Federal Agency for Education of the Russian Federation

State Educational Institution of Higher Professional Education "Kemerovo State University"

Department of Journalism and Russian Literature of the 20th Century.

Course work

The world of the young lyrical hero in the early lyrics of Marina Tsvetaeva

Completed by: student of group L-083(2)

Myasnikova N. A.

Checked by: assistant K. V. Sinegubov.

Grade: _____________________

Kemerovo 2009

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

Chapter 1 “I crave all roads at once!” or the world of youth and childhood in the lyrics of M. Tsvetaeva………………………………………………………….4

Chapter 2 “We know, we know a lot that they don’t know!” or the world of young and old in the early lyrics of Marina Tsvetaeva……………………………...11

Chapter 3 “Ah, without a mother, nothing makes sense” or the world of youth and the world of family in the lyrics of M. Tsvetaeva……………………………………………………………...19

Conclusion……………………………………………………………………………….29

Bibliography……………………………………………………………......30

Introduction

The work of Marina Tsvetaeva we are considering is more different from the mature works of the poetess. In her first two books, “Evening Album” (1910) and “Magic Lantern” (1912), the poetess appears before us at the very beginning of her creative path, and it is this period that becomes the foundation for subsequent artistic development.

The work of Marina Tsvetaeva has been sufficiently studied. The life and work of M. Tsvetaeva of all periods (both early and mature) is devoted to the monograph by Anna Saakyants “The Life and Work of Marina Tsvetaeva” (1999). In it, the author analyzes in sufficient detail not only her work, but also provides important information from the life of the poetess: the work includes letters from Tsvetaeva and her relatives, as well as personal notes from the poetess. Oleg Kling’s work “Tsvetaeva’s Poetic Style and Symbolist Techniques: Attraction and Repulsion” (1992) is devoted to the early period of creativity. In it, the author examines Tsvetaeva’s work in comparison with the work of V. Bryusov, revealing in them the similarities and common motives of evening and magic.

The works of L. Polyakovskaya, I. Kudrova, A. Lokmanova, G.T. are devoted to other periods of creativity and individual genres. Petkova and others. But in my work I will rely on works devoted to the period from 1906 to 1913. The main of these works will be the monograph by A. Sahakyants and the article by O. Kling, which I noted.

The purpose of this work is to consider how the young lyrical hero is presented in Tsvetaeva’s early lyrics and his interaction with various spheres of his life. Consequently, the task will be to analyze individual poems from early books for the period 1906-1913, during which the features inherent in the young hero will be identified, as well as a comparison of the worlds highlighted in the poems, the hero’s attitude to the world around him and self-assessment in him.

Chapter 1 “I crave all roads at once!” or the world of youth and childhood in the lyrics of M. Tsvetaeva.

The period we have chosen from 1906 to 1913 shows us the young Marina Tsvetaeva in the very “ovary” of her poetic creativity. During this period, an important feature of the poetess emerged - the opposition of everything in this world and herself in particular. It is within the framework of this feature that we will highlight the main motives characteristic specifically for the children's and youth's world: maximalism (a personality trait, a tendency to perceive the world around us in extremes, without middle tones), belligerence and magic. But besides this, we are also interested in how the young hero sees himself in this world, what place he occupies.

Within the framework of this chapter, we will consider the poems “Wild Will”, “Prayer”, “Letter on Pink Paper”, “Tiredness”, “In the Hall”, “Peace”, “Farewell”, “Next”, “Another Prayer”.

So in the poem “Wild Will”¹ from the very first lines we are presented with a combination of two motives - belligerence and maximalism of the young hero:

I love games like this

Where everyone is arrogant and evil.

So that the enemies were tigers

...so that all enemies are heroes!

We see that the hero contrasts himself here and thus represents the opposition “friend - foe”. The assessment of the enemy is also noteworthy, which is also shown from the point of view of the maximum manifestation of strength: the enemies are tigers, eagles, heroes. But the hero opposes

___________¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 136

himself and the elements, and the mysterious time of day, which also emphasizes the assessment of the hero’s own potential:

So that the night can fight with me,

The night itself!

...To tear me apart

The hero more than once shows his attitude to war, battle as a game, and at the same time his confidence and superiority over the enemy:

I rush, - to graze after me,

I laugh - there is a lasso in my hands...

In addition to military images, you can also see how the hero sees himself in this world and what place he assigns to himself in it:

So that there are two in the world:

The hero distinguishes two parts of everything around him: he and the rest of the world, and the place that he assigns to himself in this case is central.

Military images also appear in the poem “Prayer”¹:

I love the cross, and silk, and helmets...

...Go to the songs to rob...

And rush into battle like an Amazon;

________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 32

But the maximalism of the young hero deserves more attention in it:

...I long for a miracle

Now, now, at the beginning of the day!

I crave all the roads at once!

I want everything with the soul of a gypsy...

To suffer for everyone to the sound of an organ.

This desire for “everything at once” creates the effect of an all-encompassing feeling. But such a manifestation of the motif we have identified is not the only one - it is also reflected in the way the hero depicts his life:

My whole life is like a book for me!

So that yesterday is a legend,

To be mad - every day.

My soul traces moments...

Here we see that life for the hero is an unopened book, in other words, he turns every day he lives like a page, learns something new, which means everything that happens in it is significant. Therefore, any moment in the hero’s life should not be lived in vain. He transforms not only yesterday into a legend, but also today; and not only the day, but also the event, and the person, and therefore himself.

Another characteristic feature of the hero, which is a consequence of his opposition to the world, is denial. But this feature is expressed ambiguously. So, for example, in the lines:

Oh let me die, bye

My whole life is like a book for me!

And give me death - at seventeen years old!

there is no need to judge that the hero is ready to leave this life; on the contrary, he shows a hidden desire to live.

There are motives that can be distinguished within the boundaries of the world of youth and childhood: magic and love. Moreover, these motives can be combined with a warlike motive, as for example shown in the poem “Letter on Pink Paper”¹:

Sad youth hero

Sometimes it burns out late

Letter on pink paper

And I, like a knight (without a feather,

Alas, without a helmet and without a sword!),

Letter on pink paper

I burned it on a candelabra yesterday.

The motif of magic and evening in Tsvetaeva’s lyrics was revealed by Oleg Kling in his article “The Poetic Style of Marina Tsvetaeva and the Techniques of Symbolism”². He is presented both directly in the depiction of the hero in the role of a wizard, and in a veiled form. The latter can be seen in the last lines of the “Prayer”:

You gave me a childhood better than a fairy tale.

__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 131

² Oleg Kling “The poetic style of Marina Tsvetaeva and the techniques of symbolism” // Questions of literature No. 3 1992 p. 74-93

Where, through the depiction of one of the forms of manifestation of magic (fairy tales), we see the assessment of childhood by the hero himself.

In the lines of “Fatigue”¹:

It's scary in the hall: there are witches and devils

Appears all evenings

Evening appears as a mystical time of day, but that makes it more interesting for children. In the poem “In the Hall”² children and the evening appear differently:

Above the world of evening visions

We children are kings today.

Long shadows descend

Lanterns are burning outside the window...

The hero again shows the dominant place given to representatives of the children's world. In the poem “Mirok”³ children are also described through highlighted motifs:

Children are an evening, an evening on the couch,

Through the window, in the fog, sparkles of lanterns,

About the mermaids-sisters of the fairy seas.

But there is also a contradiction in this topic among the poetess. In the poem “Another Prayer” 4, the love that the heroine initially desires is more real:

Let me hug the shadow, finally!

_______________________________________________________________

¹ Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 47

² , ³Ibid from 13

4 Ibid from 97

However, in the same poem the shadow motif appears, which is also characteristic of Tsvetaeva, as noted by A. Sahakyants and O. Kling.

I don't need the bliss of valuable humiliation.

I don't need love! I'm sad - not about her.

Give me your soul, Savior, give me only shadows

In the quiet kingdom of beloved shadows.

In these lines we see that the love previously desired by the heroine turned out to be cruel and not as ideal as the world of shadows, which, judging by this contrast, turned out to be more tender, and therefore we love her.

Thus, you can see that evening is the most mysterious time, when everything that is impossible during the day is possible; a time when ordinary things acquire meanings and images that are unusual for them. And magic, in turn, is presented as one of the most important and integral parts of the world of children. In her monograph “The Life and Work of Marina Tsvetaeva”¹ Anna Sahakyants quotes words about the magic of the poetess herself: “There are poets who are magicians in every line. Their souls are mirrors, collecting all the lunar rays of magic and reflecting only them. Don’t look for a path, a stage, or a goal in them. Their muse from cradle to grave is a muse and a sorceress... Magic has many faces. It is of all times, of all ages and countries...”

For the world of young people, the theme of love is also relevant, which is also shown ambiguously in a number of poems. It can be represented as an ideal, pure, selfless feeling:

We both loved like children

Teasing, testing, playing

_____________________________________________________________

¹Anna Saakyants “The Life and Work of Marina Tsvetaeva” M. 1999 p. 11-78

I love you, ghostly old one.

You alone - and forever!

"Farewell"¹

Oh, just love him, love him more tenderly!

Be the one for him who I couldn’t be:

Love without measure and love to the end!

"Next"²

Or another, but no less strong feeling:

The thread of adoration has tied us more tightly,

Than falling in love - others.

Thus, having analyzed the poems in which the world of youth and childhood is most clearly represented, we can identify the main motives inherent in it, namely the motive of maximalism, belligerence, love, magic and evening. We were also able to identify the characteristic features of the young hero: the opposition of everything in the world and the denial of everything that is not characteristic of him, through which the hero, as a rule, focuses on the things that concern him.

We have identified both how the hero evaluates his position in this world, and at the same time his assessment of everything that surrounds him.

____________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 58

²Ibid from 59

Chapter 2 “We know, we know a lot that they don’t know!” or the world of young and old in the early lyrics of Marina Tsvetaeva.

In the previous chapter, we identified the main motives inherent in the world of youth. And now, on the basis of these results, we will try to analyze the early poems of Marina Tsvetaeva from the point of view of comparing the world of young people and the world of adults. The purpose of this comparison will be to identify common and different motives and features, and also that we are also interested in the lyrical hero’s view of representatives of the adult world.

In this chapter we will consider the poems “In the Hall”, “Rouge et bleue”, “Are you hopelessly grown up? Oh, no!”, “Different Children”, “Boring Games”, “Growing Up”, “At Fifteen”, as well as poems from the previous chapter.

Within this chapter, three groups of poems can be distinguished: in the first, the world of young people is shown in pure comparison and contrast with the world of adults (“In the Hall”), in the second, the young hero shows his “reflection” in the world of adults (“Are you hopelessly grown up? Oh, no!”, “Different children”, “Boring games”), in the third group the young hero is presented in a “transitional” quality, i.e. his growing up (“At fifteen”, “Growing up”, “Rouge et bleue”).

Let's turn to the first group we identified. In the poem “In the Hall”¹ we can clearly see the characteristic features of the young hero highlighted in the first chapter: contrasting himself with the whole world, and here primarily with adults. As noted earlier, in this poem we see that the hero gives a dominant place to children:

Above the world of evening visions
We children are kings today.

__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 13

Long shadows descend
Lanterns are burning outside the window,

The motif of belligerence is also visible, which is shown in conjunction with the motif of evening and mystery. The hero again does not simply oppose himself to adults, but, as it were, enters into a struggle with them, in which, in accordance with the place allocated to children, he wins:

The high hall is getting dark,
Mirrors disappear into themselves...
Let's not hesitate! The minute has come!
Someone is coming from the corner.
The two of us above the dark piano
It bends down and creeps away.
Wrapped in mother's shawl,
We turn pale, we don’t dare to breathe.
Let's see what's going on now
Under the canopy of enemy darkness?
Their faces are darker than before, -
We are the winners again!

In these lines, a special feature of the young hero is also interesting - despite all his courage and desire for victory, he also experiences an inherent feeling of fear of something unknown to him. In the following lines you can see the adults’ immediate assessment of the young hero. Moreover, it manifests itself both directly and indirectly, i.e. through describing ourselves. Thus, we again see the opposition noted above.

We are a mysterious link in a chain,
We will not lose heart in the fight,
The last battle is near,
And the power of the dark ones will end
We despise our elders because their days are boring and simple...
We know, we know a lot
What they don't know!

That is, from these lines we can conclude that adults, in the opinion of the lyrical hero, cannot or do not want to see everything that is in this world. This idea can be interpreted as follows: unlike children, adults believe that they know, although not everything, but a lot in this world, so their gaze is no longer attracted by the little things, which in their totality constitute a fairly important part of everything around. For children, every little thing is interesting because it can add new features to ordinary things. In addition, in the poem we can find an interesting interpretation of the opposition through the opposition “light - dark”. It is interesting because the idea of ​​the world of adults as dark can be compared with the dark time of day - in the evening, which is so interesting to children.

In another poem, “Are You Hopelessly Grown Up? Oh, no!¹ we can see the image of the adult and young worlds somewhat differently than in the previous one. Here the young world is shown from all its characteristic sides, which, one way or another, manifest themselves in an adult.

Are you a hopeless adult? Oh, no! You are a child and you need toys, That’s why I’m afraid of a trap, That’s why my greetings are reserved. Are you hopelessly grown up? Oh no!__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 101

You are a child, and children are so cruel: They tear the wig off the poor doll, jokingly, They always lie and tease every moment, Children have heaven, but children have all the vices, That’s why these lines are arrogant. Which of them is happy with the division? Which of them does not cry after the Christmas tree? Their words are inexorably caustic, There is a fire in them, kindled by rebellion. Which of them is happy with the division? In the following lines you can see a reflection of the above-mentioned opposition “light - dark”, which is presented somewhat differently: there is no explicit indication of the “darkness” of the adult world, but the “secrecy” is indicated, which we have already indicated as a feature of the evening and everything dark: Yes, oh yes, some children are secrets, The dark world looks out from dark eyes. But they are hermits among us, Their steps along the streets are random. You are a child. But are all children secrets?!

The characteristics of the “secret” children also attract attention, namely, the assessment they receive from the lyrical hero, who in turn belongs to those depicted in the first part of the poem.

We can find the same versatile description of the world of children in the poem “Different Children”¹.

__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 88

There are quiet children. Dozing on the shoulder of an affectionate mother is sweet for them even during the day. Their weak hands do not rush to the candle, - They do not play with fire. There are children - like sparks: they are akin to flame. In vain they are taught: “It burns, don’t touch it!” They are willful (after all, they are sparks!) And they boldly grab the fire. There are strange children: they have insolence and fear. They slowly fall into the cross, They come up, they don’t dare, they turn pale in tears And crying they run from the fire... There are strange children: from their fears They die on foggy days. There is no salvation for them. Think about them and don't blame me too much!

Here the hero also characterizes representatives of the world of youth differently, evaluating each of them. From the last lines we can guess what type of children the hero considered himself to be.

In the poem “Boring Games”¹ the hero, through the motive of the game, which is also characteristic of the world of youth, shows his assessment and attitude towards adults:

Silly doll from the chair

I picked it up and dressed it

__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 113

I threw the doll on the floor:

I'm tired of playing mom!

Without getting up from your chair

I looked at the book for a long time

I threw the book on the floor:

I'm tired of playing dad!

Here, our attention is again brought to our attention by the assessment of adults as boring people who live ordinary lives, in their world everything is as calm as possible. Such calm turns out to be unbearable for the young hero. It is also interesting that children play at nothing other than adults, thereby we see that they are, as it were, preparing for adult life.

We should now consider the third group of poems that we highlighted at the beginning of the chapter. Using the example of the poem “At the age of fifteen”¹ we can see another feature inherent in children - growing up.

They ring and sing, preventing oblivion, In my soul are the words: “fifteen years.” Oh, why did I grow up big? There is no salvation! In this poem, the young hero talks about adult life, to which he, one way or another, is already involved. For those to whom childhood seemed like magic, adult life is regarded as a weak-willed life, where there is no place for dreams or pranks. Just yesterday I ran away into the green birch trees, free, in the morning.__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 144

Just yesterday I was playing around without my hair, Just yesterday! The repetition of the words “yesterday” emphasizes that childhood is over, now it’s gone. Now, in the opinion of the hero, one cannot be free as before. The spring ringing from distant bell towers told me: “Run and lie down!” And every cry of the minx was allowed, And every step! What's ahead? What a failure? Everything is deception and, ah, everything is prohibited! - So I said goodbye to my sweet childhood, crying, At the age of fifteen.

In the last part we see what the hero expects from adult life, namely the obligatory mistakes, failures, deception, i.e. everything that characterizes the adult world for her. The same reasoning can be seen in the poem “Growing Up”¹:

Again, there is snow outside the windows. The spruce has been brightly decorated... Why, my friend, have you outgrown your cradle? The heaviness of the days did not oppress her, It was so easy to sleep in her! Now your eyes are darker And the gold of your hair...__________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 197

Your gaze has lit up the wide world, But will it give you happiness? Why, my friend, have you outgrown your cradle? Here the hero also does not see anything positive in growing up. It seems to him again that with the passing of childhood, the ease of life will disappear. In the poem “Rouge et bleue”¹ one can trace the same thoughts of the hero: The girl in red and the girl in blue walked together in the garden. - “You know, Alina, we’ll take off our dresses, Shall we swim in the pond? ". With a thin finger, the girl in blue answered sternly: - "Mom said - you can't." ====The girl in red and the girl in blue In the evening they walked along the boundary. , we’ll throw everything away, Do you want us to leave? Tell me!” The girl in blue answered sadly with a sigh: “That’s enough, life is not a romance.”

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 75

- “You see, Alina, we are fading, we are freezing Captives in our happiness”... With a half-smile from the darkness, the woman in blue answered bitterly: - “What? After all, we are women!”

In this poem, we are directly shown the gradual maturation and at the same time the change in the lives of the young heroes. If at the very beginning the blocking force was the word of an adult (mom’s ban), then in the end this role is played by everyday life, which is inherent in girls who have already matured.

Thus, we can conclude that the young hero not only contrasts himself with adults, i.e. considers himself separately from them, but also shows how he penetrates or has already penetrated (as in the last poem) the world of adults. At the same time, we saw how the hero evaluates growing up, namely, he sees it not only as an inevitability in terms of his growth, but also as the inevitability of failures, misfortunes and prohibitions. In addition, we were able to identify another motive inherent in the world of young people - the motive of “game”, as well as the opposition “dark - light”. Consequently, we can again say that the hero is characterized not only by opposition and denial, but also by interaction and connection with the outside world.

Chapter 3 “Ah, without a mother, nothing makes sense” or the world of youth and the world of family in the lyrics of M. Tsvetaeva.

This chapter will be a logical continuation of the two previous chapters, since within its framework we will consider the young lyrical hero in comparison with the world of the house, which can include both adults and children. Consequently, our goal will be to identify how the hero interacts with representatives of the world at home, as well as the view of the lyrical hero himself on them.

Within the framework of this chapter, we will consider the poems “Mom”, “Mom at the Book”, “Suicide”, “Sisters”, “Fatigue”.

The poems we are considering can be divided into two groups: the first group can include poems dedicated to the mother, the second - dedicated to the sister.

Let's turn to the first group we identified. It is worth noting that the poetess lost her mother at a young age, which left an imprint on Tsvetaeva’s life and, consequently, her work. That is why we can find in these poems not only the theme we have highlighted, but also the theme of “death”. In the poem “To Mama”¹ we can see two indicated themes:

Apparently you left a legacy of sadness, oh mother, to your girls! But the poetess also describes the image of her mother by referring to her most vivid childhood impressions: In the old Straussian waltz, for the first time We heard your quiet call... Marina Tsvetaeva’s mother was a musician, so music will be the most immediate symbol of the mother for the heroine. From the following lines we can see that with the death of her mother, part of the heroine’s soul also died, and now the transience of life will not be the approach of death, but the approach to meeting her mother: From that time on, all living things are alien to us and the fluent chiming of the clock is welcomed._________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 9

You can also see who the mother was in the heroine’s life: Everything that we are rich with on the best evening is put into our hearts by you. Tirelessly leaning towards children's dreams, (Without you, I only looked into them for a month!) You led your little ones past the bitter life of thoughts and deeds. That is, from these lines we can understand that the main traits of the heroine’s mother were affection and patience. In addition, she appears as a kind of amulet for the heroine, which will protect her from the anxieties of a “bitter life.” From the last lines we can also note how the heroine evaluates herself while under the care of (the little ones). From an early age we are close to those who are sad, Laughter is boring and home is alien... Our ship does not set sail in a good moment And sails at the will of all the winds! In these lines, we can again see what life is like without a mother - the heroine is, as it were, left to herself and there is no longer the previous patronage and guardianship. We will see all this in the contrast between “led by” and “floats according to the will of all winds.” The azure island of childhood is becoming paler, We are standing alone on the deck. In these lines, the heroine understands that with the death of her mother, childhood goes away and growing up is inevitable. We were able to identify the assessment of the latter within the framework of the previous chapter, which in turn is emphasized by the following lines: Apparently you left sadness as a legacy, O mother, to your girls! At the end of the poem, the heroine again shows her attitude towards her mother through a high address (Oh, mother!), as well as her grief, focusing on what was left to her in memory of her mother. A similar image of the mother is presented in the poem “Suicide”¹. Here we see the features of the mother that we have already highlighted - tenderness and affection, as well as the music associated with her: There was an evening of music and affection, Everything in the country garden was blooming. His mother looked into his thoughtful eyes so brightly. But here the death of the mother itself attracts attention: she seems to go into a blissful world, because the landscape described creates just such an image (music, flute, sunset). It is also interesting how the hero perceives her death: she does not die - the sorcerer takes her, i.e. We once again see the motifs of evening and magic characteristic of the world of childhood. Thus, we see that the child hero interprets death in his own way. When did she disappear in the pond
And the water calmed down, ___________________________________________________________________

¹Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 24

He understood - with a gesture of the evil rod
The sorcerer took her there.

A flute sobbed from a distant dacha
In the glow of pink rays...
He realized that before he was someone else's,
Now the beggar has become a nobody. Once again you can see that the hero feels most protected under the care of his mother, and even such a talisman as the icon on which he hopes does not allow him to feel safe: Even though there is an icon above the pillow,
But scary! - “Oh, come home!”
...He cried quietly. Suddenly from the balcony
A voice rang out: “My boy!” But it cannot be said that the mother abandoned her son: In an elegant narrow envelope
Found her “sorry”: “Always
Love and sadness are stronger than death.”
Stronger than death... Yes, oh yes!.. As we see, she returns to him again, i.e. the hero is no longer so abandoned to her than in the previous poem. Thus, the main idea is emphasized here - love is stronger than death. But mother is presented differently in Tsvetaeva’s lyrics: in addition to the theme of death, those traits that are inherent in children can also be associated with her. We will find such an image of the mother in the poem “Pampering”¹. Already from the first lines, a rather uncharacteristic image of the mother appears before us, and the definitions by which the hero draws the image are also interesting: In the dark living room, eleven strikes.
Are you dreaming about something today?
The naughty mom doesn't let you sleep!
This mother is a complete spoiler!... She let her braid down again with her cloak,
Jumping, definitely not a lady...
She will not yield to children in anything,
This strange girl-mother! In the last lines we again see that the mother is involved not only in the world of adults, but also in the world of children. And it is precisely through participation in two worlds that the assessment that the heroine gives to her mother, a strange girl, is built. In another poem, “Mom at the Books” 2, we can see the mother depicted somewhat differently: with a serious hobby of reading a book, which the hero also evaluates in his own way. ..Muffled whisper... The flash of a dagger...
- “Mom, build me a house out of cubes!”
Mom excitedly pressed it to her heart
A small volume... "Mom, look: there's a cobweb in the cutlet!"
There is a childish reproach and threat in his voice.__________________________________________________________________

¹ Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 48

² Ibid. from 46

Mom woke up from fiction: children -
Bitter prose! In the final lines, the hero not only gives the above-mentioned assessment, but also evaluates the children, and therefore himself. It’s also interesting how the hero represents children: he seems to compare them with his mother’s passion for literature. A fairly large number of poems are devoted to the theme of the mother in Tsvetaeva’s lyrics, but besides her, the poetess also highlighted her sister, with whom she had to share the loss. Therefore, let’s look at the poems that we have identified within the second group. So in the poem “Sisters”¹ we can see not only the attitude towards the sister, but the relationship between them: At night they dreamed of the same countries,
They were secretly tormented by the same laughter,
And so, recognizing him among everyone,
The two of them bent over him. From these lines you can see how united the heroines of this poem are: they share the same dreams and are interested and attracted to the same thing. In addition, they also tend to behave in the same way in certain situations, which, as we see from the following lines, does not surprise the heroines at all: Above him, who loved only antiquity,
The two of them whispered: “Ah!”...
Didn't move in their hearts
Neither surprise nor jealousy..._________________________________________________________________

¹ Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 57

To his thoughtful lips
They clung to both... both... But even death from pale lips
Can't wash away a double kiss. The last lines most fully reflect the above thought, since through the theme of death, already used earlier in the poems, the heroine emphasizes this cohesion, inseparability and kinship with her sister. In the poem “On Saturday”¹ we can see a warm, kindred attitude towards the sister: It’s getting dark... They’re getting ready for tea...
Asya is dozing under her mother's fur coat.
I'm reading a scary fairy tale
About the old toothless witch. Thus, we see that the heroine appears in her direct image of an older sister (which Marina Tsvetaeva was). But besides this, attention is again drawn to the appeal to magic, namely to one of its forms - a fairy tale, which was also mentioned in the previously discussed poems. Here it is also given to us in combination with the evening motif: It’s getting dark... You don’t remember the hour.
From the dining room they called us for tea.
Curled up Asa
I'm reading a scary fairy tale. __________________________________________________________________

¹ Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 102

In the poem “Three of Three”¹ the heroine also presents to our attention the image of the sisters: Bitter retribution, oblivion or wine, -
We'll drink the cup to the bottom!
Is this this one? is that the one? Who cares!
The thread is forever created. In these lines and those that will be given below, the main idea that the heroine expresses will be the same cohesion and kinship. It is worth noting that Tsvetaeva only had a younger sister, but in addition to her, the poetess had a half-sister. Therefore, judging from these lines, the main thing for the heroine is not blood relationship, but rather kinship in spirit. So the heroine does not see the difference between her and her sisters - they are one.

Both are changeable, both are tender,
The same enthusiasm in the voices
The fires are lit by the same melancholy
In too similar eyes...

Quiet, sisters! We will be silent,
We will salt souls without a word.
How to greet the morning unknown
In the nursery, the three of us cuddled together...

Thus, having examined the poems of the two groups we have identified, we can note that the lyrical hero does not separate himself from the world of the family and does not oppose himself to its representatives (as we saw from the previous chapter), but on the contrary emphasizes his connection with them. In addition, we saw the theme of death, which, although it was discussed earlier, already appears in

¹ Tsvetaeva M.I. Collected works in 7 volumes. Volume 1 of poems from 1906-1920. from 63

from a different perspective when combining it with the theme of the mother. It is also worth noting that the theme of the mother is considered from different angles, in contrast to the theme of “sisters”. The lyrical hero shows his attitude towards the sisters unambiguously, but a complete image can be formed by considering several individual poems, since each of them gives an assessment and description that complement each other. As for what place the hero assigns to himself, it is worth saying that this is not a central place, as it was in the first chapter, and not superior to another world, as it was in the second. The hero in this chapter assigns himself, albeit not the first, but also not a secondary place.

Conclusion

Thus, in the course of our work, we were able to see that the world of the young lyrical hero is multifaceted and interacts with everything that surrounds him. Following the objectives of this work, we were able to identify the main features of the lyrical worlds that were highlighted in the presented poems: the world of youth and childhood, adults and the world of home. We were also able to trace how the hero evaluates himself, the representatives of this or that lyrical world compared with him, as well as what place he assigns to himself. In addition, we have identified the main motifs that can be traced in the early lyrics of Marina Tsvetaeva: belligerence, magic, evening, love, play, death. These motives were identified by us within the framework of the characteristics inherent in the lyrical hero: maximalism, the opposition of everything in this world and oneself in particular, as well as denial, in accordance with which we identified the oppositions found in poems (dark - light). Another main feature of the lyrical hero is his inseparability from the world of home and involvement in the world of adults.

Bibliography.

1. Tsvetaeva M. I. volume 1 Poems 1906-1920./ Tsvetaeva M. I. collected works in 7 volumes M., 1994.

II. Critical literature.

2. Sahakyants A. A Marina Tsvetaeva. Life and creativity M. 1999 p. 11-78

3. Saakyants A. A Marina Tsvetaeva: pages of life and creativity (1910 -1922) "M. 1986

4. Sahakyants A. A Secret heat: about the poetry of Marina Tsvetaeva // Ogonyok No. 43 1979 C 18-19

5. Kling O. The poetic style of M. Tsvetaeva and the techniques of symbolism: attraction and repulsion // Questions of literature No. 3 1992 P 74-93

III. Textbooks and teaching aids.

6. T. Yu. Maksimova Poetry of Marina Tsvetaeva: the path from personal experiences to broad generalization // Russian literature XX in Ed. Smirnova L. A.; St. Petersburg, 1995

7. I. Yu. Bogdanova Marina Tsvetaeva // Russian literature of the 20th century in 2 volumes Ed. Krementsova L.P.; M, 2005

8. Russian literature of the first half of the 20th century in Ed. Agenosova V. G.; M, 2002

IV. Literature on the works of M. I. Tsvetaeva.

9. Kudrova I. Lyrical prose by M. Tsvetaeva // Zvezda 1982 No. 10 P 172-183

10. Kertman L. Soul in parallel worlds: a combination of the incongruous in the life and work of M. Tsvetaeva // Literary Review No. 3 1995 P 40-42

11. Velskaya N. N. The originality of repetition in the autobiographical prose of M. I. Tsvetaeva // Russian language at school No. 1 1999 P 61-66

12. Pavlovsky A. Marina Tsvetaeva // Literature at school No. 3 C 32-35

13. Bakina M.A. New formations in modern poetry//Russian speech No. 2 1975 P 67-75

14. Valgina N.S. The stylistic role of punctuation marks in the poetry of Marina Tsvetaeva // Russian speech No. 6 1978 P 58-66

15. Gorbanevsky M.V. “My name is Marina...”: Notes on proper names in the poetry of Marina Tsvetaeva // Russian speech No. 4 1985

16. Kiperman E. “Prophet” by Pushkin and “Sibyl” by Tsvetaeva: Elements of poetic theology and mythology // Questions of literature No. 3 1992 P 94-114

17. Leshchikova V.N. Flower formula: The image of the world in the poetry of M. Tsvetaeva // Russian speech No. 5 1998 P 19-22

18. Burov A.A. Get to the very essence: Nominative sentences in the poetry of Marina Tsvetaeva // Russian speech No. 5 1988 C 39-44

19. Korkina E.B. Lyrical plot in the folklore poems of Marina Tsvetaeva // Russian literature No. 4 1987 C 161-168

20. Kudrova I. V. “The mystery of crime and a pure heart”: (On motives in the work of Marina Tsvetaeva) // Star No. 10 1992 P 144-150

The twenties of the 20th century gave Russian literature many original, talented poets, among whom was M. Tsvetaeva. She, like a real poet, touched upon eternal questions in her poetry: the theme of the Motherland, and the theme of the poet and poetry, and the theme of love. But despite this, her poetry cannot be confused with the work of other artists. I think that it’s all about passion, about frankness, which is present in almost every poem of the poetess. Probably, poetry for her was a kind of love, and Tsvetaeva, like a true woman, completely surrendered to this love: for her, not writing meant not breathing.

In her poems, she appears before us in the role of the lost soul of a sinner. For example, in the poem “Am I a red as hot icon…” the heroine is waiting for a meeting with the “Saturday guest”, and for the sake of this meeting she is ready to do anything.

Everything lost meaning for her, even her soul:

There is no salvation for my soul,

There is no Sunday after Saturday!

She gave her soul to the guest, and voluntary refusal of it is a sin. But sinners are not given resurrection, a second life.

Tsvetaeva also plays the role of Psyche, a soul that takes the form of a young girl. She, like an angel, descends from heaven to her lover and is the embodiment of happiness:

I am your passion, your Sunday rest,

Your seventh day, your seventh heaven.

And this metaphor is used throughout the poem (“Only two wings remain”).

It seems to me that the poetess wanted to show the full power of love, because for her sake the soul is even ready to appear immortal and endure deprivation and humiliation:

There on earth they gave me a penny

And they hung millstones around his neck.

And in the poem “We only have an hour” the lyrical heroine is a harlot who does not want to lose her beauty and youth:

Just fear that the rose of the cheeks-

It will bloom.

For her, her whole life is “an hour”, and she wants to spend it without wasting a minute; spending all my time on love. Only the present matters to her, and she doesn’t care what happens later, after life:

Mine is all the sin, mine is all the punishment

And he will cover both of us -

And, of course, the main role of any woman is the role of a mother. In the poem “On the Curls of Eyelashes,” the heroine shares with readers a secret that she herself recently learned. In him one can hear delight, and fear for his son, and tenderness, and confusion (“-Ah! Grab him, shout: / - Let’s go! You’re mine!”; “And whisper over him, / carrying him in his arms through the forest, / By to the great world..."; "On the curls of eyelashes, / Innocent and impudent"; "...Everyone whisper this strange word over him: / - Son!").

I think that without Tsvetaeva, without her lively and sharp poems, it is impossible to imagine Russian poetry. One of her main advantages is that she reveals eternal questions based on her female perspective.

Updated: 2012-01-20

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Composition

Marina Tsvetaeva is a poet of enormous talent and tragic fate. She always remained true to herself, to the voice of her conscience, to the voice of her muse, who never “changed her goodness and beauty.” She begins to write poetry very early, and of course, the first lines are about love:
It was not people who separated us, but shadows.
My boy, my heart!
There was not, there is no and there will be no replacement,
My boy, my heart!

About her first book, “Evening Album,” the recognized master of Russian poetry M. Voloshin wrote: “Evening Album” is a wonderful and spontaneous book...” Tsvetaeva’s lyrics are addressed to the soul, focused on the rapidly changing inner world of a person and, in the end, on life itself in all its fullness:

Who is made of stone, who is made of clay,
And I’m silver and sparkling!
I care about treason, my name is
Marina,
I am the mortal foam of the sea.

In Tsvetaeva’s poems, like colored shadows in a magic lantern, the following appear: Don Juan in the Moscow blizzard, young generals of 1812, the “long and hard oval” of the Polish grandmother, the “mad chieftain” Stepan Razin, the passionate Carmen. What probably attracts me most about Tsvetaeva’s poetry is its emancipation and sincerity. She seems to be holding out her heart to us in her palm, confessing:

With all my insomnia I love you,
With all my insomnia I listen to you...

Sometimes it seems that all of Tsvetaeva’s lyrics are a continuous declaration of love for people, for the world and for a specific person. Liveliness, attentiveness, the ability to get carried away and captivate, a warm heart, a burning temperament - these are the characteristic features of the lyrical heroine Tsvetaeva, and at the same time of herself. These character traits helped her maintain a zest for life, despite the disappointments and difficulties of her creative path.
Marina Tsvetaeva put the work of a poet at the center of her life, despite the often impoverished existence, everyday troubles and tragic events that literally haunted her. But everyday life was overcome by existence, which grew out of persistent, ascetic labor.
The result is hundreds of poems, plays, more than ten poems, critical articles, memoir prose, in which Tsvetaeva said everything about herself. One can only bow to the genius of Tsvetaeva, who created a completely unique poetic world and sacredly believed in her muse.

Before the revolution, Marina Tsvetaeva published three books, managing to maintain her voice among the motley polyphony of literary schools and movements of the “Silver Age.” Her pen includes original works, precise in form and thought, many of which stand next to the peaks of Russian poetry.

I know the truth! All former truths are gone.
There is no need for people to fight with people on earth.
Look: it’s evening, look: it’s almost night.
What are poets, lovers, generals talking about?
The wind is already creeping. The ground is already covered in dew,
Soon the starry blizzard will catch the sky,
And soon we will all fall asleep underground,
Who on earth did not let each other sleep...

The poetry of Marina Tsvetaeva requires an effort of thought. Her poems and poems cannot be read casually, mindlessly sliding over the lines and pages. She herself defined “co-creativity” between the writer and the reader: “What is reading, if not unraveling, interpreting, extracting the secret that remains behind the lines, beyond the words... Reading is, first of all, co-creativity... Tired of my thing , - means he read well and - read good. The reader’s fatigue is not a devastated fatigue, but a creative one.”

Tsvetaeva saw Blok only from afar and did not exchange a single word with him. Tsvetaev’s cycle “Poems to Blok” is a monologue of love, tender and reverent. And although the poetess addresses him as “you,” the epithets that are assigned to the poet (“gentle ghost,” “knight without reproach,” “snow swan,” “righteous man,” “quiet light”) say that Blok is for her this is not a real person, but a symbolic image of Poetry itself:

Your name is a bird in your hand,
Your name is like a piece of ice on the tongue,
One single movement of the lips.
Your name is five letters.

How much music there is in these amazing four lines and how much love! But the object of love is unattainable, love is unrealizable:

But my river is with your river,
But my hand is with your hand
They won't get along. My joy, how long
The dawn will not catch up with the dawn.

With her characteristic aphorism, Marina Ivanovna Tsvetaeva formulated the definition of a poet as follows: “The equality of the gift of the soul and the verb - that’s a poet.” She herself happily combined these two qualities - the gift of the soul (“The soul was born winged”) and the gift of speech.
I am happy to live exemplary and simple:

Like the sun - like a pendulum - like a calendar.
To be a secular hermit of slender height,
Wise - like every creature of God.
Know: the Spirit is my companion, and the Spirit is my guide!
Enter without report, like a beam and like a glance.
Live as I write: exemplary and concise,
As God commanded and friends do not command.

Tsvetaeva's tragedy begins after the 1917 revolution. She does not understand or accept her, she finds herself alone with two small daughters in the chaos of post-October Russia. It seems that everything has collapsed: the husband is unknown where, those around him have no time for poetry, and what is a poet without creativity? And Marina asks in despair:

What should I do, edgewise and providentially?
Singing! - like a wire! Tan! Siberia!
According to your obsessions - like across a bridge!
With their weightlessness
In the world of weights.

Never, not in the terrible post-revolutionary years, not later in emigration; - Tsvetaeva did not betray herself, did not betray herself, the person and the poet. Abroad, she found it difficult to get close to the Russian emigration. Her unhealing pain, an open wound - Russia. Don't forget, don't throw it out of your heart. (“It’s as if my life was killed... my life is running out.”)
In 1939, Marina Ivanovna Tsvetaeva returned to her homeland. And the last act of the tragedy began. The country, crushed by the leaden fog of Stalinism, seemed to prove - again and again - that it did not need a poet who loved her and aspired to his homeland. Eager, as it turned out, to die.

In godforsaken Yelabuga on August 31, 1941 - a noose. The tragedy is over. Life is over. What's left? Strength of spirit, rebellion, integrity. What remains is Poetry.

Opened the veins: unstoppable,
Life is irreparably whipped.
Set out bowls and plates!
Every plate will be small.
The bowl is flat.
Over the edge - and past -
Into the black earth, to feed the reeds.
Irreversible, unstoppable,
The verse gushes irreparably.

I can write endlessly about Tsvetaeva and her poems. Her love lyrics are amazing. Well, who else could define love exactly like this:

Scimitar? Fire?
Be more modest - where is it so loud!
The pain is as familiar to the eyes as a palm,
Like lips -
Your own child's name.

In Tsvetaeva’s poems, she is all of her, rebellious and strong, and in pain continuing to give herself to people, creating Poetry out of tragedy and suffering.

I am a Phoenix bird, only I sing in the fire!
Support my high life!
I'm burning high - and burning to the ground!
And may your night be bright!

Today Marina Tsvetaeva’s prophecy has come true: she is one of the most beloved and widely read modern poets.