Biography of Tsvetaeva childhood and youth. Childhood and youth of Marina Tsvetaeva. The last years of Tsvetaeva's life

Marina Ivanovna Tsvetaeva was born on September 9, 1892 in Moscow, in Trekhprudny Lane, between Tverskaya and Bronna.

Her father - Ivan Vladimirovich Tsvetaev (1847-1913) - professor at Moscow University, philologist, public figure, one of the founders of the Museum of Fine Arts named after Alexander III(now the Museum fine arts named after A.S. Pushkin), honorary doctor of the University of Bologna.

Mother - Maria Alexandrovna Mein (1868-1906) - the second wife of Ivan Vladimirovich, was a brilliant pianist who sacrificed her musical career for the sake of the family, as well as a translator fiction from English and German. Marina Ivanovna's grandfather on her mother's side, Alexander Danilovich Main, the Moscow mayor, was marked by his acquaintance with Leo Tolstoy, visited his house, he was attracted to writing. Closely associated with Russian metropolitan journalism, he collaborated in Moscow and St. Petersburg newspapers, translated into French historical writings. Alexander Mein tirelessly supported Ivan Vladimirovich Tsvetaev's dream of building and founding the Museum of Fine Arts, was a founding member of the Committee for its organization, donated his collection of casts of ancient sculpture to the museum, and left him part of his fortune.

Marina Ivanovna considered the influence of her mother to be dominant in the formation of her character - "music, nature, poetry, Germany ...

Heroic ... ". To this list, Tsvetaeva, remembering her childhood, usually added one more, important thing - loneliness. It became a companion for life, a necessity for the poet, despite the heroic inner efforts to overcome it.

The influence of the father was more hidden, but no less strong (passion for work, lack of careerism, simplicity, detachment). Mother lived for music, father for museums. Music and the Museum - two influences merged and intertwined in one house. They left a unique imprint on the growing sisters - Marina and Asya (Anastasia Ivanovna Tsvetaeva - the younger sister of the poetess). The air at home was not bourgeois or even intellectual, but chivalrous - "life in a high way." Father and mother did not raise young ladies, not darlings of fate, they raised young Spartans (without discounts for the female sex!), In the spirit of asceticism and the severity of life.

But the word "Trekhprudny" became for Tsvetaeva a password for life, a symbol of childhood, a pink, careless world playing with sun glare.

The house in Tryokhprudny remained forever in my memory - the face and appearance of happiness and the fullness of existence. The house was small, one-story, wooden, painted with brown paint - Tsvetaeva in "Verst" would call it "pink". “Little pink house, how did it interfere and to whom?”

Seven windows along the facade. Above the gate hung a huge silvery poplar. Gate with wicket and ring. Behind the gate is a yard overgrown with green grass. From the yard, a path (wooden bridges) led to the front door, above the front one could see "mezzanines" - the top of the house, where the children's rooms were located.

Water was taken from a well in the yard and later from a barrel of a water carrier.

Tsvetaeva was nine years old when, before Easter, she suddenly fell ill with pneumonia. When asked by her mother what to bring her as a gift from Verba (from Palm Sunday), she unexpectedly threw: “Damn in a bottle!”

trait? - mother was surprised. - And not a book? .. You think ...

It was possible to buy tempting and interesting books about the defense of Sevastopol or Peter the Great for ten kopecks.

No, it's still a hell of a thing!

“God was a stranger. Damn, dear, ”says Tsvetaeva. And none of them were kind. God was imposed on her, as she believed, by dragging to church, standing in church, against her will and desire, so that the chandelier doubled from sleep in her eyes ...

The idol of childhood and adolescence of Marina Tsvetaeva is Napoleon. Marina was so fascinated by him that instead of the icon of the Mother of God she inserted a portrait of the French emperor into the shrine.

The father, faced with such blasphemy, was amazed and demanded that Napoleon be removed from the icon. But Marina firmly stood her ground, ready to rebuff even her own father. Later, when she moved to another house, her father himself came to her, brought the icon in order to bless his daughter. And again - Marina's protest: "Please don't!"

Do as you like, - Ivan Vladimirovich answered. “Just remember that those who do not believe in anything end up committing suicide in a difficult moment ...

In the dining room with a low ceiling there is a round table, a samovar, on the walls are reproductions of Raphael's paintings "Madonna and Child", "John the Baptist", a copy of Alexander Ivanov's painting "The Appearance of Christ to the People".

The largest room in the house is the hall. Between the windows are mirrors. Along the walls are huge philodendrons in tubs, green trees that will dream and come to life in Marina's dreams.

In the hall - in the very center - a piano. He was an animated being. An exorbitant piano, under which little sisters crawled, as if under the belly of a giant beast. The piano seemed like a monster, a hippopotamus, also exorbitant!

Royal is a black ice lake.

The black surface of the piano is Tsvetaeva's first mirror. It was possible to peer into it, as into the abyss, to breathe on its surface, as on frosted glass, imprinting your face on its foggy surface.

And awareness of your face - through the blackness of the piano. Own, fatal "blackness" ... Negro, dipped in the dawn! Roses in the Ink Pond! - so Tsvetaeva translated her "piano" appearance, translated her face into blackness, into a dark language.

Mother could do everything on the piano. She went to the keyboard like a swan to water. One could only guess what storms she suppressed in her own being, what elements played out and burned out in her. Once in her youth, she was unable to connect her fate with her lover due to the prohibition of her parents. She married Ivan Vladimirovich Tsvetaeva not out of love, but out of a sense of duty. Ivan Vladimirovich was a widower, experienced great personal grief, having lost his wife Varvara Dmitrievna Ilovaiskaya ...

Maria Alexandrovna burned not so much from music, but through music she revealed her longing, her lyrics. It is no coincidence that a doctor in a sanatorium in Nervi, Italy, having heard her play, warned the patient that if she continued to play like that, she would not only burn herself, but also burn the entire Russian boarding house ...

- Brilliant! .. Brilliant! he exclaimed in shock, unable to hide his astonishment...

The passion of burning, self-immolation in art - that's what the mother of her daughter Marina passed on in her genes ... She wanted to pass on her passion for music to her daughters. But she discovered Marina's monstrous "non-musicality" that terrified and frightened her.

“Mother flooded us with music. (From this music, which turned into Lyrics, we never emerged - into the light of day!) Mother flooded us like a flood ... Mother flooded us with bitterness of all her unfulfilled vocation, her unfulfilled life, she flooded us with music, like blood, the blood of a second birth ...

Mother gave us water from the opened vein of Lyrica, just as we later, mercilessly opening ours, tried to give our children the blood of our own longing to drink... After such a mother, I had only one thing left to do - to become a poet...»

Did the mother see the future poet in her daughter? It is unlikely, although she tried to guess the nature of the elements that raged in the Marina and disrupted the entire calm course of life in the house.

Marina's "unmusicality" was simply Other music, lyrics, poetry.

Blackness was for Tsvetaeva a symbol of labor in life. As opposed to white bone. For her, Pushkin was a laborer and a negro in Russian poetry.

Tsvetaeva met Pushkin when she was taken for a walk to the Pushkin monument, not far from their home. Since Pushkin's grandfather came from Ethiopia, it seemed to Tsvetaeva that Pushkin was a Negro in poetry.

"The Russian poet is a Negro, the poet is a Negro, and the poet was killed."

She loved the Pushkin monument for its blackness, as opposed to the whiteness of the statues from her father's collection.

"I loved the Pushkin monument for its blackness - the opposite of the whiteness of domestic gods." He was “living proof of the vileness and deadness of the racist theory, living proof of its opposite. Pushkin is a fact that overthrows theory.

The first two books of poems that Tsvetaeva wrote in her youth are about childhood and adolescence in Trekhprudny, about the childhood home. The "house" of early Tsvetaeva is cozy, crowded, filled with the lively voices of loved ones: mothers, sisters, relatives, friends ... Subsequently, she will come up with another house for herself - a house for two, a house with her beloved and only, with a faithful lover:

I would like to live with you in a small town,

Where is the eternal twilight And the eternal bells.

And in a small village inn -

The subtle ringing of an old clock is like droplets of time.

And maybe,

You wouldn't even love me...

She acutely and doomedly feels the death of her House, real and dreaming.

That world will soon be destroyed.

Look at him secretly

While the poplar has not yet been cut down And our house has not yet been sold ...

In the first post-revolutionary years, the house in Tryokhprudny was dismantled for firewood, and nothing remained of it. Anastasia Tsvetaeva, many years later, having come to the ruins of a house in Tryokhprudny, picked up a piece of a white tile with a blue border from the ground - from the stove in the nursery.

Poets have always avoided everyday life, shunned "vain worries." Marina Tsvetaeva turned everyday life into poetry: it seems that she captured the moments of her own destiny in her poems, starting with that very tile in the nursery. Here is the nursery, here are the lessons, here is the comfort of home... Almost everyone writes poetry in their youth, just like diaries. Tsvetaeva worshiped in adolescence Maria Bashkirtseva; even wrote a book about her, excitedly read her "Diary". Hence, perhaps, the same limit of frankness, which was set in the "Diary" of Maria Bashkirtseva.

The first books of any poet are usually considered imitative and student. But the "hour of apprenticeship" for Tsvetaeva will strike later. As a high school student, she meets poets, philosophers and critics. She visits the Moscow literary and artistic circle, led by V. Bryusov. Critic Ellis (L. Kobylinsky) introduces young Tsvetaeva to the Musaget publishing house, created by A. Bely and E. Medtner - classes on the theory of verse were constantly held here, and Bely led seminars.

The first book of poems called "Evening Album" brought Tsvetaeva fame. She came out in the fall of 1910. V. Bryusov, N. Gumilyov, S. Gorodetsky, M. Voloshin responded to it.

“Poems by Marina Tsvetaeva ... are always sent from some real fact, from something really experienced, - wrote Bryusov. - Not afraid to introduce everyday life into poetry, she directly takes the features of life, and this gives her poems an eerie intimacy. When you read her book, it becomes awkward for minutes, as if you looked immodestly through a half-closed window into someone else's apartment and spied on a scene that outsiders should not see ... "

Bryusov expressed the hope that "the poet will find feelings in his soul that are sharper than those cute little things that take up so much space in the Evening Album", "fluent portraits of relatives, acquaintances and memories of his apartment ..." will disappear with time , and poetic images will rise to universal symbols.

With Bryusov echoed in the assessments, noting the talent of Tsvetaeva, Nikolai Gumilyov.

“A lot of things are new in this book: new bold (sometimes excessive) intimacy, new themes, for example, childish love, new direct thoughtless admiration for the trifles of life ... All the main laws of poetry are instinctively guessed here, so this book is not only a sweet book of girlish confessions but also a book of beautiful poems.

At one of the Musaget meetings, Tsvetaeva presented her Evening Album to Maximilian Voloshin. Since that time, the friendship between Tsvetaeva and Voloshin began, described by her in the essay “Living about Living”.

In the Moscow newspaper "Morning of Russia" Voloshin in a review article about women's poetry He gave the central place to Marina Tsvetaeva and her first book.

“This is a very young and inexperienced book. Many of her poems, if opened by chance, in the middle of a book, can cause a smile. It must be read in a row, like a diary, and then each line will be clear and appropriate. She's on the edge last days childhood and early youth. If we add that its author owns not only verse, but also a clear appearance internal surveillance, an impressionistic ability to consolidate the current moment, this will indicate what documentary importance this book represents, brought from those years when usually the word is still not obedient enough to correctly convey observation and feeling ... Tsvetaeva’s “immature” verse, sometimes unsure of itself and breaking like a child's voice, is able to convey shades that are inaccessible to a more adult verse ... "Evening Album" is a beautiful and spontaneous book filled with true feminine charm.

At the invitation of Maximilian Aleksandrovich, in May 1911, Tsvetaeva arrived in Koktebel, at the Voloshin's house. Later, describing Voloshin, Tsvetaeva will say that Max was a myth-maker and storyteller. But Tsvetaeva herself had a penchant for myth-making, and even really engaged in mythologizing the appearance of her friends.

She will be scorched by the heat of the Koktebel midday sun, so strong that the tan from it was not washed off by Moscow winters. And the famous Voloshin canvas hoodie in the wind, a wormwood wreath on the head, light sandals will become the symbol of the Koktebel short summer seasons ... Voloshin in Tsvetaeva's memory is an ancient god. The head of Zeus on mighty shoulders is a giant, “a little bit of a bull, a little bit of a god. Aquamarines instead of eyes, dense forest instead of hair, sea and earth salts in the blood...

- Do you know, Marina, that our blood is the ancient sea?..»

In Koktebel, at Voloshin's, Tsvetaeva will meet Sergei Yakovlevich Efron, her future husband, who is barely seventeen years old. They get married at the beginning of 1912, in Moscow. In September of the same year, the first-born will appear in the young family - the daughter of Ariadne, Alya.

“Yes, about myself: I am married, I have a daughter 11/2 years old, Ariadna (Alya), my husband is 20 years old. He is extraordinarily and nobly handsome, he is beautiful on the outside and inside. His paternal great-grandfather was a rabbi, and his maternal grandfather was a magnificent guardsman of Nicholas I.

In Seryozha, two bloods are connected - brilliantly connected - Jewish and Russian. He is brilliantly gifted, smart, noble. Soul, manners, face - all in the mother. And his mother was a beauty and a heroine.

His mother was born Durnovo.

I love Seryozha endlessly and forever. I love my daughter...

Sergei Yakovlevich inherited from his mother selflessness, a desire to fight for the truth, a revolutionary spirit and a desire for justice. He was guided by the same life ideals as Marina - heroism, sacrifice, asceticism. Sergey's mother

 from an ancient aristocratic family - from her youth she was a revolutionary-Narodovolka, a supporter of terror, which would later affect the biography and fate of Sergei Efron, who was brought up by his mother in the traditions of revolutionaryism and political extremism.

The Tsvetaev and Efron families were related by disinterestedness and service to Russia, they were unmercenaries and romantics at a great spiritual height, which is now incomprehensible to many.

Tsvetaeva's romanticism is the romanticism of attitude and worldview, extended by her to the entire universe without exception.

Today, this romanticism is perceived as ancient and even “archaic”, romanticism, born and strengthened in Tsvetaeva’s poems in an innovative time (“it was already a new century in the yard!”): romanticism, transferred without amendments by Tsvetaeva from the 1810s to the 1910s. ..

Tsvetaeva’s romanticism is not a traditional dual world, as is commonly believed (“the poet lives among people, but was created for heaven”), but a frantic, reaching to immensity, fanatical demands on others - to rise to the same spiritual height on which the poet himself stands. Even Balmont reproachfully admiringly said to Tsvetaeva: “You demand from poetry what it can give - only music!”

GOLOVANOVA EKATERINA

I live in the beautiful amazing city of Yelabuga. Each city, town, village becomes famous, primarily due to famous people. Our ancient city, with 1000 years of history, is also rich in them. This is a museum under open sky. Elabuga is worthy of admiration. Our provincial town is connected with the lives of many wonderful people: Ivan Shishkin, Nadezhda Durova, Vladimir Bekhterev, Marina Tsvetaeva and many others.

Yelabuga is a small town,

But in this small town

So many historical places

And picturesque bits.

Here Shishkin was born,

Pugachev was here

Tsvetaeva, Durova lived here...

And everyone left their life trail

in the history of our city.

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Regional competition of research and creative works

"Our Legacy"

creative work

The childhood of Marina Tsvetaeva

GOLOVANOVA EKATERINA, 1A class

MBOU "Average comprehensive school№5"

Yelabuga municipal district of the Republic of Tatarstan

supervisor

Akhmetzyanova Ludmila Anatolyevna

Primary school teacher,

Yelabuga, 2012

1. Introduction 3 - 4
2. Chapter 1

1.1. Moscow, childhood of Marina Tsvetaeva 5 - 10

1. Conclusion 11
2. References 12

Introduction

I live in the beautiful amazing city of Yelabuga. Every city, town, village becomes famous, primarily thanks to famous people. Our ancient city, with 1000 years of history, is also rich in them. This is an open air museum. Elabuga is worthy of admiration. Our provincial town is connected with the lives of many wonderful people: Ivan Shishkin, Nadezhda Durova, Vladimir Bekhterev, Marina Tsvetaeva and many others.

Yelabuga is a small town,

But in this small town

So many historical places

And picturesque bits.

Here Shishkin was born,

Pugachev was here

Tsvetaeva, Durova lived here...

And everyone left their life trail

in the history of our city.

And I will tell you about an outstanding person, a great poetess, and in my case about a talented girl - Marina Tsvetaeva. Since the theme of my work is “Moscow. Childhood of Marina Tsvetaeva. The relevance of the work is related to the degree of increased interest of tourists in our city and its history.

To study this topic, I set a goal for myself: to study the childhood and early work of Marina Tsvetaeva.

An important task of the study in the course of considering the life and work of Marina Tsvetaeva is to answer a number of the following questions:

When and where was Marina Tsvetaeva born.

What is the role of parents in shaping the personality and views of Marina Tsvetaeva

And if you are ready to listen to me, I am ready to tell you this interesting story.

Chapter 1

1.1 Moscow, childhood of Marina Tsvetaeva

On October 8, 1892, from Saturday to Sunday, at midnight on John the Theologian, in Moscow, Marina Tsvetaeva was born. Later, in one of her collections of poems, Marina wrote:

red brush

The rowan lit up.

Leaves were falling.

I was born.

Hundreds argued

Bells.

The day was Saturday:

John the Theologian.

To me to this day

I want to gnaw

hot rowan

Bitter brush.

Rowan has become a symbol of fate. Throughout her life, she carried her love for her homeland, for Moscow, for her father's house.

Marina Tsvetaeva was the daughter of Ivan Vladimirovich Tsvetaev from his second marriage to Maria Alexandrovna Mein.

Marina Tsvetaeva's father, Ivan Tsvetaev, born in 1846, was the son of a village priest from the Vladimir province. His family was so poor that Ivan and his brothers used to run barefoot, saving their boots for trips to the city and on holidays. The boys learned to work hard and live according to strict moral rules.

Following in his father's footsteps, Ivan almost became a priest. However, while studying at the seminary, he became interested in philology and art history. He was given a scholarship to travel abroad. Thanks to this, he was able to travel to Italy and Greece. The trip inspired the young man so much that it became his dream to build a museum of sculpture in Russia. Teachers admired his talent and dedication, and in 1888 he was appointed professor of art history at Moscow University.

Marina Tsvetaeva's mother, Maria Aleksandrovna Maine, was 21 years younger than her husband and came from a wealthy family that gave her an excellent education. Maria Main had great artistic abilities, especially musical ones. She was a brilliant pianist, and her teachers urged her to perform on the big stage. However, her father - a kind but conservative man - did not want to see her daughter performing for the general public, and Maria, obeying her father's order, sacrificed her career. Having married, she began to study art and, carried away by her husband's dream of creating a museum, eventually became his friend and assistant.

Two years after the birth of Marina, her sister Anastasia, who was usually called Asya, was born. Then Marina found out and never forgot that both of them were a disappointment for her mother, who was expecting sons and had already chosen names for them: Alexander for Marina and Cyril for Anastasia. The children grew up in two houses: in a Moscow house and in a house near Tarusa, which the family rented for the summer. The Tsvetaev family had servants, cooks, gardeners, nannies, and governesses. Elementary education Marina received in Moscow, in a private female gymnasium M. T. Bryukhonenko.

Professor Tsvetaev was the center of the family, but the center of his own world lay outside the family. Passionate about his own professional achievements, he did not pay attention not only to his wife, but to his growing daughters. All his thoughts were occupied by the construction of the museum. Although inattention to his wife was due to another reason - the memory of his first wife. Despite carelessness, the children loved their father.

But whatever their feelings for him, the mother remained the center of everything for the girls. Mom, whose brown eyes shone with intelligence. Mom, who read fairy tales and myths to girls. A mother who taught her children the idealism so dear to her, instilling in them contempt for material values ​​and social conventions. Marina devoted a huge number of poems to her mother. From an early age, Marina felt the anger of her mother suppressed by longing. Compensating for the emptiness of her emotional life, her husband's inattentiveness, and her disappointment in everything, her mother was fond of romantic music, poetry, and art. One of Marina's early poems was "Boring Games":

Silly doll from the chair

I got up and dressed.

I threw the doll on the floor.

I'm tired of playing mom!

Not 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!

In this poem, Tsvetaeva conveys her perception of the relationship between parents. Shows a separate world of father and mother. Their alienation from each other and from the family. They are like this: Mom is interested in romantic dreams, Dad hides behind his books. The boredom that Marina sees in the life of her parents scares her the most. Maria Alexandrovna expected Marina to surpass her ordinary abilities and reach the heights that she herself aspired to. Disappointed by the birth of a girl, Maria decided that she would at least be a musician. Marina was not even five years old when her severe music training began. She was forced to play the piano for four hours a day - two in the morning and two in the evening. Marina grew up among music and books. From the age of 4, secret reading began - contrary to the strict prohibition of the mother - early! Favorite became German fairy tales, Napoleon, Beethoven. At the age of 6, the first home-made notebook was opened, where poetry was written, and where the diary began. She didn't care about music. She played with words, she didn't care about the notes. Mother, knowing about her daughter's hobby, forbade her to take paper and pencil.

“My whole childhood, all my preschool years, all my life up to the age of seven, all my infancy, was one big cry for a piece of white paper. Suppressed scream." (From the memoirs of M. Tsvetaeva)

But not only the paper was denied. The Tsvetaevs' house was full of prohibitions.

“Mother never forbade anything with words; eyes are everything. Marina protected herself from her mother's contempt by not allowing her into her own world, the world of her poetic freedom and power.

Maria Alexandrovna lived in her own world, where resentment towards children reigned and, at times, not even a desire to see them. The poem "Mother with a Book" clearly shows how Marina perceived her mother's preoccupation with this world.

Mom reading a book.

A stifled whisper... The sparkle of a dagger...

“Mom, build me a house out of cubes!”

Mom excitedly pressed to her heart

Small volume.

... The count's eyes lit up with anger:

“Here I am, princess, by the grace of fate!”

- “Mom, does a giraffe drown in the sea?”

Mom's soul is far away!

- “Mom, look: a cobweb in a cutlet!”

Mom woke up from fiction: children -

Bitter prose.

Such were the memories of little Tsvetaeva about her childhood.

Little Marina, like her mother, was lonely in her childhood. She did not communicate with her sister. Asya was the object of her wild and boundless jealousy for her mother. Marina felt her uselessness in the house. The bitterness of rejected love for her mother and jealousy for Asya remained in her throughout her life.

“I am my mother’s eldest daughter, but I am not my beloved. She is proud of me - she loves the second. (From the memoirs of M. Tsvetaeva).

In the autumn of 1902, Marina Tsvetaeva's childhood came to an abrupt end. She learned that her mother had consumption and she would die. The mother, however, dissuaded the children, telling them that she needed to go to Italy to the sea for treatment. Marina was ten then, Asya was eight. They went with her. The entire Tsvetaev family spent the next four years in Italy. After they returned to Moscow, and in the summer they went to rest in Yalta. This summer my mother died. And these days she wanted only Asya to be with her. Every day Maria Alexandrovna found it more and more difficult to breathe. Consumption was killing her. On July 4, 1906, she called her daughters.

“My mother’s gaze met us at the very door. She said, "Come on...". We approached. First Asya, then my mother put her hand on my head. Papa stood at the foot of the bed, weeping uncontrollably. Turning to him, his mother tried to calm him down. “Live the truth, children!” she said. - In truth, live ... ".

(From the memoirs of M. Tsvetaeva).

After the death of her mother, Marina immediately abandoned her music lessons and began to seriously write poetry. During this period, she became closer to Asya. She read her poems to her, and they read them aloud together. Many poems are devoted to her, expressing their general mood and feelings. They went to the cinema together, Asya invited school friends to visit, and Marina entertained the company. Father, as always, remained out of reach. Marina concealed all youthful problems in herself. She had no one to share her teenage problems and experiences with. In addition, she hated her appearance, which did not match the romantic image that she sought to express in her poetry. Rejecting herself, she spent hours and days in her room: reading, writing and dreaming... To avoid her own isolation, she needed a new hobby. This was expressed in the cult worship of Napoleon. But that's a completely different story...

Conclusion

Here is a slightly sad and controversial childhood passed by Marina Tsvetaeva in Moscow. By the will of fate, the name Marina and the name Elabuga became inseparable. I am proud that I live in Yelabuga, such a wonderful city, with which the fate of Marina Tsvetaeva, the great poetess, is connected. Every autumn, on the birthday of the poet, here in Yelabuga, and in dozens of other places in the world, the Tsvetaevsky bonfire is lit.

Bibliography

1. Marina Tsvetaeva. Favorites. M. Enlightenment, 1989
2. Anna Saakyants. Is it only about Marina?
3. Newspaper "Novaya Kama", No. 130 - 133, 2007. Article "Walk in Yelabuga"

Tsvetaeva

Marina Ivanovna Tsvetaeva(September 26 (October 8) 1892, Moscow, Russian empire- August 31, 1941, Yelabuga, USSR) - Russian poet, prose writer, translator, one of the largest Russian poets of the 20th century.

Biography

Childhood and youth

Marina Tsvetaeva was born on September 26 (October 8), 1892 in Moscow, on the day when the Orthodox Church celebrates the memory of the Apostle John the Theologian. This coincidence is reflected in several works of the poetess. For example, in a 1916 poem:

Her father, Ivan Vladimirovich, is a professor at Moscow University, a well-known philologist and art critic; later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts. Mother, Maria Mein (by origin - from a Russified Polish-German family), was a pianist, a student of Nikolai Rubinstein. The maternal grandmother of M. I. Tsvetaeva is the Polish Maria Lukinichna Bernatskaya.

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

Tsvetaeva's childhood years were spent in Moscow and Tarusa. Due to her mother's illness, she lived for a long time in Italy, Switzerland and Germany. She received her primary education in Moscow, in the private female gymnasium of M. T. Bryukhonenko; continued it in the pensions of Lausanne (Switzerland) and Freiburg (Germany). At the age of sixteen she made a trip to Paris to audition at the Sorbonne short course Lectures on Old French Literature.

After the death of his mother from consumption in 1906, they remained with their sister Anastasia in the care of their father.

The beginning of creative activity

In 1910, Marina published (at the printing house of A. A. Levenson) with her own money the first collection of poems - "Evening Album". (The collection is dedicated to the memory of Maria Bashkirtseva, which emphasizes its "diary" orientation). Her work attracted the attention of famous poets - Valery Bryusov, Maximilian Voloshin and Nikolai Gumilyov. In the same year, Tsvetaeva wrote her first critical article, Magic in Bryusov's Poems. The "Evening Album" was followed two years later by a second collection - "Magic Lantern".

Childhood and youth of Tsvetaeva

M.I. Tsvetaeva can rightly be called the greatest Russian poetess. Her creations cannot leave anyone indifferent, everyone finds in them something that is close to his soul. The fate of Tsvetaeva was not easy. She happened to live and create in an era of terrible social cataclysms. This could not but leave an imprint on her work. Tsvetaeva was born in Moscow on September 26, 1892. The girl's father was a professor at Moscow University and director of the Rumyantsev Museum. The son of a village priest, he grew up in poverty and achieved everything in his life on his own.

Marina started writing poetry at the age of six. The girl received an excellent education, knew German and French. Tsvetaeva's first book, Evening Album, was published when the aspiring writer was barely eighteen years old. Immediately, the work of the young girl was highly appreciated by the recognized master of Russian symbolism V.Ya. Bryusov, acmeism N.S. Gumilyov and M.A. Voloshin. In 1912, Marina Tsvetaeva married S.Ya. Efron. This significant event in her life was reflected in poetry.

I defiantly wear his ring!

• - Yes, in Eternity - a wife, not on paper.
• 1912 was a special year for Tsvetaeva. In the same year, her second album, "Magic Lantern", was released, and soon her daughter Ariadne was born.

Tsvetaeva's life during this period was quite happy. She, along with her family, lived in a large comfortable house, did not feel the need for money. The poetess wrote poems. Tsvetaeva was interested in eternal problems, she thought about life, love, death. In 1913, the poetess wrote a poem:

To my poems written so early

That I did not know that I am a poet,

Ripped off like spray from a fountain

Like sparks from rockets

Bursting like little devils

In the sanctuary where sleep and incense

To my poems about youth and death,

Unread verses! -

Scattered in the dust at the shops

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

My poems are like precious wines

Your turn will come.

It became largely prophetic. It so happened that the creations of Tsvetaeva became known and loved by admirers of her work much later. After the Great October revolution The life of the poetess has changed a lot. Her husband was at the front, and Tsvetaeva had to sell things so as not to starve to death. The poetess's home was a communal apartment, and she and her two daughters (the youngest Irina was born in 1917) had to huddle in a small room.

Tsvetaeva had never even thought about the fact that she would someday have to earn a living herself. But after the revolution, she had to go to work. However, the refined poetess could not get used to the harsh prose of life. Marina Tsvetaeva did not work for long, then she abandoned this idea. In 1919, Tsvetaeva, along with her daughters, found herself in inhumanly difficult conditions. She wrote about this period as "the blackest, the most plagued, the most mortal". The diary entries of the poetess testify to this: “I live with Alya and Irina ... in the attic room, the former Serezina. There is no flour, no bread, there are 12 pounds of potatoes under the desk, the remainder of a pood, borrowed by neighbors ... ". Tsvetaeva could not see how her children were dying of hunger, so she gave them to an orphanage. Here, the youngest daughter, Irina, died of starvation and illness. The poetess took the elder Ariadne home. A few years later, in 1921, Tsvetaeva heard from her husband. It was the first news in a long four and a half years. S. Efron was abroad, Marina decided to go to him.

All this time, Tsvetaeva continued to write poetry. This was the meaning of her life, the only thing left of her former life, happy and carefree. Creativity allowed her to survive in terrible years. In the period from 1917 to 1921, poems were created that were included in the Swan Camp cycle. In them, Tsvetaeva speaks with love of the white movement. In 1921-1922, the book "Mile" was created. In 1923 - the poetry collection "Craft". At the same time, M. Tsvetaeva wrote about her contemporaries, whose work was very close to her: about A.A. Akhmatova, S.Ya. Parnok, about A.A. Block.

In her work, the poetess turned to real historical figures and fictional literary characters, for example, Don Juan. She identified herself with the characters in her works. Ordinary life was of little interest to her. However, the harsh reality required serious decisions. In 1922, Tsvetaeva and her daughter left for Berlin. Soon the family moved to the Czech Republic, where they lived for several years. In 1925, Tsvetaeva's son Georgy was born, his relatives called him Mur. After some time, the family moved to Paris.

Tsvetaeva had a very difficult relationship with emigrants from Russia. The pride and arrogance of the poetess led to the fact that conflicts with literary circles were inevitable. Unfriendly relations with compatriots did not at all contribute to Tsvetaeva's spiritual comfort. She felt lonely and miserable. Her family lived in very difficult conditions. There was not enough money even for the most necessary things, for example, for firewood. Marina Ivanovna, together with her daughter, carried bundles of brushwood from the forest. Tsvetaeva recalled: “There were days in Paris when I cooked soup for the whole family from what I could pick up on the market.”

But, despite such difficult conditions, Tsvetaeva continued to write poetry. The following works of the poetess appeared in emigration: a collection of poems “After Russia: 1922-1925” (finished in 1928), “The Poem of the Mountain”, “The Poem of the End”. In 1925-1926, the satirical work "The Pied Piper" was created; in 1927 - the ancient tragedy "Ariadne". It was published under the title "Theseus" and "Phaedra". In 1938-1939, the poetic cycle "Poems for the Czech Republic" was published. However, most of the works saw the light only after the death of the poetess.

Tsvetaeva's poems did not find their admirers abroad. Therefore, Marina Ivanovna took up prose. In the thirties, the following works were created: “My Pushkin” (1937), “Mother and Music” (1935), “The House at the Old Pimen” (1934), “The Tale of Sonechka” (1938), memories of M.A. Voloshin (“Living about the living”, 1933), M.A. Kuzmina (“The Otherworldly Wind”, 1936), A. Belom (“The Captive Spirit”, 1934) and others. The poetess’s letters to B.L. Pasternak (1922-1936) and R.M. Rilke (1926).

Tsvetaeva's prose was autobiographical. Marina Ivanovna wrote: “I want to resurrect this whole world - so that they all do not live in vain - and so that I do not live in vain!”. In 1937, Tsvetaeva's daughter, Ariadna, went to Moscow. Of course, they tried to dissuade her from this act. But the girl still went to her homeland. Ariadne got a job in a magazine, wrote to her parents that she was doing well. In the same year, Tsvetaeva's husband S.Ya. Efron was involved in a contract political assassination. It turned out that he was an agent of the NKVD abroad. After that, emigrant circles completely stopped accepting Tsvetaeva. Even her son felt this hostility. The poetess decided to return to her homeland. In 1939, Marina Ivanovna, together with her son George, went to Russia. In the same year, in August, Ariadna was arrested, and after a while, Tsvetaeva's husband S.Ya. Efron. Neighbors were arrested in front of their eyes. Marina Ivanovna was horrified by what was happening in her native country. After the arrest of her husband, Tsvetaev and his son settled in Moscow. Poet A.A. Tarkovsky recalled that Tsvetaeva "was difficult person…”, wrote: “She was terribly unhappy, many were afraid of her. Me too, a little. After all, she was a bit of a warlock.” The most talented poetess would have starved to death if her friends and relatives had not helped her. Tsvetaeva did not know how to earn a living, did not know how to cope with domestic difficulties. She appealed to official authorities with a request to allocate housing for her. She was told that many people needed housing and there was no way to satisfy her request.

Tsvetaeva went to Butyrka and Lubyanka prisons. In one was the husband, in the other - the daughter. Tsvetaeva's relationship with her son was very difficult. Marina's sister, Anastasia Ivanovna, later recalled the relationship between the poetess and her son: “He may have loved her like a bear cub loves a bear, but he did not honor her at all.” When did the Great Patriotic War, Tsvetaeva and her son were evacuated. Tsvetaeva tried to get a job, but she failed. On August 31, 1941, Marina Ivanovna committed suicide. Tsvetaeva wrote to her friends to take care of her son. George's life was short. He died at the front.

The surviving Ariadna, the daughter of the poetess, who went through the camps and exiles, devoted her life to the return of the literary heritage of Tsvetaeva.

Tsvetaeva Russian literary poet

“A rare parent guesses the fate of their children. It simply does not occur to either father or mother that fate has prepared the future of a brilliant poet for this clumsy ruddy Musa ... However, not quite like that.

The girl was only four years old when Maria Alexandrovna wrote in her diary: “The eldest keeps walking around and mumbling rhymes. Maybe my Marusya will be a poet? .. " I wrote it down and forgot. And she gave her daughter paper only musical notes, so Musya scratches lines and rhymes with scribbles on randomly found pieces of paper. And the thing is that Maria Alexandrovna herself is obsessed with music. An outstanding musician, she dreams of raising eldest daughter pianist - and put her at the piano "evilly early" - the girl was not even five years old then.

From there, and this episode at breakfast: wean from nonsense!

Musya showed outstanding musical ability- unlike her younger sister Asya. A full bang and, as they say, "a surprisingly animated touch." Maria Alexandrovna rejoices at this, but is in no hurry to praise. At the age of five, the girl almost takes an octave. “You just need to “reach out to the duck!” she says to her daughter, “stretching out the missing distance with her voice, and so that I don’t think: “However, her legs are like that!”

And Musya is already used to this: after each praise that escapes, her mother coldly adds: “However, you have nothing to do with it. Hearing - from God! She reproaches her daughter and the "Blind Musician" Korolenko, and three years Mozart, and a four-year-old self, who could not be dragged away from the piano. Twice a day Musya climbs onto the martyr's stool in front of the piano. Everyone pities her, except for her mother: her father, the governess, the nanny, even the janitor Anton, who brings firewood into the hall to heat the tiled stove, pity her. The girl plays diligently - for her mother. For her joy and fear. And not only in winter! And in the summer, when it's hot, when everyone is free and goes to swim, or walk "on the stumps", or to Tarusa to the post office ...

The metronome, with its protruding steel finger, terrified her with its unstoppable mechanical clicking. The girl hates him and is afraid to the core. He appears to her as a coffin in which death lives.

Her fantasies are innumerable.

The ribbed leg of the stool on which she sits at the piano and on which she can twist herself to the point of stupefaction is exactly the plucked neck of a turkey. The open keyboard of the piano suddenly appears to her as a huge mouth to the ears - with huge teeth. This piano is just a snarker, little Marina thinks, it is a real sniffer, and not at all brother Andrei's tutor, although his mother calls him that for eternal laughter. On the keys, without moving, you can roll like a ladder; when pressed, whites are always cheerful, and blacks are immediately sad. Thunder lives on the left side of the keyboard, small insects live on the right side. The notes prevented Musa from playing freely for a long time, but they became friends as soon as one day she imagined them as sparrows on branches - each on his own - and from there they jump onto the keys, each on his own. And when Musya stops playing, the notes return to the branches and sleep there like birds, and like birds, they never fall in their sleep. The word "flat" seems to her lilac, cool and a little faceted, and the sign "bekar" is empty, like an empty fool; she strums the treble clef on paper with the feeling that she is putting a swan on telegraph wires, and she despises the bass clef - like an ear with two pierced holes ... For many years she will not be able to cope with disgust for her own playing. It was not an aversion to music, because for too long something had been born under her fingers that she could not call music.

Music is when the mother sat down at the piano. It has always been a joy to listen to her. But playing alone... It is a thousand times more interesting just to look into the black lid of the piano; making sure that no one sees, Musya breathes on her, like on a window pane, and imprints her nose and mouth on the matte surface of the lid ...