complicated by the fact that it is complemented by the contrast of darkness and light (“dark and formidable melancholy” - “fair-haired head”), and the heroine herself turns out to be the source of contradictions and the bearer of the contrast.

The originality of Tsvetaeva's position is also in the fact that her lyrical heroine is always absolutely identical to the personality of the poet: Tsvetaeva stood up for the utmost sincerity of poetry, so any "I" of poems should, in her opinion, fully represent the biographical "I", with its moods, feelings and whole worldview.

Tsvetaeva's poetry is above all a challenge to the world. Of her love for her husband, she will say in an early poem: “I defiantly wear his ring!”; reflecting on the frailty of earthly life and earthly passions, he will ardently declare: “I know the truth! All former truths are lies!”; in the cycle “Poems about Moscow” he will present himself as dead and oppose the world of the living, who bury her:

Through the streets of abandoned Moscow
I will go, and you will wander.
And not one will fall behind the road,
And the first lump on the lid of the coffin will burst, -
And finally it will be allowed
Selfish, lonely dream.
(“The day will come, - sad, they say! ..”, 1916)

In the poems of the émigré years, Tsvetaeva's opposition to the world and her programmatic individualism are already given a more concrete justification: in an era of trials and temptations, the poet sees himself among the few who have preserved the direct path of honor and courage, utmost sincerity and incorruptibility:

Some, without curvature, -
Life is expensive.
(“Some - not the law…”, 1922)

The tragedy of the loss of the motherland is poured out in Tsvetaeva's emigrant poetry in opposition to herself - Russian - to everything non-Russian and therefore alien. The individual “I” here becomes part of a single Russian “we”, recognizable “by excessively large hearts”. In this “we”, the richness of Tsvetaeva’s “I” appears, to which “your Paris” seems “boring and ugly” in comparison with Russian memory:

My Russia, Russia
Why are you burning so brightly?
("Luchina", 1931)

But the main confrontation in the world of Tsvetaeva is the eternal confrontation between the poet and the mob, the creator and the tradesman. Tsvetaeva affirms the creator's right to his own world, the right to creativity. Emphasizing the eternity of confrontation, she turns to history, myth, tradition, filling them own feelings and own worldview. Recall that the lyrical heroine of Marina Tsvetaeva is always equal to her personality. Therefore, many plots of world culture, included in her poetry, become illustrations for her lyrical reflections, and the heroes of world history and culture become a means of embodying the individual "I".

This is how the poem "The Pied Piper" is born, the plot of which is based on a German legend, which, under the poet's pen, received a different interpretation - the struggle between creativity and philistinism. This is how the image of Orpheus, torn by the Bacchantes, appears in the verses - the motive of the tragic fate of the poet, his incompatibility with the real world, the doom of the creator in the "world of measures" is intensified. Tsvetaeva recognizes herself as the “interlocutor and heiress” of tragic singers:

Blood silver, silver

Blood trail double leah
Along the dying Gebra -
My gentle brother! My sister!
("Orpheus", 1921)

3.3. The breadth of the emotional range of Tsvetaeva M.I.

Tsvetaeva's poetry is characterized by a wide emotional range. O. Mandelstam in "A Conversation about Dante" quoted Tsvetaev's expression "compliance in Russian speech", raising the etymology of the word "compliance" to "ledge". Indeed, Tsvetaeva's poetry is built on the contrast of the colloquial or folklore speech element used (her poem "Alleys", for example, is entirely built on the melody of a conspiracy) and complicated vocabulary. Such a contrast enhances the individual emotional mood of each poem. The complication of vocabulary is achieved by the inclusion of rarely used, often obsolete words or word forms that evoke the “high calm” of the past. In her poems, for example, the words “mouth”, “eyes”, “face”, “nereid”, “azure”, etc. are found; unexpected grammatical forms like the occasionalism "liya" already familiar to us. The contrast of the everyday situation and everyday vocabulary with the "high calm" enhances the solemnity and pathos of Tsvetaev's style.

Lexical contrast is often achieved by using foreign words and expressions that rhyme with Russian words:

O-de-co-lones

family, sewing

Happiness (kleinwenig!)
Have you got a coffee pot?
("Train of Life", 1923)

Tsvetaeva is also characterized by unexpected definitions and emotionally expressive epithets. In "Orpheus" alone - "retreating distance", "blood-silver, silver-blood trail double", "radiant remains". The emotional intensity of the poem is increased by inversions (“my gentle brother”, “the pace slowed down the head”), pathetic appeals and exclamations:

And the lyre assured: - peace!
And lips repeated: - it is a pity!
...Ho the lyre assured: - by!
And her lips followed her: - alas!
... The wave is salty, - answer!

3.4. Techniques of poetic rhetoric of late romanticism in the work of Tsvetaeva M.I.

In general, in Tsvetaeva's poetry, the traditions of late romanticism come to life with its inherent techniques of poetic rhetoric. In Orpheus, rhetoric enhances the mournful, solemn and angry mood of the poet.

True, the rhetorical majesty, usually accompanied by semantic certainty, does not make her lyrics semantically clear and transparent. The dominant personal principle of Tsvetaeva's poetry often changes the semantics of generally accepted expressions, giving them new semantic shades. In "Orpheus" we will meet with an unexpected personification "Along the dying Gebra." Gebr - the river on the banks of which, according to mythological legend, Orpheus died - in the poem takes on part of the author's emotional state and "dies", like a grieving person. The image of the “salty wave” in the last quatrain also acquires an additional “sorrowful” emotional coloring, by analogy with a salty tear. Personal dominance is also manifested in the use lexical means: Tsvetaeva often creates original occasionalisms - new words and expressions to solve one specific artistic problem. Such images are based on commonly used neutral words (“In a far-flung headboard // Moved like a crown…”).

The expressiveness of the poem is achieved with the help of an ellipsis (ellipsis - omission, default). Tsvetaev's "broken phrase", not formally completed by a thought, makes the reader freeze at the height of the emotional climax:

So, stairs descending

River - in the cradle of swells,
So, to the island where it is sweeter,
Than anywhere - the nightingale lies ...

And then a contrasting break in moods: the mournfully solemn tonality of the picture, the “radiant remains”, floating away “along the dying Gebra”, is replaced by bitterness and angry irony in relation to the world of everyday life, in which no one cares about the death of the singer:

Where are the shone remains?
Salty wave, answer!

3.5. Features of the poetic syntax of Tsvetaeva M.I.

A distinctive feature of Tsvetaeva's lyrics is a unique poetic intonation created by the skillful use of pauses, breaking up the lyrical flow into expressive independent segments, varying the tempo and volume of speech. Tsvetaeva's intonation often finds a distinct graphic embodiment. So, the poetess loves to highlight emotionally and semantically significant words and expressions with the help of numerous dashes, often resorting to exclamation and question marks. Pauses are transmitted using multiple ellipses and semicolons. In addition, the selection of key words is facilitated by transfers that are “incorrect” from the point of view of tradition, which often split up words and phrases, reinforcing the already tense emotionality:

Blood silver, silver
The blood trail of a double leah...

As you can see, images, symbols and concepts acquire a rather specific coloring in Tsvetaeva's poems. This non-traditional semantics is recognized by readers as uniquely “Tsvetaeva”, as a sign of her artistic world.

3.6. Symbolism of Tsvetaeva M.I.

The same can be largely attributed to the color symbolism. Tsvetaeva loves contrasting tones: silver and fire are especially close to her rebellious lyrical heroine. Fiery colors are an attribute of many of her images: this is a burning brush of mountain ash, and gold of hair, and a blush, etc. Often in her poems light and darkness, day and night, black and white oppose each other. The colors of Marina Tsvetaeva are distinguished by semantic richness. So, night and black color are both a traditional attribute of death, and a sign of deep inner concentration, a feeling of being alone with the world and the universe (“Insomnia”). Black color can serve as a sign of rejection of the world that killed the poet. So, in a poem of 1916, she emphasizes the tragic intransigence of the poet and the mob, as if foreseeing the death of Blok:

Thought it was a man!
And forced to die.
Died now. Forever.
- Cry for the dead angel!
... Black reads the reader,
Idle people trample…
- Dead lies the singer
And Sunday is celebrated.
("Thought - a man!")

The poet, the "light-bearing sun", is killed by everyday life, the world of everyday life, which put him only "three wax candles." The image of the Poet in Tsvetaeva's poems always corresponds to "winged" symbols: an eagle or an eagle, a seraphim (Mandelstam); swan, angel (Block). Tsvetaeva also constantly sees herself as “winged”: her soul is a “pilot”, she is “in flight // Her own - constantly broken.”

3.7. Features of the fate of the poet

The poetic gift, according to Tsvetaeva, makes a person winged, elevates him above the vanity of life, above time and space, endows him with divine power over minds and souls. According to Tsvetaeva, the gods speak through the mouths of poets, raising them to eternity. But the same poetic gift also takes away a lot: it takes away from the God-chosen person his real earthly life, makes the simple joys of everyday life impossible for him. Harmony with the world is initially impossible for a poet:

mercilessly and succinctly formulates Tsvetaeva in the 1935 poem "There are lucky ones ...".

The reconciliation of the poet with the world is possible only if he refuses the poetic gift, from his "specialness". Therefore, from her youth, Tsvetaeva rebels against the ordinary world, against forgetfulness, dullness and death:

Hide everything so that people forget
Like melted snow and a candle?
To be in the future only a handful of dust
Under the grave cross? I want!
(“Literary prosecutors”, 1911-1912)

In her poet's rebellion against the mob, in asserting herself as a poet, Tsvetaeva defies even death. She creates an imaginary picture of choice - and prefers to repentance and forgiveness the share of the poet rejected by the world and rejecting the world:

Gently taking away the unkissed cross with a gentle hand,
I will rush to the generous sky for the last greetings.

Cut through the dawn - and a reciprocal smile cut through ...
- I will remain a poet even in my dying hiccups!
(“I know, I will die at dawn!..”, 1920)

Tsvetaeva's articles are the most reliable evidence of the originality of her artistic world. In the program article “Poets with History and Poets without History,” which has already been discussed, Tsvetaeva reflects: “The lyric itself, for all its doom to itself, is inexhaustible. (Perhaps the best formula for lyrics and lyrical essence: doom to inexhaustibility!) The more you draw, the more remains. That's why it never disappears. That is why we rush with such greed at each new lyricist: what if the soul, and thereby satisfy ours? As if they all drug us with bitter, salty, green sea ​​water, and every time we do not believe that this is drinking water. And she is bitter again! (Let's not forget that the structure of the sea, the structure of the blood and the structure of the lyrics are one and the same.)"
“Every poet is essentially an emigrant, even in Russia,” writes Marina Tsvetaeva in the article “Poet and Time”. - Emigrant of the Kingdom of Heaven and earthly paradise of nature. On the poet - on all people of art - but on the poet most of all - a special seal of discomfort, by which even in his own house you recognize the poet. An emigrant from Immortality to time, a defector to his own sky.

All of Tsvetaeva's lyrics are essentially the lyrics of internal emigration from the world, from life and from oneself. In the 20th century, she felt uncomfortable, she was attracted by the era of the romantic past, and during the period of emigration - pre-revolutionary Russia. An emigrant for her is “Lost between hernias and boulders // God in a harlot”; his definition is close to the definition of the poet:

Extra! Supreme! Native! Call! skyward
He is unaccustomed ... Gallows

He accepted ... In the tear of currencies and visas

Vega is a native.
("Emigrant", 1923)

In this regard, Tsvetaeva's attitude to the very category of time deserves special attention. In the 1923 poem "Praise of Time", she claims that she was "born past // Time!" - time “deceives” her, “measures”, “drops”, the poet “does not keep up with time”. Indeed, Tsvetaeva is uncomfortable in modern times, “the time of her soul” is always unattainable and irretrievably gone eras of the past. When the era becomes past, it acquires in the soul and lyrics of Tsvetaeva the features of the ideal. So it was with pre-revolutionary Russia, which during the emigrant period became for her not only a lost beloved homeland, but also an “epoch of the soul” (“Longing for the Motherland”, “Home”, “Luchina”, “Naiad”, “Mother’s Cry for a New Recruit” etc., "Russian" poems - "Well done", "Lane", "Tsar Maiden").

Tsvetaeva wrote about the poet's perception of time in the article "The Poet and Time". Tsvetaeva considers modern not poets of the “social order”, but those who, without even accepting modernity (for everyone has the right to their own “time of the soul”, to a beloved, internally close era), tries to “humanize” it, fight against its vices.

At the same time, each poet, in her opinion, is involved in eternity, because it humanizes the present, creates for the future (“the reader in posterity”) and absorbs the experience of the world cultural tradition. “All modernity in the present is the coexistence of times, ends and beginnings, a living knot that can only be cut,” Tsvetaeva reflects. Tsvetaeva has a heightened perception of the conflict between time and eternity. By "time" she understands the momentary, transient and passing modernity. The symbols of eternity and immortality in her work are eternally earthly nature and unearthly worlds: sky (night, day), sea and trees.

4. Conclusion

In the poetic works of M. Tsvetaeva, color terms actively interact with each other. If their interaction is considered in the context of the entire work of the poet, all color designations, expressed in different ways, form a system of opposing elements. In relation to a literary text, the concept of systemic opposition is relevant not only in relation to antonymy (for example, black - white), but also to the enumeration series (red - blue - green) and synonymy (red - purple - scarlet). All the distinguishing features of synonyms - stylistic, gradation - determine the lexical opposition of these synonyms in a literary text. Properly synonymous relations between them are also preserved, since they are characteristic of the language system. A synonymous convergence of members of the enumeration series or elements of the antithesis is also possible on the basis of a differential feature that is functionally distinguished and occasionally dominant in the text.

Everything in her personality and poetry (for her this is an indissoluble unity) sharply left the general circle of traditional ideas, the prevailing literary tastes. This was both the strength and originality of her poetic word.

Since M. Tsvetaeva creates her own picture of the world through linguistic connections and relationships (as evidenced, in particular, by the multidirectional phraseological induction of text formation), we can say that the language of the works of the poet-philosopher M. Tsvetaeva reflects the philosophy of the language in its development.

An analysis of color designation in M. Tsvetaeva's poetry convinces us that she has no purely aesthetic attitude to color. Apparently, it is precisely this general property of Tsvetaeva's figurative system that explains such particulars as the absence of diminutive forms and suffixes of incomplete quality in color designation.

5. List of sources used

In Autobiography, Tsvetaeva wrote: “Father Ivan Vladimirovich Tsvetaev is a professor at Moscow University, founder and collector of the Museum of Fine Arts (now the Museum of Fine Arts), an outstanding philologist. Mother - Maria Alexandrovna Mein - a passionate musician, loves poetry and writes them herself. Passion for poetry - from her mother, passion for work and for nature - from both parents ”Marina Tsvetaeva received an excellent education, from early childhood she knew French and German very well. She began writing poetry from the age of five - in Russian, French and German. Literature quickly grew into a true passion. Marina Tsvetaeva grew up among the gods and heroes of Ancient Greece and Ancient Rome, biblical characters, German and French romantics, literary and historical figures, and all her life she has been in this atmosphere of the great creations of the human spirit. The home environment with the cult of ancient and German culture contributed to a comprehensive aesthetic development. Marina Tsvetaeva was nurtured and brought up on world culture. She recalled how once on her baby question: What is Napoleon? - the name that she had heard many times in the house - her mother, out of annoyance and impotence to explain such an obvious thing as it seemed to her, answered: "It's in the air." And she, the girl, understood this idiom literally and wondered what kind of object it was that “is carried in the air.” This is how the culture of mankind "was in the air" of Tsvetaeva's house.

Marina and her sister Asya had a happy, serene childhood, which ended with their mother's illness. She fell ill with consumption, and doctors prescribed her treatment in a mild climate abroad. Since that time, the Tsvetaev family began a nomadic life. They lived in Italy, Switzerland, France, Germany, and the girls had to study there in various private boarding schools. They spent 1905 in Yalta, and in the summer of 1906. mother died in their house in Tarusa. When Maria Tsvetaeva died, Marina was 14 years old. The loneliness in which Marina Tsvetaeva found herself developed irreversible properties in her character, aggravated the tragic warehouse of her nature.

From childhood, Marina Tsvetaeva read a lot, randomly, depending on who was her idol at the moment, what she was captured by. Napoleon's letter to Josephine, Ovid's Metamorphoses, Eckermann's Conversations with Goethe, Karamzin's History of the Russian State, Shchegolev's Duel and Death of Pushkin, Nietzsche's The Origin of Tragedy and many, many others. Let us add to this that the books read by young Tsvetaeva would have stood on the shelves (according to the chronology of acquaintance with them) in an absolutely “lyrical” disorder, because her reading, drunken and selfless, was, especially after the death of her mother, rather “unsystematic”. “Books gave me more than people,” Tsvetaeva will say at the end of her youth. Of course, it is no coincidence that literature has become the main business of Marina Tsvetaeva's life. The debut of the poetess took place in 1910, when the first collection "Evening Album" was released. Tsvetaeva entered the Russian literature of the early twentieth century as a poet with her own special, unique poetic world.

Prose by M. Tsvetaeva

Feature of the prose works of Tsvetaeva

But along with poems and plays, Tsvetaeva also writes prose, mainly lyrical memoirs. Tsvetaeva explained the constant work on prose that had begun (by the end of the 1920s and in the 1930s), only occasionally accompanied by poetry, in many respects by the need: prose was printed, poetry was not, prose was paid more. But the main thing Tsvetaeva believed that it was not poetry and prose that existed in the world, but prose and poetry; the best that can be in literature is lyrical prose. Therefore, Tsvetaeva's prose, not being a verse, nevertheless represents genuine poetry - with all its inherent abilities. Tsvetaev's prose is unique, sharply original. The poetess writes a number of large articles and large, autobiographical portraits (“The House at the Old Pimen”, “Mother's Tale”, “Kirillovna”, etc.). A special place in her prose heritage is occupied by large, memoir-like articles - tombstones dedicated to Voloshin, Mandelstam, A. Bely. If all these works are arranged in a row, following not the chronology of their writing, but the chronology of the events described, then we will get a fairly consistent and broad autobiographical picture, where there will be both early childhood and youth, Moscow, Tarusa, Koktebel, Civil War and emigration, and within all these events - Mandelstam, Bryusov, Voloshin, Yesenin, Mayakovsky, Balmont. The main thing that makes Tsvetaeva's prose related to her poetry is romanticism, exaltation of style, the increased role of metaphor, intonation raised to the sky, lyrical associativity. Her prose is just as dense, explosive and dynamic, just as risky and winged, musical and whirlwind-like, as are her poems.

Reasons for turning to prose

The first work of Tsvetaeva in prose that has come down to us is “Magic in Bryusov’s Poems” (1910 or 1911) - a small naive note about the three-volume poems of V. Bryusov “Ways and Crossroads”. The most significant part of Tsvetaeva's prose was created in France, in the 30s (1932-1937). This has its own regularity, the interweaving of internal (creative) and external (worldly) causes, their inseparability and even interdependence. Starting from the mid-20s, Tsvetaeva writes less and less lyrical poems, and creates works big shape- poems and tragedies. Everything deepens her withdrawal “into herself, into the soleness of feelings”, everything is growing isolation from the environment. Like her contemporaries, Russian writers who found themselves in a foreign land (Bunin and Kuprin), Tsvetaeva feels like an uninvited guest in a strange house, who can be humiliated and insulted at any moment. This feeling intensified with the move to France. Her reader remained at home, and Tsvetaeva felt this especially keenly. “To the people here in art, the past is contemporary,” she wrote in the article “The Poet and Time.” Tsvetaeva, in utter sincerity, complained to V. N. Bunina in 1935: “For last years I wrote very little poetry. By not taking them from me, they forced me to write prose. And prose began. I love it very much, I'm not complaining. But still - somewhat violent: doomed to a prosaic word. And in another letter she expressed herself even more categorically: "Emigration makes me a prose writer." There are many examples in the history of literature when, in the mature years of the poet, prose, for many reasons, became for him a more urgent form of expression, more objective, more concrete and detailed. The main thing is that there was an urgent need to comprehend life events, meetings with poets, books. So it was with Tsvetaeva, whose prose was brought to life primarily by creative, moral, historical necessity. Thus, her autobiographical prose was born from an inner need to recreate her childhood, “because,” Tsvetaeva wrote, “we are all indebted to our own childhood, for no one (except, perhaps, Goethe alone) has fulfilled what he promised himself in childhood , in one's own childhood - and the only way to compensate for what has not been done is to recreate one's childhood. And, more importantly, duty: childhood is an eternal inspirational source of lyrics, the return of the poet back to his heavenly origins” (“Poets with history and poets without history”). An ardent desire to save from oblivion, not to let the images of her father, mother, the whole world in which she grew up and which "sculpted" her disappear into oblivion, prompted Tsvetaeva to create, one by one, autobiographical essays. The desire to “give” the reader his Pushkin, who entered her life from infancy, brought to life two essays about Pushkin. This is how Pushkin's words came true for Marina Tsvetaeva: "Summer tends to harsh prose."

Tsvetaeva as a reader of A. S. Pushkin

Feature of the essay genre

In 1936 the essay "My Pushkin" appears. This essay - a memoir was written for the upcoming centenary of the death of A. S. Pushkin and published in the Parisian journal Sovremennye Zapiski in 1937. The essay "My Pushkin" tells about how a child who was destined to become a poet plunged headlong into the "free element" of Pushkin's poetry. It is told, as always with Tsvetaeva, in her own way, entirely in the light of personal spiritual experience. It may be (and even very likely) that something in these memoirs has been rethought or rethought, but all the same, the story captivates with a surprisingly subtle and deep penetration into child psychology, into a rich and whimsical children's fantasy.

It should be noted that the work "My Pushkin" is devoid of a detailed classical literary analysis. Maybe that's why the author defined the genre as an essay. The semantics of that word should be recalled. Essay (non-cl. cf. From the French Essai - literally “experience”) - THIS IS A VARIETY OF ESSAY - scientific, historical, critical, journalistic in nature, in which the main role is played not by the fact itself, but by the impressions and associations that it evokes in author, thoughts and reflections about life, about events in science, art, literature.

The adult Tsvetaeva had no need for a complete classical interpretation of the works written by Pushkin. She wanted to express her own childhood perception of Pushkin's books. That is why her remarks are so sketchy, not so easy to read and understand for modern readers. Based on the psychology of the characteristics of a five-year-old girl, Tsvetaeva recalls Pushkin's images, the bright, extraordinary actions of these heroes. And this fragmentary recollection allows us to judge that the poetess's brightest thoughts were embodied in the essay. And how much is left outside the pages of the essay "My Pushkin"! Referring to the mention of a particular work, Tsvetaeva does not stop her gaze on artistic features Pushkin's works; something else is important for her: to understand what this hero is and why it was he who was preserved by the naive, childish soul of the reader.

A. Blok said: “We know Pushkin the man, Pushkin the friend of the monarchy, Pushkin the friend of the Decembrists. All this pales before one thing: Pushkin is a poet. Blok had serious grounds for such a reservation. The study of Pushkin at the beginning of the 20th century grew so much that it turned into a special branch of literary criticism. But at the same time, she became more and more shallow, almost completely went into the wilds of biography and everyday life. Pushkin the poet was supplanted by Pushkin the lyceum student, Pushkin the social dandy. There was a need to return to the real Pushkin.

Thinking and speaking about Pushkin, about his genius, about his role in Russian life and Russian culture, Tsvetaeva was at one with Blok. She echoes him when she says: “Pushkin of friendship, Pushkin of marriage, Pushkin of rebellion, Pushkin of the throne, Pushkin of light, Pushkin of shadows, Pushkin of the Gavriiliada, Pushkin of the church, Pushkin - innumerable types and guises - all this is soldered and held in it by one: the poet "("Natalya Goncharova"). From Tsvetaeva's remark, it is clear that Pushkin is more than a person for her, he is a Poet. It is impossible to convey everything that Tsvetaeva thought and felt about Pushkin. We can only say that the poet was truly her first and unchanging love.

It is not enough to say that this is her “eternal companion”: Pushkin, in the understanding of Tsvetaeva, was a trouble-free accumulator that fed the creative energy of Russian poets of all generations: Tyutchev, Nekrasov, Blok, and Mayakovsky. And for her, "eternally modern" Pushkin has always remained the best friend, interlocutor, adviser. With Pushkin, she constantly checks her sense of beauty, her understanding of poetry. At the same time, in relation to Tsvetaeva to Pushkin, there was absolutely nothing from the prayerful - kneeling veneration of the literary "icon". Tsvetaeva feels him not as a mentor, but as a colleague.

In relation to Tsvetaeva to Pushkin, in her understanding of Pushkin, in her boundless love for Pushkin, the most important and decisive thing is the firm, immutable conviction that Pushkin's influence can only be liberating. The guarantee for this is the very spiritual freedom of the poet. In his poetry, in his personality, in the nature of his genius, Tsvetaeva sees the complete triumph of that free and liberating element, the expression of which, as she understands, is true art.

Pictures taken from childhood, from the parental home

The essay begins with the Mystery of the Red Room. “There was a closet in the red room,” writes Tsvetaeva. It was in this closet that little Marina secretly climbed to read the Collected Works of A.S. brain". It was from this closet that the formation of Tsvetaeva as a person began, love for Pushkin came, a life full of Pushkin began.

Like any reader, talented, thoughtful, Tsvetaeva has the ability to see, hear and reflect. It is from the imagery that the unhurried story begins - Tsvetaeva's memory of Pushkin. And the first painting “Duel” restored and preserved by children’s memory is the famous painting by Naumov, which hung “in the mother’s bedroom”. "Ever since Pushkin in front of my eyes in the picture of Naumov - the murder has divided the world into a poet - and everyone." There were two more paintings in the house in Tryokhprudny Lane, which Tsvetaeva mentions at the very beginning of the essay and which, according to the poetess, “excellently prepared the child for the terrible age destined for him” - “in the dining room“ The Appearance of Christ to the People ”with a never-resolved riddle, very small and incomprehensible - close to Christ "and" above the music shelf in the hall "Tatars", in white robes, in a stone house without windows, between the white pillars they kill the main Tatar."

Note that the mention of three canvases is not accidental. It was from them that for little Musya Tsvetaeva the world was divided into white and black, good and evil.

Tsvetaeva and Monument - Pushkin

For little Marina, Pushkin was everything. The image of the poet constantly filled the imagination of the child. And if in the public consciousness, in everyday life, Pushkin petrified and bronzed, turning into a “Pushkin Monument”, erected as a warning and a growth for those who dared to cross the norm in art, then for Tsvetaeva Pushkin was alive, unique, his own.

The poet was her friend, a participant in children's games and first undertakings. The child also developed his own vision of the Pushkin Monument: “The Pushkin Monument was not a monument to Pushkin (genitive case), but simply a Monument to Pushkin, in one word, with equally incomprehensible and separately non-existing concepts of the monument and Pushkin. That which is eternal, in the rain and under the snow, whether I come or go, run away or run, stands with an eternal hat in my hand, is called the “Pushkin Monument”.

The hiking route was familiar and familiar: from home to the Pushkin Monument. Therefore, it can be assumed that the Pushkin Monument was located not far from the Tsvetaevs' house. Every day, accompanied by nannies, little Marina took walks to the monument. "The Pushkin Monument was one of two (there was no third) daily walks - to the Patriarch's Ponds - or to the Pushkin Monument." And, of course, Tsvetaeva chose the Pushkin Monument, because there were no patriarchs at Patriarch's Ponds, but the Pushkin Monument has always been. As soon as she saw the monument, the girl began to run towards it. She ran, then lifted her head and peered into the face of the giant for a long time. Tsvetaeva also had her own special games with the monument: put a white porcelain figurine at its foot and compare height, or calculate how many figurines (or Tsvetaevs themselves) need to be put on top of each other to make the Pushkin Monument.

Such walks were made every day and did not annoy Musa at all. The little girl went to the Pushkin Monument, but one day the Pushkin Monument itself came to Tsvetaeva. And it happened like this.

Interesting personalities came to the house of the Tsvetaevs, well-known respected people. And one day the son of A. S. Pushkin came. But little Marina, who has the gift of remembering objects, not people, did not remember his face, but only a star on his chest. So it remained in her memory that the son of the Monument-Pushkin came. “But soon the indefinite belonging of the son was erased: the son of the Monument - Pushkin turned into the Monument - Pushkin itself. The Monument to Pushkin himself came to visit us. And the older I got, the more it became stronger in my consciousness: the son of Pushkin - the fact that he was the son of Pushkin was already a monument. A double monument to his glory and his blood. Living monument. So now, a lifetime later, I can calmly say that at the end of the century, in one cold white morning, the Monument to Pushkin came to our three-pond house.

The monument - Pushkin was for Marina and the first meeting with black and white. Tsvetaeva, who grew up among ancient statues with their marble whiteness, the Pushkin Monument, cast from iron (and therefore black), was a challenge against the standard and the ordinary. In an essay, she recalls: “I loved the monument - Pushkin for its blackness, the opposite of the whiteness of our domestic gods. Those eyes were completely white, but the Monument to Pushkin's eyes were completely black, completely full, and if they had not told me later that Pushkin was a Negro, I would have known that Pushkin was a Negro. The White Monument - Pushkin would no longer have fallen in love with Tsvetaeva. His blackness was for her a symbol of a genius, in whose veins "black" African blood flows, but which does not cease to be a genius from this.

So Tsvetaeva faced a choice. On the one hand, there are white, ancient, cold antique statues that have accompanied her since birth. And on the other - a black, lonely, warm from the African sun Monument - Pushkin A. M. Opekushin. A choice had to be made. And, of course, she chose the Pushkin Monument. Once and for all, she chose "black, not white: black thought, black share, black life."

But the love of antiquity still did not disappear in Tsvetaeva. There are many mythological images and reminiscences in her works - she may have been the last poet in Russia for whom ancient mythology turned out to be a necessary and habitual spiritual atmosphere.

Thus, we can say that Pushkin's monument was Musin's first mentor, with whom she discovered and learned the world: "The first lesson of numbers, the first lesson of scale, the first lesson of material, the first lesson of hierarchy, the first lesson of thought and, most importantly, a visual confirmation of all my subsequent experience: out of a thousand figurines, you can’t even make Pushkin put one on top of the other. This idea of ​​the uniqueness of the poet Tsvetaeva carried through her whole life. She felt more acutely than others the greatness of his genius and the uniqueness of his personality, but expressing admiration for his work, she avoided subservience and arrogance.

A peculiar perception of M. Tsvetaeva's poem by A. S. Pushkin "Gypsies"

Usually, when children get acquainted with Pushkin, they first of all read “The Tale of Tsar Saltan”, “About the Dead Princess and the Seven Bogatyrs”, “About the Golden Cockerel”. But Marina Tsvetaeva was not like all children. Not only did she meet Pushkin quite early, already at the age of five, but her first read work was "Gypsies". An odd choice for a kid her age. After all, even today this work is offered to readers who have already matured, schoolchildren aged 13-15, who have accumulated sufficient reading experience and already have an idea of ​​good and evil, love and hatred, friendship and betrayal, and justice, finally. Perhaps "Gypsies" was the first work from Pushkin's Collected Works, the very blue volume that was kept in the Red Room, and therefore Tsvetaeva began to read it. Or maybe she liked the name, and the children's imagination began to draw amazing pictures. And the children's imagination was also struck by the names: “I have never heard such names: Aleko, Zemfira, and also the Old Man.” And the girl had no experience of communicating with gypsies. “I have never seen live gypsies, but since I was born I heard “about a gypsy, my nurse”, who loved gold, who pulled out gilded earrings “from her ears with meat and immediately trampled them into the parquet”.

In the essay, the adult Tsvetaeva comically depicts the scene of a five-year-old child telling “Gypsy” to her listeners, and they only do what they groan and gasp, ask the young narrator again with distrust and bewilderment, ingenuously commenting on what they heard. Anna Saakyants in the article “Prose of Marina Tsvetaeva” notes: “Tsvetaeva’s prose has its own differences. It is, as it were, poetry, retold in detail by the author himself. This is a feature not only of the writer, poetess Marina Tsvetaeva, it is also a feature of the young reader, Musya Tsvetaeva. Sharing her impressions of what she read in The Gypsies, overwhelmed by the feelings and thoughts that overwhelmed her, Musenka tries to retell to the listeners everything that she learned from the pages of Pushkin's poem. But it is extremely difficult for her, the future poetess, to do this. It is easier for her to speak in verse. “Well, there was one young man,” this is how the girl begins her story “about gypsies. "-" No, there was one old man, and he had a daughter. No, I'd rather say it in verse. Gypsies in a noisy crowd - wander around Bessarabia - Today they are over the river - They spend the night in tattered tents - and so on - without a break and without middle commas. Considering that the girl recited by heart, we can conclude that her beloved "Gypsies" were read by her more than once or twice.

And Pushkin's "Gypsies" is a passionate, fatal love of the "young man ALEKO" (as Tsvetaeva pronounces this amazing name) and the old man's daughter, who "was called Zemfira (terribly and loudly) Zemfira."

(In passing, we note that another amazing feature of Tsvetaeva's thinking is to perceive the world and heroes not only through a visual image, but also through sound. It is through the sound of the names Aleko and Zemfira (“terrible and loud”) that the poetess Tsvetaeva conveys children's enthusiasm for her favorite characters). But "Gypsies" is also the young reader's passionate love for Pushkin's heroes. In the essay, Tsvetaeva notes: “But in the end, to love and not to speak is to break.” So in the life of the five-year-old Musenka entered “a completely new word - love. How hot it is in the chest, in the very chest cavity (everyone knows!) And you don’t tell anyone - love. I've always felt hot in my chest, but I didn't know it was love. I thought - everyone is like that, always - like that.

It was thanks to Pushkin and his Gypsies that Tsvetaeva first learned about love: “Pushkin infected me with love. In a word, love." But already in childhood this love was somehow not like that: a cat that ran away and did not return, Augustina Ivanovna leaving, Parisian dolls put away forever in boxes - that was love. And it was expressed not through meeting and closeness, but through separation and parting. And, having matured, Tsvetaeva has not changed at all. Her love is always a “fatal duel”, always a dispute, a conflict, and most often a break. First you had to be separated in order to understand that you love.

Tsvetaeva and Pugachev

Tsvetaeva's love is incomprehensible and peculiar. In some people, she saw what others did not notice, and it was for this that she loved. And Pugachev was such an incomprehensible, incomprehensible love. In the essay, Tsvetaeva, telling how she fell in love with Pushkin's Pugachev in her early childhood, she admits: "It was all about the fact that I naturally loved the wolf, and not the lamb." It was her nature to love in defiance. And further: “Having said the wolf, I called the Leader. Having named the Leader, I called Pugachev: the wolf, this time sparing the lamb, the wolf, dragging the lamb into the dark forest - to love.

Of course, another work that had a huge impact on Tsvetaeva was The Captain's Daughter. According to Tsvetaeva, the good in the story is embodied in Pugachev. Not in Grinev, who, in a lordly condescending and careless way, awarded the Counselor with a hare coat, but in this “unkind”, “dashing” person, “fear is a man” with black cheerful eyes, who did not forget about the sheepskin coat. Pugachev generously paid Grinev for the sheepskin coat: he gave him life. But, according to Tsvetaeva, this is not enough: Pugachev no longer wants to part with Grinev, promises to “appoint him as a field marshal”, arranges his love affairs - and all this is because he simply fell in love with the straightforward second lieutenant. Thus, in the midst of a sea of ​​blood shed by a merciless rebellion, selfless human goodness triumphs.

IN " Captain's daughter» Tsvetaeva loves one Pugachev. Everything else in the story leaves her indifferent - both the commandant with Vasilisa Yegorovna, and Masha, and, in general, Grinev himself. But she never ceases to admire Pugachev - and his scooter speech, and his eyes, and his beard. But most of all, Tsvetaeva’s most attractive and dear thing in Pugachev is his disinterestedness and generosity, the purity of his heartfelt attraction to Grinev. This is what makes Pugachev the most lively, most truthful and most romantic hero.

Pushkin in The Captain's Daughter raised Pugachev to the "high platform" of folk tradition. Having portrayed Pugachev as a generous hero, he acted not only as a poet, but also "as a people": "he corrected the truth - he corrected us another Pugachev, his Pugachev, the people's Pugachev." Tsvetaeva vigilantly saw how it was no longer Grinev, but Pushkin himself, who fell under the spell of Pugachev, how he fell in love with the Leader.

Tsvetaeva reflects on the pages of "Eugene Onegin"

In general, LOVE - in an infinitely broad sense - was main theme creativity of Tsvetaeva. She invested immensely in this word and did not recognize synonyms. Love meant for her an attitude to the world, in all its ambiguity and inconsistency - both the world and her feelings. Love in the work of Tsvetaeva has many faces. Friendship, motherhood, indulgence, contempt, jealousy, pride, oblivion - all these are her faces. The faces are different, but the outcome is the same: separation. Love at Tsvetaeva is initially doomed to separation. Joy is doomed to pain, happiness to suffering.

love = separation

joy pain

happiness suffering

These formulas could not arise just like that. Something must have influenced Tsvetaeva so that she would doom herself once and for all to a tragic life.

It happened at the music school Zograf - Plaksina, in Merzlyakovsky lane. A public evening was held. “They gave a scene from “Mermaid”, then “Rogned” - and:

Now we will fly into the garden,

Where Tatyana met him

Tatyana and Onegin The first time she saw, Tsvetaeva immediately fell in love. No, not in Onegin, "but in Onegin and Tatyana (and maybe a little more in Tatyana), in both of them together, in love." But already at the age of seven, Tsvetaeva knew what kind of love it was. With her unmistakable childish instinct, Tsvetaeva determined that Onegin does not love Tatyana, but Tatyana loves Onegin. That they do not have that love (reciprocity), but TA love (doomed to separation). And now the scene in which Tatyana and Onegin are standing in the garden near the bench, and Onegin confesses to Tatyana in LOVE, is so imprinted in the mind of the child that no other love scene for Tsvetaeva already existed. In an essay, Tsvetaeva writes: “This first love scene of mine predetermined all my subsequent ones, all the passion in me for unrequited, non-reciprocal, impossible love. From that very moment I didn’t want to be happy and by this I doomed myself to dislike. ”

The image of Tatyana was predetermining: “If then, all my life, to this last day, I always wrote first, the first to stretch out my hand - and hands, not fearing the court, - it’s only because at the dawn of my days, Tatyana lying in a book, by a candle, is on did my eyes. And if later, when they left (always - they left), not only didn’t stretch out my hands after me, but didn’t turn my head, it was only because then Tatyana froze like a statue.

It was Tatyana who was for Tsvetaeva the main favorite heroine of the novel. But, despite this, Tsvetaeva cannot agree with some of her actions. When, at the end of the novel, Tatyana is sitting in the hall, reading a letter from Eugene Onegin and Onegin himself comes to her, Tsvetaeva, in Tatyana’s place, would not, rejected, admit: “I love you, why dissemble?” No! The soul of the poet would not allow this. Tsvetaeva is all - in a storm, a whirlwind movement, in action and deed, like her poetry. Tsvetaeva's love poems sharply contradict all the traditions of women's love lyrics, in particular, the poetry of Tsvetaeva's contemporary Anna Akhmatova. It's hard to imagine a greater opposite - even when they write about the same thing, for example, about separation from a loved one. Where Akhmatova has intimacy, strict harmony, as a rule - quiet speech, almost a prayerful whisper, there Tsvetaeva has an appeal to the whole world, sharp violations of the usual harmony, pathetic exclamations, a cry, "a cry of a torn gut." However, even her loud, choking speech was not enough to fully express the feelings that overwhelmed her, Tsvetaeva, and she grieved: “The immensity of my words is only a faint shadow of the immensity of my feelings.”

It should be noted that even before Tsvetaeva, Tatyana influenced her mother M.A. Maine. M. A. Main, at the behest of her father, married the unloved. “My mother chose the most difficult lot - twice the eldest widower with two children, in love with the deceased, - she married children and someone else’s misfortune, loving and continuing to love the one with whom she then never looked for a meeting So Tatyana not only influenced my life, but also to the very fact of my life: if there were no Pushkin's Tatyana, there would be no me.

Recall that Tsvetaeva described in her essay the events that she especially remembered, fell into her soul. Therefore, "Eugene Onegin" was reduced for her "to three scenes: that candle - that bench - that parquet. ". It was these scenes that Tsvetaeva attached the greatest importance to and it was in them that she saw the main essence of the novel. Having read "Eugene Onegin" at the age of seven, Tsvetaeva understood him better than others. In a letter to Voloshin dated April 18, 1911, Marina Tsvetaeva wrote: “Children won’t understand? Children understand too much! At the age of seven, Mtsyri and Eugene Onegin are much better understood than at twenty. This is not the point, not in insufficient understanding, but in too deep, too sensitive, painfully true!”

Whatever Tsvetaeva wrote about, she herself always acted as the main character - the poet Marina Tsvetaeva. If she was not literally him, she invisibly stood behind every line written, leaving no possibility for the reader to think otherwise than she, the author, thought. Moreover, Tsvetaeva did not impose herself on the reader, as emigrant criticism roughly and superficially wrote about her prose - she simply lived in her every word. Collected together, the best prose of Tsvetaeva creates the impression of great scale, weight, significance. Little things as such in Tsvetaeva simply cease to exist. Categoricalness and subjectivity gave all of Tsvetaeva's prose a purely lyrical, personal, sometimes intimate character - properties inherent in her poetic works. Yes, Tsvetaeva's prose was primarily the poet's prose, and sometimes it was romantic myth-making.

Poetic originality of Marina Tsvetaeva

I don't believe in poetry

that are pouring.

Rip - yes!

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

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

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

Not divorced by a sense of proportion -

Faith! Aurora! Souls - azure!

A fool is a soul, but what kind of Peru

Not yielded - souls for nonsense?

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

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

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

Overturned…

Notes, planets -

Downpour!

- Take out!!!

The end... na-no...

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

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

To Russia - you, to Russia - the masses,

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

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

Twenty years of freedom

Everyone. Fire and home

Everyone. Games, sciences -

Everyone. Labor for anyone

If only there were hands.

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

Not a stranger! Yours! My!

All as is encircled at dinner!

- Long life, my Love!

Changing for a new betrothed ...

On the march -

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

All splendor -

Pipes - just babble

Grass is in front of you.

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

Marina Ivanovna Tsvetaeva (1892-1941) at the beginning of her career 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 became one of the central early lyrics Tsvetaeva. On the pages of her first books, we notice the influence of Byron, Pushkin as a romantic, Batyushkov. Her favorite words never And forever are 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, word and word formation, an abundance of pauses (Tsvetaeva’s dashes correspond not to syntax, but to emotions), syntax that opposes everyday speech, a verse that violates the norms of sillabotonics, oratorical intonation that breaks into a cry, scream. The main thing for Tsvetaeva is the reception of 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 variants 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", etc. The poems "Tsar Maiden", "Poem of the Mountain" , “The Poem of the End”, “The Poem of the Stairs”, “The Poem of the Air”, “The Bus”, etc. The plays “The End of Casanova”, “Phaedra”, etc. The essay “My Pushkin”.

In the first book - sketches, lyrical pictures, sketches life situations, emotional conflicts. Picturesque impressionism comes through in the titles of the poems: “Dortoire in the Spring”, “In the Luxembourg Gardens”, “Lady in Blue”, “Watercolor”, “Books in Red Bound”. Also music 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 an intermediary between the human world and the astral and his role on earth is transformative. The artistic nature of Tsvetaeva, the absence of any efforts aimed at creating the image of the poet, an organic entry into literature.

The second book and subsequent collections revealed the "visionary" inclinations of Tsvetaeva ( "My poems...") and the aphorism of the syllable ( “You are walking like me”, “Byron”, “Pushkin”, How many of them have fallen into this abyss”, “Grandma” and etc.). The poetic nature of Tsvetaeva 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 Being. 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, whether it is love-duel, love-discord, parting or a duel with the world and herself through repentance and repentance. Poem "Yesterday I looked into your eyes" (“For everything, for everything, forgive me, / My dear, what have I done to you”). Poem "I like that you are not sick of me": the final lines take off the "mask-bravado": "Because you are sick, Alas, not by me, / Because I'm sick, Alas, not by you". Sound writing: poem “Kvita: I am eaten 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 for my son". In 1939 she returned to the USSR. The husband was shot, the daughter was sent to a concentration camp. Suicide in 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 a lot of chaotic, labored and frankly weak poems.

Features of the style of M.I. Tsvetaeva

The language of M. Tsvetaeva changed throughout her work, the most dramatic changes in it occurred, according to researchers, in 1922, when lightness and transparency left, joy and fun disappeared, and poetry was born, which is characterized by the versatility of the word, the game of complex associations, rich sound writing, complicated syntax, stanza, rhymes. All her poetry, in essence, explosions and hacks of sounds, rhythms, meanings. M. Tsvetaeva is one of the most rhythmically diverse poets (Brodsky), rhythmically rich, generous.The rhythms of Tsvetaev's poetry are unique. She easily breaks the inertia of the old rhythms familiar to the ear. This is a pulse that suddenly breaks off, interrupted phrases, literally telegraphic brevity. The choice of such a poetic form was due to deep feelings, anxiety, which overwhelmed her soul. Sound repetitions, unexpected rhyme, sometimes inaccurate, contribute to the transfer of emotional information.A. Bely on May 21, 1922 published in a Berlin newspaper an article “Poetess-singer”, which ended like this: “... if Blok is a rhythm player, if plastic is essentially Gumilyov, if there is Khlebnikov, then Marina Tsvetaeva is a composer and singer ... Melodies ... Marina Tsvetaeva are persistent, persistent ... "(Quoted by: A. Troyat. Marina Tsvetaeva, M .: 2003. p. 201) .The rhythms of Tsvetaeva keep the reader in suspense. It is dominated by dissonance and the “torn” rhythm of military marches, the destructive music of wartime, the music of the abyss that divided Russia like an abyss. These are the rhythms of the twentieth century, with its social cataclysms and catastrophes. .The main principle of Tsvetaeva's poetic language is its trinity, which impliesinterdependence of sound, meaning and word. M. Tsvetaeva sought to realize in poetry the form of "verbal witchcraft", the play of sound, music and all the richness of the potentialities of meaning.This interdependence of sound, meaning and wordexpressed in the works of Tsvetaeva through syntactic, lexical, punctuation and morphological means of expression.A few of these techniques are the breakdown of words into syllables, morphological articulation of the word, changing the place of stress.Breaking down into syllables restores the rhythmic pattern (A wave broke out: / The whole sea - into two!) And increases the semantic significance of the word, linking together the process of slow and clear pronunciation of the word with the process of realizing its true meaning So night and day All the shirts with sleeves The house fights death).The effect of morphemic division arises from a double reading of the word: divided into morphemes, as presented in the text, and a fused reading that is in the mind of a native speaker. The division of a word into morphemes gives the latter the status of a full-fledged word. Morphemic articulation in the poetic language of M. Tsvetaeva corresponds to the real one (with lively word-building connections: (I went to my pair, / I went to the Army!, As well as words that have lost their derivative character: You never think about me! (Na- viscous!) The breakdown into syllables can imitate morphemic division with the allocation of one significant part (Six-winged, welcoming, / Between the imaginary - prostrate! - real, / Not strangled by your carcasses / Soul-sha!). In the poetic language of M. Tsvetaeva there is a tendency to break a polysyllabic word, putting the significant (root) part of the word in a rhyming position (Peering - and in the hidden / most subtle petal: not you!; I feel sorry for your stubborn / stubborn palm in gloss / Hair, - ...).A word divided into morphemes conveys two meanings, in contrast to an undivided unambiguous word.Changing the stress in a word, setting the stress on a preposition are associated with the implementation of a rhythmic scheme (To thunders to smokes, / To young gray hairs of deeds - / The thoughts of my gray hair parables; Shadow - we guide, / Body - a mile away!). The expressive means should be considered the second stress, which is equated to the semantic one (Voeutesno, all-growth, / Straight, without roads, ...). A characteristic color technique is a syntagmatic juxtaposition of language units that differ only in stress (Admired and admired; Woe to grief; the title of the poem is "Torment and torment").The stylistic layers of high and low stylistic tiers are used by M. Tsvetaeva in the full range of meanings of the stylistic scale of the Russian language and are used in texts in contrasting juxtaposition (high stylistic tier: archaic vocabulary, stylistic Slavisms, poetisms, book vocabulary, including the vocabulary of journalistic, official business, scientific style; reduced stylistic tier: colloquial, familiar, colloquial, roughly colloquial vocabulary.). The poetic texts of M. Tsvetaeva are characterized by the active involvement of punctuation marks as semantically rich means of expression. Dash, brackets, ellipsis, exclamation point - an arsenal of expressive punctuation marks in the language of M. Tsvetaeva. Tsvetaeva's punctuation marks, in addition to their connection with intonation (setting for pronunciation) and syntactic levels, are directly related to the diversity of the poetic fabric of the text. In Tsvetaev's statement, not one, but several emotions sound at once, not one consistently developing thought, but thoughts arguing with each other, entering into a relationship of picking up, searching for additional arguments, rejecting one in favor of another . And yet, the most striking signs of Tsvetaeva's predilection for certain signs can be reduced to a certain system that reveals the main features of her poetry. This is, firstly, the ultimate, to the point of failure, density of speech, concentration, condensation of thought to the “darkness of conciseness”, as Tsvetaeva herself called the complexity of poetic language; secondly, this is the excitement of speech and such tension when the verse begins to choke, as it were, to stray - in rhythm, in size; thirdly, the undisguised activity of the artistic form, rhythm.Tsvetaeva masterfully owns rhythm, this is her soul, this is not just a form, but an active means of embodying the inner essence of the verse. “Invincible rhythms” by Tsvetaeva, as A. Bely defined them, fascinate, take prisoner. They are unique and therefore unforgettable! .

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