Municipal educational institution "Kalashnikov secondary school"

Certification work on literature (abstract) for a secondary school course.

“One – of all – for all – against all!...”

Fate. Character. Poetry.

Completed the work (abstract):

11th grade student

Kalashnikov school

Ilyashova Natalya

Teacher:

Vasilyeva Valentina Ivanovna

Marina Tsvetaeva
Fate. Character. Poetry.

Biography of Marina Tsvetaeva 3
Childhood, youth and first steps and literature . 3
Emigration and development of a poet . 7
Homecoming . 15

The originality of Tsvetaeva’s lyrics . 15
Understanding the poems of Marina Tsvetaeva . 31
Marina Tsvetaeva: words and meanings . 31

Comparative analysis of the poems by Marina Tsvetaeva “I left - I don’t eat...” and Anna Akhmatova “I escorted my friend to the hall.” 38
Analysis of the poems “Soul”, “Life” . 42

Poem by M. Tsvetaeva “August - asters...” . 46

Modern reading of Tsvetaeva’s poems . 50

Application . 53
Photos . 54
Poems . 57

Bibliography . 60

1. Biography of Tsvetaeva.

I.1. Childhood, youth and first steps in literature.

Marina Tsvetaeva was born in Moscow on September 26, 1892. By origin, family connections, and upbringing, she belonged to the working scientific and artistic intelligentsia. Her father, the son of a poor rural priest, Ivan Vladimirovich Tsvetaev, made his way in life, became a famous art philologist, professor at Moscow University, and founder of the Museum of Fine Arts (now the Pushkin Museum). Mother is from a Russified Polish-German family, an artistically gifted person, a pianist.

Marina Tsvetaeva’s childhood, adolescence and youth were spent in Moscow and the quiet suburb of Moscow (Kaluga proper) Tarusa, partly abroad (Italy, Switzerland, Germany, France). She studied a lot, but for family reasons, unsystematically for quite a long time: as a very little girl - at a music school, then - in Catholic boarding schools in Lausanne and Freiburg, in the Yalta girls' gymnasium, in Moscow private boarding houses. She graduated from seven classes of the private Bryukholenko gymnasium in Moscow (graduated from the 8th grade). At the age of sixteen, having made an independent trip to Paris, she attended an abbreviated course in the history of Old French literature at the Sorbonne. She studied primarily from gymnasium textbooks on the history of her native literature, knew it perfectly: ancient literature, folklore, and the brilliant 18th century, she quoted Trediakovsky from memory, and she “analyzed” Pushkin from her childhood impressions in the book “My Pushkin” with such a sense of language , artistic speech, its laws, what do you understand: such a poet should have discovered his own very early own style and a unique voice.

She has mastered and thoroughly mastered and world literature and culture. Tsvetaeva knew French and German perfectly, wrote stories in French and translated. She fell in love with Germany as a second homeland, spending unforgettable time there, first with her mother in Lausanne and Freiburg, and then near Dresden with her father in 1910. The ancient world and the ancient Germanic epic, the Bible and world history coexist “without conflict” in her work, and Daniel, Lilith, Joan of Arc, Napoleon, Andrei Chenier and other heroes create a poetic world where world history and culture make the reader see modern man with his thoughts and feelings in a symbolic mirror of the past.

Marina Tsvetaeva, as a poet, went through an excellent philological school and treated her own apprenticeship almost reverently: “There is a certain hour, like discarded sludge, / When we tame the pride in ourselves, / The hour of apprenticeship! He is in everyone’s life / Solemnly inevitable!”

Tsvetaeva began writing poetry at the age of six, publishing at the age of sixteen, and two years later, in 1910, while still in her school uniform, secretly from her family, she released a rather voluminous collection, “Evening Album.” He was noticed and approved by such influential and demanding critics as V. Bryusov, N. Gumilev, M. Voloshin.

The poems of the young Tsvetaeva were still immature, but captivating with their talent, well-known originality and spontaneity. Bryusov contrasted Tsvetaev, the then debutant - I. Erenburg: “Marina Tsvetaeva’s poems always start from some real fact, from something really experienced.” The strict Bryusov especially praised Tsvetaeva for the fact that she fearlessly introduces “everyday life” into poetry, “immediate features of life,” warning her against the danger of falling into “domesticity” and exchanging her themes for “cute trifles.” Gumilyov’s review is even more favorable: “Marina Tsvetaeva is internally talented, internally original... New bold intimacy; new themes, a new spontaneous, thoughtless admiration of the trifles of life.

Following the “Evening Album,” two more collections of poetry appeared: “The Magic Lantern” (1912) and “From Two Books” (1913), both under the brand of the Ole-Lukoje publishing house, the home enterprise of Sergei Efron, for whom in 1912 she got married.

Marina Tsvetaeva, even at the beginning of her creative career, did not belong to any of the poetic groups, but she could not pass by the school of symbolism. Masters of symbolism V. Bryusov, Vyach. Ivanov, K. Balmont “taught” with their own creativity, and reviews of her publications, and theoretical declarations. She wrote memoirs about some (V. Bryusov, K. Balmont), and dedicated poetic cycles to others (for example, A. Blok, Vyach. Ivanov).

Of course, the apprenticeship of a poet of such magnitude as Marina Tsvetaeva was more like a dialogue of equals, equal in rights, where each of its participants (teacher and student) perfectly understands and feels another.

At this time, Tsvetaeva - “magnificent and victorious” - was already living a very intense spiritual life. The stable life of a cozy house in one of the old Moscow alleys, the leisurely everyday life of a professor’s family - all this was a surface under which the “chaos” of real, not children’s poetry was already stirring.

In her youth, Tsvetaeva is possessed by something perfect - naively romantic - the cult of Napoleon and his unlucky son - "Eaglet", the Duke of Reichstadt. This was literature of a not very high standard, reeking of cheap beauty and all sorts of literary pyrotechnics. Tsvetaeva directly held on to her, and this was a kind of challenge. Moreover, Tsvetaeva’s artistic passions, of course, were not limited to such literature: from childhood she was immersed in Pushkin, and in her youth she discovered Goethe and the German romantics. Such sharp turns - from Lieutenant Schmidt to Napoleon, from Rostand to Leskov and Aksakov, Goethe and Hölderlin - marked Tsvetaeva’s youth, and this reflected, perhaps, the sharpest, most deep feature of her human character- self-will, constant desire to be "against" everyone”, to remain “on my own”.

Tsvetaeva’s character was difficult, uneven, and unstable. I. Ehrenburg, who knew her well in her youth, says: “Marina Tsvetaeva combined old-fashioned courtesy and rebellion, reverence for harmony and love for spiritual tongue-tiedness, extreme pride and extreme simplicity. Her life was a tangle of epiphanies and mistakes.”

At first, two souls and two guises were so bizarrely combined in her: a “young lady”, a fan of Rostand, immersed in bookish and romantic dreams, and a headstrong, obstinate “rebel”, “daring blood”, who most of all loves to tease people and “laugh, when you can't."

Once Tsvetaeva said on a purely literary occasion: “This is a matter for poetry specialists. My specialty is Life.” She lived a complex and difficult life, did not know and did not seek either peace or prosperity, was always completely unsettled, and sincerely asserted that her “sense of ownership” was “limited to children and notebooks.” And for all that, Tsvetaeva was a very resilient person. She greedily loved life and, as befits a romantic poet, she made enormous, often exorbitant, demands of it. The “pagan” thirst for life spoke loudly in her as the best joy, the highest bliss. Any mysticism was organically alien to her. The soul itself for her is “pale Christian weakness,” “nonsensical heresy,” weightless “vapor,” while the body, the flesh, really exists and “wants to live.”

In relation to life, Tsvetaeva is not at all similar to the poets of the previous generation - the Symbolists. Tsvetaeva's whole tone is completely different. Here is one of the characteristic examples of the poet’s appeal to Life:

You won't take my blush -

Strong - like river floods!

You're a hunter, but I won't give in

You are the chase, but I am the run.

You won’t take my soul as I live!..

True, Tsvetaeva also wrote about death - especially in youthful poems. Writing about death was a kind of sign of good literary tone, and young Tsvetaeva was no exception in this sense:

Listen! - You still love me

Because I'm going to die.

But even then the “mortal” motives clearly contradicted the internal pathos and the general major tone of her poetry. Responding to a fashionable theme, she still thought immeasurably more about herself - “so alive and real on the gentle earth,” and later, in mature poetry, she spoke about death only as a biological inevitability.

It is not enough to say that life did not spoil Marina Tsvetaeva - it pursued her with rare bitterness. Tsvetaeva was always destitute and terribly lonely. The feeling of being “orphaned” and “utterly alone” was a curse for her, a source of unabated mental pain. But it was not in her nature to complain and moan, much less to revel in her own suffering. She hid her mental anguish deeply, under the armor of pride and contemptuous indifference. In fact, she fiercely yearned for simple human happiness: “Give me peace and joy, let me be happy, you will see how I can do it!”

I.2. Emigration and the formation of a poet.

Marina Tsvetaeva’s love of life was embodied primarily in her love for Russia and Russian speech. But just when meeting with the poet’s homeland, a severe and irreparable misfortune befell him.

The years of the First World War, revolution and civil war were a time of rapid creative growth for Tsvetaeva. She lived in Moscow, wrote a lot, but published little, and only inveterate lovers of poetry knew her. She did not establish any other connections with the literary community.

Marina Tsvetaeva did not understand or accept the October Revolution. A truly fatal incident happened to her. It would seem that it was she, with all the rebellious leaven of her human and poetic character, who could find a source of creative inspiration in the revolution. Even if she would not have been able to correctly understand the revolution, its driving forces, its historical tasks, but she could at least feel it as a powerful and boundless element. To Marina Tsvetaeva, the revolution at first seemed like just an uprising of “satanic forces.”

In the literary world, Tsvetaeva still kept herself apart. She had almost no contact with real Soviet writers, but also avoided that motley bourgeois-decadent environment that still set the tone in literary clubs and cafes. Tsvetaeva herself humorously described her performance at one of the literary evenings of that time. It was a special “evening of poets”. They performed for the most part decorated in latest fashion ladies who dabbled in rhymes. Tsvetaeva shocked them with her whole demeanor and her whole appearance: she was in some awkward dress, reminiscent of a cassock, in felt boots, belted with a soldier’s belt, with a field officer’s bag on her side... but the main thing that distinguished her from the other participants in the evening was her that among the useless chirping of birds the voice of a real poet was heard, reading excellent poetry.

The Soviet government did not notice this far-fetched front, gave Tsvetaeva rations from its meager reserves, and published her books in the State Publishing House (“Versty”, “Tsar Maiden”). And in May 1922, Tsvetaeva decided to go abroad with her daughter - to her husband, who was a white officer, survived the defeat of Denikin and Wrangel, and who by this time had become a Prague student.

Abroad, Tsvetaeva lived first in Berlin (for a short time), then for three years in Prague; in November 1925 she moved to Paris. Life was an emigrant, difficult, poor. It was beyond our means to live in the capitals; we had to settle in the suburbs or nearby villages (Vshenory, Mokropsy - near Prague; Meudon, Clamart, Van - near Paris).

The landscapes of these and other places were reflected in Tsvetaeva’s works (“Poem of the Mountain”, “Poem of the End”, many poems), and very specifically. Here, for example, is how Tsvetaeva described the environment in which she lived and worked in 1923: “A tiny mountain village, we live in its last house, in a simple hut. Characters of life: a well - a chapel, where most often at night or early in the morning I run for water (at the bottom of the hill) - a chained dog - a creaking gate. Immediately behind us is the forest. To the right is a high ridge of rock. The village is all in streams” (in verse - “Streams”).

At first, the white emigration accepted Tsvetaeva as one of their own. It was eagerly published and praised. But soon the picture changed significantly.

It is significant that political themes, to which Tsvetaeva paid generous tribute in her poems of 1917-1921, are gradually almost disappearing from her work of the emigrant period.

The White émigré milieu, with mouse fuss and furious squabbling of all kinds of “parties” and factions,” immediately revealed itself to Tsvetaeva in all its pitiful and disgusting nakedness. Tsvetaeva tried to maintain some semblance of independence here too: “I did not belong and do not belong to any poetic or political movement.” She was published in publications that were considered “left-wing” in emigration (mainly the Socialist-Revolutionaries), and invariably refused to participate in the “right-wing” ones.

Gradually, Tsvetaeva’s ties with the white emigration weaken more and more and, finally, almost break. It's being printed less and less. She writes a lot, but what she writes does not get published for years or even remains on the author’s desk. If in 1922-1923. Tsvetaeva managed to publish five books abroad (“The Tsar-Maiden”, “Poems to Blok”, “Separation”, “Psyche”, “Craft”), then in 1924 - only one (“Well done”), and then came a break until 1928, when Tsvetaeva’s last lifetime collection, “After Russia,” was published, including poems from 1922-1925.

It is important to note that this circumstance did not worry or upset Tsvetaeva too much, for she is firmly convinced that her reader is in Russia. Of course, there was nothing Soviet in what Tsvetaeva wrote, but among the overwhelming majority of emigrants, she really seemed like a black sheep. She measured herself against the Black Hundreds, fiercely hated racism and fascism, and did not share the zoological hatred of the Soviet Union. And she didn’t hide it from anyone.

Having decisively abandoned her white illusions and fetishes, she no longer mourned anything and did not indulge in any touching memories of what had gone into oblivion. Her poems sounded completely different notes:

Beware of the graves:

Hunger than harlots!

Was dead and rotten:

Beware of the tombs!

From yesterday's truths

The house is stinking and trashy.

Even the very dust

Give to the winds!

Tsvetaeva's poetry was monumental, courageous and tragic. The shallow waters of emigrant literature were up to her feet. She thought and wrote only about big things - about life and death, about love and art, about Pushkin and Goethe... Tsvetaeva’s independence, her bold experiments with poetry, the very spirit and direction of her work irritated and turned most emigrant writers against her. One of them, a critic who was considered an arbiter of taste, spoke bluntly in the press about “our sympathy” for Tsvetaeva’s poetry, about its “complete, deep and irrevocable unacceptability for us.”

A blank wall of loneliness closed ever closer around Tsvetaeva. She has “no one to read, no one to ask, no one to rejoice with.” Apparently, she did not sin at all against the truth when she complained in 1935: “They are cruelly mocking me here, playing on my pride, my need and my lack of rights (there is no protection).” And the need was really great: “You cannot imagine the poverty in which I live, I have no means of living except writing. My husband is sick and cannot work. The daughter of a knitted cap earns 5 francs a day, the four of us (I have an 8-year-old son, Gregory) live on it, i.e. We’re just slowly dying of hunger” (letter from 1933)

In such isolation, Tsvetaeva worked heroically as a poet, working tirelessly. “With no one, alone all my life, without books, without readers, without friends, without a circle, without an environment, without any protection, involvement, worse than a dog, but... but that’s all.” All- because poetry remained with her, her “misfortune”, her “wealth”, her “holy craft”. And what stubborn faith in one’s own strength!

In 1931, she writes: “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’ll write until the last line strongly, that I won’t give weak poems.”

It is unimaginably difficult for an artist to work when he remains in such an airless space as emigration - without his native land under his feet, without his native sky above his head. One must have extraordinary spiritual strength in order to preserve at least the last of one’s personality in such conditions, without which there is and cannot be art at all. At the cost of enormous efforts, Tsvetaeva preserved her personality, her “living soul.”

Fortunately, there is no longer any snobbery 8 left in her, no aestheticism. She knew true price both life and art and, living in a world where both most often turned out to be incompatible, did not turn a blind eye to their contradictions. Finishing her treatise “Art in the Light of Conscience” (1933), she asked herself such an old and always new question: what is more important (in a poet) - a person or an artist? And she answered: “Being human is more important, because it is more necessary.” And yet, Tsvetaeva immediately says that she will not give up her work and place as a poet for any benefits. She was a poet, only a poet, entirely a poet, a poet from head to toe. Her difficult, impoverished, powerless life as an outcast was filled to the brim with the tireless work of thought and imagination. And that's what's great. Having not understood or accepted the revolution, having run away from it, it was there, abroad, that Tsvetaeva, perhaps for the first time, acquired a sober knowledge of social inequality, saw the world without any romantic covers. And then the righteous, honest anger of a true artist awoke in her - “holy anger” at everything that prevents people from living:

The world is white tablecloth,

Already for you!

The most valuable, most undeniable thing in Tsvetaeva’s mature work is her unquenchable hatred of “velvet satiety” and all kinds of vulgarity. Having come from poor, hungry, having just survived the blockade of Russia to a well-fed and elegant Europe, Tsvetaeva did not succumb to its temptations for a minute. Of course, the everyday situation in which she immediately found herself had a certain significance.

The very first poems written by Tsvetaeva abroad did not capture front facade Europe, but a world of poverty and lawlessness, where one can observe “life without a cover.” The magnificent “Factory” and other poems talk about worker outposts, where the smell of sweat and blood is heard, where “machine gun violence” is heard, drowning out the “roar of the unemployed.” We are talking about “dampness and orphanage”, about “unskilled gloom”, about hospitals and prisons, about “the voice of mines and basements”, about people offended and worn out by life - about those who are right both in their despair and in their "evil"

In Tsvetaeva’s work, satirical notes are becoming increasingly stronger. What is the value of “Praise to the Rich” alone! In the same row are such strong poems as “Poem of the Outpost”, “Train”, “Poloterskaya”, “Ode to Walking” (which was not without reason abandoned by the most respectable of the White emigrant magazines - “Modern Notes”), poems from the cycle “Table” ", "We haven't gone anywhere...", "Newspaper Readers", individual stanzas of the "Poem of the Mountain", in which a truly scorching "lava of hatred" flows towards the pitiful "kingdom of mollusks", and, of course, the whole thing - so fiercely anti-philistine, anti-bourgeois things like "The Pied Piper" and "The Staircase Poem".

At the same time, Marina Tsvetaeva’s keen interest in what is happening in her abandoned homeland is growing and strengthening. “The homeland is not a convention of territory, but the immutability of memory and blood,” she wrote. - Not to be in Russia, to forget Russia - only those who think of Russia outside of themselves can be afraid. Whoever has it inside will lose it only with his life.”

But, at first, it was only a feeling of the homeland, in general - the Motherland, that Russia that the poet knew and remembered. Among Tsvetaeva’s patriotic poems there is one amazing thing - “Longing for the Motherland!..”, where everything is the same as in “Praise to the Rich”; you need to understand it the other way around. Such piercing, deeply tragic poems could only be written by a poet who was selflessly in love with his homeland and who lost it.

By the 1930s, Marina Tsvetaeva was already quite clearly aware of the line that separated her from the white emigration. She writes in a rough notebook: “My failure in emigration is that I Not an emigrant, that I am in spirit, that is, in air and in scope - there, there, from there... Here only the extinguished will succeed and - it would be strange to expect anything else! Now in a new way, completely different than at the height of the revolution, she feels its presence in the “air” that the poet breathes: “Recognize, pass, reject the Revolution - anyway, it is already in you - both from eternity (the element), and from Russian 1918, which - like it or not - was. The Revolution could leave everything old in the poet, except scale and tempo.” As a real artist, Tsvetaeva could not help but feel the infectious power of the revolution in her own work, for, as Blok argued, it is time that instills in a real artist his internal, spiritual, creative rhythms. Only as a personal confession can one understand Tsvetaeva’s conviction: “There is not a single major Russian poet of our time whose voice did not tremble or grow after the Revolution.”

The cycle “Poems to my Son” (1932) is important for understanding Tsvetaeva’s position, which she occupied by the 1930s. Here she speaks loudly about the Soviet Union as a new world of new people, as a country of a very special make-up and a special destiny (“it’s the other way around for all regions”), uncontrollably rushing forward - into the future, and into the universe itself - “to Mars.” In the darkness of the wild old world, the very sound of the USSR sounds for the poet as a call for salvation and a message of hope. These poems are polemically pointed against the most common theme of White emigrant poetry - “crying on the rivers of Babylon.” During the years of dispersion, the “holy land”, taken from its homeland, was reduced to dust - literally and figuratively. It doesn't even exist as a symbol. Tsvetaeva against the fetishism of concepts and words: Rus' for her is the heritage of her ancestors, Russia is nothing more than a sad memory of “fathers” who have lost their homeland and who have no hope of finding it again, and “children” have only one way left - home, to their only homeland , in USSR. The leaders and ideologists of the white emigration are most alarmed by instilling in their youth a feeling of hatred towards the new, Soviet Russia. Tsvetaeva looks soberly on things: “Our quarrel is not your quarrel,” she convinces the young emigrant generation.

Tsvetaeva looked just as soberly at her future. She understood that her fate was to share the fate of her “fathers.” But she had the courage to recognize the historical righteousness of those against whom she so foolishly rebelled.

Tsvetaeva’s personal drama is intertwined with the tragedy of the century. She saw the bestial grin of fascism - and managed to curse it.

The last thing Tsvetaeva wrote in exile was a cycle of angry anti-fascist poems about trampled Czechoslovakia, which she loved tenderly and devotedly (she had nowhere to publish these poems). This is truly a “cry of anger and love”, poetry of burning civic intensity, real oratorical sound and at the same time tragic despair. The poet believes in the immortality of a people who do not bow their heads under violence, predicts the inevitable death of its executioners, but in horror, closing his eyes and covering his ears, he retreats before the bloody madness that has gripped the world. Cursing fascism and echoing the godless frenzy of Ivan Karamazov, Tsvetaeva was already losing her last hope - her saving faith in life. These poems of hers are like the cry of a living but tormented soul:

O black mountain,

Eclipsed the whole world!

It's time - it's time - it's time

Return the ticket to the creator.

I refuse to be.

In the Bedlam of the Inhumans

I refuse to live.

With the wolves of the squares

I refuse - howl.

With the sharks of the plains

I refuse to swim -

Downstream - spin.

I don't need any holes

Ears, no prophetic eyes.

To your crazy world

There is only one answer - refusal.

On this note of final despair, Marina Tsvetaeva’s work ended. Then it was just human existence. And that’s just enough.

I.3. Homecoming.

In 1939, Tsvetaeva restored her Soviet citizenship and returned to her homeland. The seventeen years spent in a foreign land were hard for her. She had every reason to say: “The ashes of emigration... I am all under it - like Herculaneum - and so life has passed.”

Tsvetaeva long dreamed that she would return to Russia as a “welcome and welcome guest.” But it didn't work out that way. Her personal circumstances were bad - her husband and daughter were subjected to unjustified repression. Tsvetaeva settled in Moscow, began translating, and prepared a collection of selected poems. War broke out. The vicissitudes of the evacuation brought Tsvetaeva first to Chistopol, then to Elabuga. It was then that that “supreme hour of loneliness” overtook her, about which she spoke with such deep feeling in her poems. Exhausted and lost, on August 31, 1941, Marina Ivanovna Tsvetaeva committed suicide.

II. The originality of Tsvetaeva's lyrics.

Tsvetaeva the poet cannot be confused with anyone else. You recognize her poems unmistakably - by their special chant, unique rhythms, and unusual intonation. This is undoubtedly a true criterion of the authenticity and strength of poetic talent.

This power noticeably made its way already in Tsvetaeva’s earliest, half-childish poems, still completely immature, student-like. She appeared through the somewhat feigned infantilism and dense literary layers Among completely homely poems about “mommy”, “sister Asya”, “maids of honor” and “boy Seryozha”, surrounded by knights, wizards, princes and smugglers read from books, in the flickering of “romantic names" (from Bayard, Ondine, Byron and Liszt to Rostand and Princess Nina Dzhavakha), something fresh and immediate suddenly arose, revealing in the author not only talent, but also the beginnings of a poetic character: "I am a rebel with a whirlwind in my blood... “,” “I am all love, and I don’t need the soft bread of gifted friendship.” “So that there are two in the world: me and the world!..”

Even then, Tsvetaev’s special grip in handling the poetic word, the desire for aphoristic clarity and completeness, began to show itself. The concreteness of these homely lyrics was also captivating. For all her bookish romanticism, young Tsvetaeva did not succumb to the temptations of that lifeless, supposedly meaningful decadent jargon, which was predominantly used by debutants in poetry of that time. Tsvetaeva did not have any “mooniness”, “serpentineness”, “closing of links” and other empty abstractions.

Tsvetaeva grew up very quickly, confidently mastering free, in easy language, rich in conversational intonations and more and more carefully sculpting the image of his lyrical heroine with her gold hair and green eyes, rings and cigarettes, too proud appearance, harsh speeches and oblivion of the “commandments”. Some poems, marked 1913-1915, already amaze with the amazing energy of poetic expression of even the most seemingly ordinary themes. These are, for example, Tsvetaeva’s early masterpieces: “You’re coming, looking like me...” or “With great tenderness...”.

At this time she had already learned to paint a holistic poetic picture, selecting local features of the landscape and setting, which together recreate a certain cultural and historical flavor. And also human character. Thus, in the poems about Carmen (1915), from such details (the rattles of the night watchmen, the young moon, monks, conspirators, lovers and murderers, the statue of the Virgin Mary in the city square, “the smell of a rose and the smell of a curl, the rustle of silk around the knees”), an idea emerges not only about the situation in which the dramatic love conflict unfolds, but also about the participants in the conflict themselves:

Everyone here has two thoughts,

Here, rider, hurry up your horse.

We will pass without jingling our wallets

And without jingling bracelets...

We'll sit down by the fountain in silence

Here, on the stone porch,

Where for the first time through the eyes of a wolf

You're aiming for my face.

Later, in poems from 1916-1920. (partially collected in two editions of the collection “Versty”), Tsvetaeva completely masters her original style and becomes a remarkable master of Russian verse. The most distinctive feature of her manner is her strong and sonorous voice, so unlike the whiney tone or breathy-elegiac whisper common in lyric poetry of that time.

Marina Tsvetaeva wanted to be diverse and looked for different paths in poetry. She continued to develop and improve the themes and motifs of bookish and romantic origin that she had picked up in her early youth. She is fascinated by the French 18th century with its brilliantly frivolous heroes, like Casanova, with its elegant intrigues and the poetry of “high society adventures.” In Tsvetaeva’s poems of this type (the cycles “Cloak”, “Don Juan”, “Dickens’ Night”, “The Comedian”) there is a lot of verbal brilliance and salt, pathos and irony, wit and a kind of female dandyism 2, corresponding names and accessories: the Chevalier de Grieux and Manon, Antoinette and Cagliostro, Corinna and Oswald, stagecoaches and London fogs, family estates, coats of arms, glasses of Asti, the “valiant British lion”...

Tsvetaeva’s early poetic plays are also included here: “Jack of Hearts”, “Blizzard”, “Fortune”, “Adventure”, “Phoenix”. It would be more accurate to call them dramatic poems in an adventurous and courtly spirit; The main thing in them is a bright romantic color and play with words, masterly, epigrammatically sharp dialogue:

Step aside! You'll burn your curls]
Do not worry! I myself am fire.

But gradually the exquisitely dandy themes and motifs lost their charm for Tsvetaeva and eventually disappeared from her work, because they came into sharp conflict with the pathos of the dramatic experience of life that was increasingly mastering her and the awareness of the high calling of the poet:

There are more important things in the world

Passionate storms and exploits of love.

You are the one who beat your wing on this chest,

The young culprit of inspiration -

I command you: - be!

I will not disobey.

And in general, since about 1916, when, in fact, the real Tsvetaeva began, in her work dominated a completely different element - a violent song beginning that embodied acute feeling Russia - its nature, its history, its national character. From Russian folk song - all the qualities of Tsvetaeva’s best poems of that time: open emotionality and stormy temperament, complete freedom of poetic breathing, winged lightness of verse, fluidity of all verse forms, the ability to “derive” from any one word a whole swarm of images that diverge from it in breadth, like ripples in the water from a thrown stone. Hence the whole landscape of Tsvetaeva’s lyrics of those years: high sky and the wide steppe, wind, stars, fires, gypsy camp, nightingale thunder, galloping, pursuit, coachman's bells, “Kaluga native kumach”, “the roar of centuries, the clatter of horseshoes”...

In the center of this multicolored and polyphonic poetic world stands the image of a lyrical heroine, equally sharply revealed in its national features - a woman with a “proud appearance” and a “wandering disposition”, the bearer of a “passionate destiny”, who “doesn’t care about anything”. This image serves as a core around which Tsvetaeva’s dramatized lyrical plots are formed and unfolded. The heroine puts on different disguises and tries on different costumes. She is the Moscow archer, and the indomitable noblewoman Morozova, and the arrogant Panna Marina, and the camp gypsy, and the quietest “homeless monk”, and the sorceress-warlock, and most often - the troubled prison beauty, the “tavern queen”:

I kissed a beggar, a thief, a hunchback,

I walked with all the hard labor - it didn’t matter!

I don’t bother my scarlet lips with refusal.

Leper, come - I won’t refuse!

Subsequently, the masks fall off - and a simple, without any decorative adornment, female face is revealed - the lyrical image of the author. But the element of willfulness and obstinacy, spiritual rebellion of “daring blood” that cannot be restrained either in passion or despair, neither in love nor in hatred, will forever remain the emotional environment in which this image lives:

Others - with eyes and a bright face,

And at night I talk with the wind.

Not with that - Italian

Zephyr the Young, -

With good, with wide,

Russian, end-to-end!

As you can see, the topic received an appropriate verbal and figurative expression. The stable features of Tsvetaeva’s style of that time were a sharp expression of poetic speech, lightning-fast dance and song tempos, rich sound instrumentation, easy play with words, a special type of sometimes sly, sometimes perky talk, turning into a tongue twister:

If only fate brought you and me together -

Oh, happy things would go on earth!

More than one city would bow to us,

Oh, my dear, my natural, my rootless brother

Her reading style was like this: “Reading poetry, she hums, the last word lines ending with patter." Folk poetic motifs brightly color Tsvetaeva’s work during the “Verst” period and subsequent years. She refers not only to the song, but also to the ditty, to the raeshnik, to the peculiar cult forms of “laments”, “conspiracies”, “spells” and “fortunes”, imitates the “cruel” bourgeois romance (“Poems to Sonechka”), and finally - after this he writes large fairy tale poems (“Tsar-Maiden”, “Well done”). And all this, as a rule, does not seem like stylization, that is, a dead fake, but is felt as a desire to convey in modern verse not only the style, but also the very spirit of folk songs and fairy tales.

Exactly - in modern verse. In her best works, written in the “folk spirit,” Tsvetaeva, getting used to all the subtleties of folk poetic speech, assimilating its rhythms, rhymes, epithets, economical and precise imagery, did not lose anything from her Tsvetaeva:

No pine tree is so straight

In the green spruce forest,

Because you and I -

Single cradle and...

Not for a thousand destinies -

We will be born for one.

Closer than bread with the palm of your hand -

So we agree with you.

Not carried away by fire and flood

Red ring!

Closer than with the palm of the forehead

During those sleepless hours...

Tsvetaeva achieved particular success in this way precisely in those cases when she abandoned the external signs of “style russe”, all these as much, al, exactly, if only, oh you and to the greatest extent remained true to herself (“Fortune telling”, “The rich man fell in love with the poor ...”, “Eyes”, “Grandmother”, “Wolf”, “These garments are not for the flattering ...").

One cannot consider Tsvetaeva’s two great “Russian” poems, “The Tsar Maiden” and “The Well Done,” to be an absolute success (their plot sources are the corresponding fairy tales in Afanasyev’s collection). They are written effectively, catchily, they contain many poems of excellent craftsmanship, a rich vocabulary, masterly whirlwind rhythms, but in general they are too wordy, cumbersome, and heavy. Meanwhile, Tsvetaeva’s strength was precisely in condensation, in the utmost condensed verse speech. Examples of this can be found in fairy tales, say, in “Well done.”

How he jumps up, brah!

How stomping, strict!

Hand to sleeve,

Foot into boot...

Tsvetaeva used her rich arsenal of means of poetic expression wastefully and always in different ways. From her power over poetry, she knew how to extract the most varied and unexpected effects. Take, for example, a poem like “ I'll win you back in all lands, in all heavens...” (How many in these verseshidden passion and energy! They are like a tightly stretched spring that is about to break out of your hands. But here are poems that are completely different in tone and manner: “Like the right and left hand...” - an example of rare economy, one might say - stinginess, poetic speech, its real aphorism. Another example of the same kind is the excellent poem “With a Red Brush...”, in which there is not a single optional, “passing” word, but only the most necessary ones, and each one is hammered in like a nail - to the very head. Or take the small, eight-line poem “You Can’t Be Left Behind...”, in which the same free, indomitable female character arises literally out of nothing - from one intonation:

I have a calm disposition!

My eyes are already clear!

Let me go, guard,

Take a walk to that pine tree!

But approximately in 1921, a clear turning point was discovered in the work of Marina Tsvetaeva. She abandons her singing style and begins to look for new ways. Let's make it clear right away that we are talking about change. main tone, since before (as well as later) it was not monotonous. In her poetry, different layers and different streams have always coexisted. “I can only be led by contrasts, that is, by the all-presence of everything...” Tsvetaeva rightly argued. - I - a lot of poets, and how it sang in me - this is my secret". From purely lyrical forms, she more and more willingly turns to complex lyrical-epic structures, to poems, to poetic tragedy. And her lyrics themselves become monumental: individual poems are combined according to the principle of lyrical plotting into integral cycles, subject to special laws of composition. The most characteristic in this sense are Tsvetaeva’s cycles, the structure of which arises not from a given theme (as, for example, in poems about Moscow, about Blok, about Pushkin, about the Czech Republic), but precisely from a lyrical plot (“Trees”, “Wires”, “ Table"). The dominant form of speech in Tsvetaeva’s lyrics is, naturally, a monologue, but very often addressed to a certain interlocutor who is being challenged or convinced. By the way, this is why lyrical “parts” are so characteristic of Tsvetaeva, although they do not turn into duets, but certainly imply two characters: Stepan Razin and the princess, the Pretender and Marina Mnishek, Carmen and Jose, Don Juan and Donca Anna, Phaedra and Hippolyte, Ariadne and Theseus, Orpheus and Eurydice, Helen and Achilles, Hamlet and Ophelia and Brunnhilde.

Over time, Tsvetaeva’s poem seems to harden and lose its volatility. Already in the cycles “Apprentice” and “Youth” (1921) it becomes solemnly majestic, acquiring the features of an odic “high syllable”, equipped with an archaic vocabulary and images drawn from biblical mythology:

And the ear grew, and the merry hour struck,

And the millstones thirsted for grain...

Jericho roses burn on the cheekbones,

And they drag out and drag out this sigh of Saul

Palestinian youths with a black cut.

It is easy to notice that the high syllable in Tsvetaeva’s mature poems is mixed with vernacular, bookish archaism with colloquial jargon. This was a deliberate technique, and the special effect of Tsvetaeva’s style was based on the free combination of “pomposity” (in the ancient sense of the word) with “simplicity” - that “high simplicity” when the most everyday word, sometimes even vulgar, takes on a high sound in a series of words another lexical layer and in the corresponding key:

Word seeker, verbal hahal,

Words are an open tap,

Eh, if only I had heard it once, I gasped

Polovtsian camp into the night!

Tsvetaeva dresses her lyrical content in mythological clothing - the spiritual drama of a man and poet of the tragic 20th century. Therefore, in antiquity she was attracted mainly by tragic collisions and conflicts, the idea of ​​fate, the feeling of predetermination of human destiny, the dark Dionysian 2 world of priesthood, secrets, and divination. Tsvetaeva's tragedies have a gloomy flavor. They talk about unfortunate, hopeless destinies strong in spirit, passionate people who enter into a fight against the dark forces of fate hostile to them. But this struggle is hopeless: man is doomed to suffering, despair and death, for fate, the blows of fate, are the evil will of the gods, before which man has no rights and is powerless. Much in this concept comes from the Nietzschean-decadent 6 distortion of the true spirit of ancient tragedy. But Tsvetaeva introduces into the metaphysical idea of ​​the eternal “tragic meaning of life” a strong note of protest against the dark hostile forces playing with the destinies of defenseless people.

Tsvetaeva's poetry in this sense is a striking example. You open any page and immediately plunge into its element - into an atmosphere of spiritual burning, immensity of feelings, constant departure from the norm and ranking (“to ridicule and to the detriment of common sense”), acute dramatic conflicts with the world surrounding the poet.

What should I do, singer and firstborn,

In a world where the blackest is grey!

Where inspiration is stored, like in a thermos!

With this immensity in the world of measures?!

Freedom and self-will of the “soul that knows no measure” is her eternal, dearest theme. She values ​​and admires this beautiful, inspiring freedom.

There is not a trace of peace, tranquility, or contemplation in Tsvetaeva’s poetry. She is all in a storm, in a whirlwind movement, in action and deed. Tsvetaeva understood every feeling only as an active action: “To love is to know, to love is to be able, to love is to pay the bill.”

Tsvetaeva has always had a romantic idea of ​​​​creativity as a stormy impulse that captivates the artist: “There is no approach to art, because it captivates”, “The state of creativity is a state of obsession”, “The poet takes things too far.” The poet and the poet’s work were embodied for her first in the images of “light fire” and the unburning Phoenix bird, later in the image of a lawless comet “not predicted by the calendar”, in the concepts of “explosion” and “burglary”. Writing poetry, according to Tsvetaeva, is like “opening up veins” from which both “life” and “verse” irreparably gush out.

But Tsvetaeva’s whirlwind frenzy was combined with persistent work on the poetic word. The genius of the poet, in her view, is at the same time “ highest degree susceptibility to influx,” and “controlling this influx.” Thus, the work of a poet presupposes not only agreement with the free element of creativity, but also mastery of the craft. Tsvetaeva did not shun this word:

I know that Venus is the work of

Craftsman - and I know the craft!

Therefore, along with the violence, Tsvetaeva lived with the iron discipline of an artist who knew how to work “until she sweated.”

With all that, being an experienced master of a sophisticated form, Tsvetaeva saw in poetry only a means, and not the goal of poetry. Proving that poetry is important essence and that only a new essence dictates a new form to the poet, she argued with the formalists: “Just words from words, rhymes from rhymes, poems from poems are born!” Tsvetaeva saw the essence of poetry in the fact that it conveys the “structure of the soul” of the poet. And here it is, this “structure of the soul,” must certainly be new, not like the others. The poet is forbidden to repeat what has already been said; he must invent his own, discover new seas and continents on the map of poetry. “I don’t want to serve as a springboard for other people’s ideas and a loudspeaker for other people’s passions.”

Before moving directly to a consideration of the mature Tsvetaeva’s style as a set of means and techniques of artistic expression, we have to return to the concept “ poetic character" Its presence in the poet’s work presupposes a certain speech style, a certain expressive flavor of the poetic word. It turns out that it is no longer only important What said, but also by whom And How it is said - this is where the character, spiritual mood, the very “individual life style” of the one who speaks is guessed.

The individual “structure of the soul”, the desire to express the world in her own way led Tsvetaeva to a persistent, persistent search for an adequate and necessarily new form. During her search, she won great victories and suffered heavy defeats.

Perhaps the most remarkable, most original feature of Tsvetaeva’s style is the activity of the artistic form itself, the internal kinetic energy of word and image.

Tsvetaeva does not describe or tell, but tries, as it were, to transform herself into the object she depicts, to enter into its form.

In poetry there is a different attitude towards the word. There is a word - a conventional sign, an emblem, designed to express certain special meanings - such was the unsteady, wavering, most often falsely meaningful word of the symbolists.

Tsvetaeva’s word is always fresh, uncaptured, and it is always direct, objective, concrete, does not contain any extraneous meanings, which means only what it means: things, meanings, concepts. But it has its own important feature: it word-gesture, a conveying, some kind of action - a kind of speech equivalent of a mental and, if you like, a physical gesture - such a word, always stressed, highlighted, intonation emphasized (hence the extreme abundance of exclamation and question marks in Tsvetaeva), greatly increases the emotional intensity and dramatic tension of speech:

Here! Rip! Look! It flows, doesn't it?

Prepare the vat!

I will give up the sovereign wound to the last drop!

(The spectator is white, the curtain is red.)

“Oh, stubborn tongue!” - Tsvetaeva exclaimed. But in fact, she had complete control over her word. She did not invent new words; as a rule, she took an everyday word, but she knew how to break it down, melt it and reforge it in such a way that new shades of meaning began to play in it. Something in her linguistic creativity turns out to be close to the searches of Khlebnikov 3. Namely, the love of “root words”, the desire to get to the root, deep meaning of a word and derive from it a whole swarm of related sounds:

Factory cases, loud

And responsive to the call...

Secret, sublingual

The secret of wives from their husbands and widows

From friends - to you, the lowdown

The secret of Eve from the tree is this:

I'm nothing more than an animal

Someone wounded him in the stomach.

There are poets who perceive the world through vision. Their glory lies in their ability to look and consolidate what they see in visual images. Tsvetaeva is not one of them. She is fascinated by the sounds. The world opened up to her not in colors, but in sounds. She said about herself: “I write exclusively by ear.” And she admitted to “complete indifference to visuals.” A clear confirmation of this is Tsvetaev’s rhymes (or rather, assonances), which deserve special study. With a boldness unheard of for her time, she retreated from graphic precision in her verse endings, but endlessly expanded the range of their sound.

Life, you often rhyme with falsely, -

The singing ear is unmistakable!

In the poet’s listening to the sounds, Tsvetaeva saw the basis of verbal creativity: “Word creation is following the trail of folk and natural hearing, walking by ear. Everything else is not true art, but literature” (“Art in the Light of Conscience”). From here it becomes clear why in Tsvetaeva’s poetry such a huge role was played by the techniques of sound organization of verse and its instrumentation.

Tsvetaeva liked to collide similar-sounding words - so that from this collision their internal kinship would emerge and additional semantic connections would arise. "Rain. - What comes first in the friendliness of consonances? - she wrote. - Wait. “And for “give” - it’s so natural: God. God give - what? - rain! In the very name of the Slavic sun there is already a request for rain.”

Tsvetaeva made extensive use of the “friendliness of consonances,” but did not sacrifice meaning to sound. "Poems - consonance meanings", - she argued. Only poetic “sextons” are able to distract themselves from the direct content of the word-concept: “Sexton - what is his word? Thing And beggar- connection? No, discord” (“Poem of the Staircase”). Tsvetaeva was busy precisely identifying the family connections of words deeply hidden in the language. She loved to force, string on one another words that sound similar or evoke similar ideas - so that one word instantly evokes another, unexpected at first hearing, but turning out to be close in meaning: “How is your life - fussing - cowering? He gets up - how?..” - or: “No racial hatred, no Gusov execution, No childhood illnesses, no childhood fears...”.

As a result, Tsvetaeva’s poetic speech turns into a holistic, indestructible, purely verbal structure, in which things and concepts interact according to analogies, born from the similarity of sounds and meanings.
etc.................

Marina Tsvetaeva - the poet cannot be confused with anyone else. Her poems can be unmistakably recognized - by their special chant, rhythm, and intonation. Tsvetaeva is an innovative poet, primarily in the field of form. As a result, many of her works are complex and difficult to understand, primarily the works of the 20s. But, as Tsvetaeva herself admitted: “The sin is not in darkness, but in unwillingness to light, not in misunderstanding, but in resistance to understanding...” It depends on the reader - will he be able to trust the poet, will he be ready to discover a new world for himself? Everything in her personality and poetry (for her this is an indissoluble unity) came out sharply general circle traditional ideas, dominant literary tastes. This was the strength and originality of her poetic word, and at the same time the annoying doom of living not in the main stream of her time, but somewhere next to it, outside the most pressing demands and demands of the era. Proclaimed with passionate conviction in her early youth life principle: to be only yourself, not to depend in anything on time or on the environment - later turned into insoluble contradictions of a tragic personal fate.

Tsvetaeva accepted life as it was. Since at the beginning of her creative career she 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. In one of the early articles. " Prayer" creates the image of a heroine striving for active action. For her, living means going, suffering, rushing into battle, experiencing everything, experiencing everything. The elemental power of her nature is so great that she is ready to challenge the whole world: To the whistling of the fool and the bourgeois, laughter // One of all - for all - against all! // I stand and send, petrified from swelling, // This loud call into the heavenly voids.

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 takes on the aesthetics of futurism. In her works, she moves from melodious and spoken intonation to oratorical intonation, often breaking 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 self-denial of love. Here Tsvetaeva creates "Sibyl". This cycle is musical in composition and imagery and philosophical in meaning. It is closely connected with her “Russian” poems. 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 duology poem, which could be called either the “Poem of Love” or the “Poem of Parting.” Both poems are a story of love, a stormy and brief passion that left a mark in both loving souls for the rest of their lives. Never again has Tsvetaeva written 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 reflected a lot on time, on the meaning of human life, which is fleeting in comparison with the eternity. 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.

IN Paris years She writes little lyric poetry; she works mainly on poems and memoir and critical prose. In the 30s, Tsvetaeva was almost never published - her poems flowed 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”.

Love for Tsvetaeva and her heroine- the only news that is always new (v. “ For joy") - love, according to Tsvetaeva, reveals the poetry of the world, which the heroine finds in everything: in mysterious roads, in fabulous animal dens. Love returns the sharpness of the vision of the world (“Where does such tenderness come from”). Love in Tsvetaeva’s lyrics has many faces. She is tender and soulful (“I have an inclination of hearing towards you”), reckless and frantic (“Two suns are freezing - oh Lord, have mercy!”); love is a crafty game (the “Comedian” cycle) and the test “Pain, as familiar to the eyes as the palm of the hand...”; love is wise (“No one has taken anything away! It’s sweet to me that we are apart”) and tragic (“Gypsy passion of separation”). The poetess strives to convey all the shades, to capture the changes, nuances, and changeable signs of love. Attitude to the revolution October revolution Marina Tsvetaeva did not accept or understand; in the literary world she still kept herself apart. The blood that was shed abundantly in the civil war rejected and pushed M. Tsvetaeva away from the revolution: When he was white, he became red: // The blood turned red. // I was red - I became white: // Death won. - It was a cry, a cry from the poetess’s soul. Moscow theme- one of the most important in creativity. It is no coincidence that the widely known cycle "Poems about Moscow" dated 1916 Staged in creative life poetess, it is considered “the year of birth of the real Tsvetaeva.” It marked the onset of creative maturity, was simultaneously both final and decisive further paths develop her talent. Feeling more and more intimately involved in the destinies of her homeland, it was at this time that Tsvetaeva greedily clung to and drains dear oh speech. Her "Poems about Moscow» capture the unique appearance of the “miraculous city”: Seven hills - like seven bells! There are bell towers on the seven bells. The total number is forty forty. Bell seven hills! During the war, during the evacuation, she ended up in Chistopol, and then in Elabuga, where she was overtaken by the loneliness that she spoke about with such deep feeling in her poems. Having lost all faith, Tsvetaeva committed suicide. And more than a dozen years passed before her youthful prophecy came true: Scattered in the dust in stores // (Where no one took them and does not take them), // My poems, like precious wines, // Will have their turn.

49. Panorama Russian history 1900-1945. in B. Pasternak’s novel “Doctor Zhivago." Expression the writer's views on art. Gospel, human life stories. Symbolism of “darkness” and “light” in “Poems of Yuri Zhivago”.

Doctor Zhivago is the most famous Russian novel of the 20th century throughout the world. Its action covers the revolution of 1917, two world wars, the civil war, the NEP, the Great Patriotic War and several post-war years. Boris Pasternak noted: “I... want to give a historical image of Russia over the last forty-five years, and at the same time, with all sides of my plot, heavy, sad and detailed... this thing will be an expression of my views on art, on the Gospel, on human life in history and much more…". The novel recreates the spiritual life of Russia at the beginning of the century, conveying a whole range of philosophical ideas; The author poses and solves moral, political, aesthetic, religious, and social problems. There are, as it were, two planes in the novel: an external one, telling about the life story of Doctor Zhivago, and an internal one, reflecting the spiritual life of the hero. It is more important for the author to convey not the events of Zhivago’s life, but his spiritual experience, therefore the main semantic load in the novel is transferred from the events and dialogues of the characters to their monologues. Pasternak comprehends the inhumane meaning and appearance of the Soviet state, opposed to man, his life, his destiny. Rejecting an ideology based on unfreedom, he contrasted it with the ideas of protecting life and universal human values, the ideas of a Christian attitude towards man, Christian love for him, the idea of ​​the absolute value of the individual with his private life.

Style originality B. Pasternak's novel "Doctor Zhivago" is manifested primarily in its compositional construction. Several storylines are clearly visible in the work: Zhivago - Tonya, Lara Guichard - Pavel Antipov, Yuri Zhivago - Lara Guichard, Yuri Zhivago - Strelnikov. The branching of the plot does not make the composition loose, devoid of internal unity. All plot lines of the novel intersect in time (both in the past and in the present of the heroes) and are drawn together - to the figure of Doctor Zhivago, who is the figurative center of the narrative. The content of the novel is determined by the non-objective narration, which gives grounds to classify the novel as lyrical prose. The subjective-narrative way of organizing the material allows us to comprehend the era through the hero’s lyrical experience, reveals the effect of epic breathing, and reveals the meaning of private fate on a time scale.

As a subject of knowledge Yuri Zhivago relates to other heroes novel on the principle of spiritual community or contrast. His vision and understanding of the events taking place in unity with the worldview of other heroes (Lara, Uncle Yuri, shopkeeper Galuzina, etc.) in the reader’s consciousness is determined by the time factor. The heroes of Pasternak's novel unwittingly or consciously connect personal disorder with the revolutionary events taking place in the country, and try to find the causes of general unrest and disorder. Such polyphony in the novel serves the task of recreating a detailed picture of the social and spiritual life of the people. At the same time, the relationship of heroes according to the principle of contrast (Zhivago - Strelnikov) is an expression of the opposition of the moral self-awareness of the hero-intellectual to the dominion of the revolutionary idea, which spiritually kills a person. Pasternak's focus on analysis philosophical, moral, psychological problem “man and history” allowed the author to artistically realize the concept of the hero’s philosophical self-awareness.

A characteristic feature of Pasternak’s creative individuality is an organic combination of high poetry with an analytical attitude to the events depicted. This is achieved by the fact that at the center of the narrative the author places the creative personality of a thinking person who perceives tragedy as a consequence of certain social processes. The writer tests the moral experience of the era with the moral feeling, moral intuition of his honest, decent, deeply thinking heroes who are experiencing the tragedy of the era. Novel style, determined by the dual nature of Pasternak’s talent, synthesizes writerly analysis and lyrical emotion. Such unity becomes a sign of emotional-analytical, emotional-poetic prose. The emotional, determined by the lyrical dominant of the writer’s style, “takes shape” in the novel from the embodiment of the emotional states of the characters, which determines the lyrical element of the novel. The heroes who are spiritually close to the author retain in themselves the natural principle and the ability to be surprised and admire the beauty of the environment, even in the tragic era of breakdown and bloodshed. Pasternak, exploring the nature of man and man in nature, highlights the natural in a child and an adult, in the main character and a secondary one. The writer considers this beginning as positive, the key to a person’s spiritual development. The content of B. Pasternak’s writing style is manifested not only in the movement of images, in the principles of depicting their characters, but also in imagery of pictures of nature, correlated in the artistic space of the novel with man. Nature in the novel performs several functions. It serves as a means of reflecting the social world. Symbolic images Pasternak's blizzards are the personification of an evil force, a one-time beginning. The symbolism of the images emphasizes the breakdown of life, the loss of stability and well-being in it. By the technique of parallelism the artist emphasizes the similarity between what is happening in the natural world and human life.

Problems. This is a novel about the loss of an ideal and an attempt to find it again, the problem of a person in the whirlpool of history, political, philosophical, and religious problems. The main character of the work, Yuri Zhivago, does not find an answer to the question of how he should live further: what to accept and what not to accept in his new life. In describing the spiritual life of his hero, Boris Pasternak expressed doubts and tense internal struggle of his generation. Philosophical understanding of human existence leads to biblical truths, to the Christian worldview and Christian morality, illuminated for centuries. The novel begins with the funeral scene of the hero's mother with the image of church hymns. So already in the first pages of the novel the idea of ​​the uniqueness of each human existence arises. Despite the wide coverage of events fateful for Russia, the author affirms the idea of ​​the enduring value of a person’s personal, intimate life, the value of a family, in whose friendly circle a person is able to confront an alien, cold, hostile world. Having realized this truth, Yuri Zhivago is trying to create his own separate, albeit modest, world of family happiness. But the hero’s fate was set from the very beginning. Already in the scene of the funeral of Yura Zhivago’s mother, a motif of tragic predestination is outlined: Curious people entered the procession and asked: “Who is being buried?” They were answered: “Zhivago.” - "That's it. Got it". - “Not him. Her..." In this seemingly passing exchange of remarks with some ambiguous connotation (are they burying Zhivago?), a fate akin to Jesus Christ is predetermined: to alleviate suffering, to give love, to bear the cross of earthly torment and, having absorbed the pain of others, to die in the prime of life. Fate really turned out to be cruel, all of Yuri Zhivago’s plans collapse, and he dies on the street young, at thirty-six years old, leaving his poems to the world. His beloved woman, for whom there was forever “only the sun of love,” mourns him. At first, the revolution was perceived by Zhivago as a “suspended surgery”, making it possible to destroy “old ulcers”. Zhivago's observations and analysis of the social reality of revolutionary times changed the hero's views. What seemed terrible to Zhivago was that revolutionary justice abolished all humanity. “Tired of shooting” sounds like a harsh verdict on a time of cruelty and violence. The novel is completed "Poems by Yuri Zhivago» - 4 main themes: poetry on gospel subjects, about nature, human relationships, as well as poems in which associations with world spiritual culture are felt. They overeat in consciousness lyrical hero, which acts as a generalizing image of a person in the 20th century, the cat is trying to resolve important issues in the context of eternity. That. in article is given big picture macro- and microcosm, in the middle of which stands man - the center and meaning of existence.

50. “Village prose” and its ideological and aesthetic guidelines. Folk character in the works of V. Belov (“Business as usual”), V. Rasputin (“Money for Maria.” “Farewell to Matera”) - at the student’s choice.

Solzhenitsyn: “At the turn of the 70s and in the 70s, a silent revolution that was not immediately noticed took place in Soviet literature. Without overthrowing or exploding anything declaratively, a large group of writers began to write as if no “socialist realism” had been announced and dictated - neutralizing it silently, they began to write in simplicity, without any pandering to the Soviet regime, as if having forgotten about him. To a large extent, the material of these writers was village life, and they themselves came from the village, therefore (and partly because of the condescending complacency of the cultural circle, and not without envy of the suddenly successful purity of the new movement) this group began to be called the villagers. But it would be correct to call them moralists, because the essence of their literary revolution was the revival of traditional morality, and the crushed, dying village was only a natural visual object.”

Appearance " village prose" were determined by the same aesthetic principles and artistic preferences that were characteristic of " quiet lyrics" However, in terms of its scale, “village prose” is larger, and its role in the literary process is incomparably more significant. It was in the mainstream of “village prose” that such great artists as Vasily Belov, Valentin emerged. Unraveled Vasily Shukshin, in his creative development Viktor Astafiev also came to this trend, under the influence of “village prose” a whole generation of prose writers was formed (V. Krupin, V. Lichutin, Yu. Galkin, G. Skoblikov, A. Filippovich, I. Ukhanov, P. Krasnov, etc.). The creators of “village prose” are fundamentally alien to the techniques of modernist writing, “telegraphic style,” and grotesque imagery. The culture of classical Russian prose is close to them with her love for the word plastic, visual, musical, they they restore the traditions of fairy tale speech, closely related to the character of the character, a person from the people, and deepen them.

On the pages of his works, he asked the question: is the village really so ideal and homogeneous and is it a stronghold of morality and mercy in the modern turbulent world? The first story by V. Rasputin is an attempt to answer this question. "Money for Maria"(1967).

Its plot is simple: the saleswoman of a village store, Maria, was short of 1000 rubles. Out of the simplicity of her soul, due to close, almost family relationships with her fellow villagers, she did not live alienated, often sold goods on credit, and did not count well. And she went to work as a saleswoman after much persuasion from her fellow villagers: knowing that this store was damned, they asked Maria to stand behind the counter, because after the young saleswoman Rosa was imprisoned for three years, no one wanted to go to work in this store, “to carry out the plan for prison " They asked Maria, knowing that she was conscientious and would not refuse. And she didn’t refuse, moreover, she made a store of sorts cultural center villages - here women gathered even when they did not need to buy anything, and men came in to smoke.

And here’s the shortage... The debt terrified both Maria, her tractor driver husband Kuzma, and their children. The auditor, however, took pity on the heroine and gave the kind, inept Maria the opportunity to collect the required amount in five days.

The misfortune that happened to Maria and the attitude of people towards this misfortune is a kind of litmus test that reveals the true essence of each of her fellow villagers. After all, it is enough for each of them to contribute a little more than four rubles (4.40), and Mary will be saved. In the story through the eyes of Kuzma, we see a number of villagers to whom he turns for help. And everyone reacts to another person’s misfortune differently. Some heroes, like grandfather Gordey, who is already over 70, a man from the former community, who remembers episodes of mutual assistance, immediately decided to help, and, although he did not have a penny, but, contrary to Kuzma’s protest, begged 15 rubles from his son (“he stood in front of Kuzma with an outstretched hand, from which protruded five-ruble bills rolled into tubes. And he looked at Kuzma with fear that Kuzma might not take it." even Aunt Natalya, who was bedridden, prepared money “for death” (“so that more people would come and remember me”), and she “handed him the money, and he took it, as if he had received it from the other world,” she understood their necessity for the living Mary; What he was able to do was done by the chairman, who gave away his monthly salary and called on the collective farm specialists to do the same.

And those who did not want to help Kuzma and Maria easily found reasons and excuses. For example, a woman close to Maria, her friend Klava, decided that if Maria had already died, it was impossible to save her, and “it was better to cry, howl over her as over a dead woman.” The hypocrite old woman Stepanida also feigns tears, and although she has a lot of money in her stash, she does not give a penny. Although the school director gives a hundred, in return he wears out his soul with moral teachings and demands for some kind of super-respect for himself, as if he is not giving a loan, but performing a feat. And he parted with his hundred not out of human sympathy or compassion, but out of a desire to remain satisfied with himself and out of fear that people would accuse him of greed. Throughout the plot of his story, Rasputin shows how through the attitude towards money, towards a person in trouble, some important and often alarming signs of the modern state of the world are revealed. The same Kuzma, who himself does not know how to refuse and is himself morally bright, also thinks kindly about others, believing in an understanding that does not need words: he “did not even dare to ask them for money in his thoughts. He imagined his rounds like this: he comes in and is silent. Just the fact that he came should have told people everything.” But Kuzma turned out to be too bright for the already graying world, and his light is unable to light a reciprocal flame in the already hardened human hearts. As a result, Kuzma fails to collect the required amount in the village. The last hope remains - a brother living in the city, who, perhaps, will lend the required amount. Kuzma goes to town, finds his brother’s house, and knocks on the door. “Now it will be opened for him,” is the last phrase of the work. What will happen?

The ending of the story remains open. Rasputin does not deprive the reader of hope. Although all the previous information contained in the work indicates how weak the hope is for a successful outcome of Kuzma’s ordeals in search of money. This is also the fact that Kuzma had not been with his brother for 7 years, and that his brother had already seemingly forgotten about the existence of his native village, and that Maria, having spent two nights with Alexei, returned and said that it was better to live with strangers, and a fellow villager, having visited Alexey, then complained to Kuzma: “... he recognized me, but he didn’t want to recognize me as a comrade...” But even if we assume that Alexey will give the missing hundreds, the question still remains: what will happen? With Kuzma and Maria, with their last strength holding on to faith in people and justice, with their four children, who have already absorbed a share of undeserved fear that will never be forgotten, with those who, through their non-participation and indifference, allowed an accidentally thrown ax to touch a living person. bodies of the Kuzma and Maria family.

But no matter what happened to Maria and whatever the ending of this story, it is very significant that Kuzma was unable to raise money in the village to save Maria. And his departure to the city became the last point in the three-day period of the hero’s loss of faith in human community. People who in words loved and pitied Maria, sympathized with her grief, in fact refused to help her. V. Rasputin's story showed the illusory nature of the moral well-being of the modern village and reflected the trend of growing alienation of people from each other, characteristic of society as a whole.

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

The creative professions of Marina's parents (her father was a famous philologist and art critic, her mother a pianist) had a direct influence on her childhood. She often traveled abroad with her parents, and therefore was fluent in several foreign languages, V to a greater extent French. Subsequently, Tsvetaeva did a lot of translations and writing critical articles and essays. But it was poetry that started her journey. Marina Ivanovna often wrote her first poems in French.

Collections

Tsvetaeva began collecting her first book of poems after her mother died from consumption in Tarusa. In October 1910, it was published in Moscow under the title “Evening Album”. After M. A. Voloshin’s approving response to her, his friendship with the young poetess began.

In February 1912, after his wedding to Sergei Efron, the author again published the book. The second collection of poems " Magic lantern" Exactly a year later, the third collection “From Two Books” was published.

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

From the publication of the third collection of poems, eight long years will pass before Marina Ivanovna begins publishing collected works again. She did not stop writing: poems from 1916 would later be included in the first part of the collection “Versts,” and works from 1917 to 1920 would form the second part of the collection. It will see the light in 1921. The period marked by the October Revolution and the changes it provoked caused a poetic surge in Tsvetaeva’s work, which is reflected in the second part of “Versts”. She perceived the political revolution as a collapse of all hopes and took it extremely hard. Many of her poems would later become part of the book “Swan Camp”. But, alas, it was not published during the poetess’s lifetime.

In 1925, Tsvetaeva’s family moved to France. They lived in the suburbs of Paris, virtually in poverty. Three years later, the collection “After Russia” was published. It became the last one to be published during Marina Ivanovna’s lifetime.

Cycles

From October 1914 to May 1915, Tsvetaeva created a cycle of tender poems, inspired by her acquaintance with the poetess Sofia Parnok. There were many rumors about their love relationship, however, a cycle of seventeen poems was published under the title “Girlfriend.”

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

The summer of 1916, called by art historians the “Summer of Alexander,” was marked by the creation of a cycle of poems to Anna Akhmatova. In the same year, against the backdrop of disappointments and breakups, Tsvetaeva created the series “Insomnia,” in which she explored the themes of loneliness and solitude.

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

The year 1921 is associated with the acquaintance with Prince S. M. Volkonsky. Poems are also dedicated to him, combined into the “Apprentice” cycle. Subsequently, Tsvetaeva wrote many lyrical poems addressed to her husband, as part of the cycles “Marina”, “Separation”, “George”. Andrei Bely, whom Marina Ivanovna met in Berlin in 1922, spoke extremely highly of “Separation.”

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

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

In 1932, the cycle “Ici-haut” (“Here in the Sky”) was created. dedicated to memory friend M.A. Voloshin.

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

Acquaintance and correspondence with the poet Anatoly Shteiger led to the creation of the cycle “Poems for an Orphan.”

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

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

Art world

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

Peculiarities

Both Tsvetaeva’s poetic and prose creativity were not and will not be fully understandable to a wide range of readers. She became an innovator of her time in the features and techniques of self-expression. The poetess's lyrical monologues, like songs, have their own rhythm, their own mood and motive. She either tenderly and openly pours out her soul, then her lines transform into a passionate, unbridled flow of thoughts and emotions. At some point she breaks into a scream, then there is a pause, a short silence, which sometimes can be more eloquent than any bright words. To understand the author well, you need to know the main stages of her biography, how she lived, how she thought at one time or another.

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

Creative themes

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

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

With the passage of time, Tsvetaeva's poetry inevitably changes. In the years of emigration and lack of money, she becomes mature. Marina Ivanovna appears as a speaker on the podium of her personal growth. Friendly communication with Mayakovsky introduced features of futurism into her work. At the same time, the relationship between her poems and Russian folklore is noticeable. This is where the theme of the homeland in Tsvetaeva’s works comes from. The poetess had a clear civic position, expressed in her non-acceptance of the established political system at the dawn of the October Revolution. She wrote a lot about the tragic death of Russia and its torment. She discussed this during her years of emigration in Germany, the Czech Republic, and France. But in her Parisian years, Tsvetaeva already wrote more prose works, supplemented by memoirs and critical articles. This measure became necessary, since many foreign publications were unkindly disposed towards the poetess, who hoped that prose would become her reliable rear.

The image of Tsvetaeva in the lyrics

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

Tsvetaeva’s beloved woman, Sofia Parnok, in her poems compares her with her historical namesake Marina Mnishek. For the author, the poetess appears in the role of a savior angel from heaven.

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

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

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

Poetics

Genres

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

Tsvetaeva’s poems always had their own lyrical subject, who often acted as an image of herself. The heroine often combined several roles, thereby allowing her personality to expand. The same thing happened with the poetess. She always sought to understand the entire existing depth of relations between man and the surrounding world, the facets human soul, thereby maximizing the reflection of these observations in his lyrics.

Poetic dimensions

The meter of a verse is its rhythm. Tsvetaeva, like many contemporary poets of the 20th century, often used a three-syllable meter, dactyl, in her work. For example, in the poem “To Grandmother.” Dactyl reminds colloquial speech, and the poetess’s poems are vivid monologues. Tsvetaeva, alas, did not know her maternal grandmother, but from childhood she remembered her portrait hanging in the family home. In her poems, she tried to mentally enter into a dialogue with her grandmother in order to find out the source of her rebellious character.

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

“Who is made of stone, who is made of clay” is a blank verse where amphibrachium with cross rhyme is used. This poem was published in the collection "Versts". Tsvetaeva expresses her rebellious mood in lines about sea foam, saying that she rushes into the sea element of life.

Means of expression

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

In the same “Longing for the Motherland” one senses a strong emotional stress author, conveyed through metaphorical identification home country with a rowan bush and an abundance of exclamation marks.

The poem “Books in Red Bound” conveys the poetess’s longing for her early deceased mother and for her lost childhood. Insightful reading is facilitated by rhetorical questions, epithets, personification, metaphors, exclamations and periphrases.

The poem “To Grandmother” also contains many epithets, repetitions and oxymorons. Tsvetaeva mentally feels a kinship of souls with her grandmother.

Using the example of several poems, it is easy to notice that exclamations predominated in Marina Tsvetaeva’s lyrics. This testifies to her dynamic nature, sublimity of feelings and a certain extreme state of mind.

Interesting? Save it on your wall!

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. Artistic style requires pre-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 another language 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 modern dictionary- space - empty space. Space between letters, between lines. For Tsvetaeva, the gap turns into a character in the 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 motives about mortality 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 is possible only if there are 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 line with 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 seeks a 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 high life mine!

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-skinned! 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".