What is characteristic of Tsvetaeva's poetry. "Features of the early lyrics of M

Russian poetry is our great spiritual heritage, our national pride. But many poets and writers were forgotten, they were not published, they were not talked about. Due to the great changes in our country in recent times in our society, many unfairly forgotten names began to return to us, their works began to be printed. These are such wonderful Russian poets as Anna Akhmatova, Nikolai Gumilyov, Osip Mandelstam, Marina Tsvetaeva.

Marina Ivanovna Tsvetaeva was born in Moscow on September 26 (October 8), 1892. If the influence of his father, Ivan Vladimirovich, a university professor and creator of one of the best Moscow museums (now the Museum of Fine Arts), for the time being remained hidden, latent, then the influence of his mother was obvious: Maria Alexandrovna, passionately and violently was engaged in raising children to my own early death, - in the words of the daughter, “started” them with music. “After such a mother, there is only one thing left for me: to become a poet,” wrote Marina Tsvetaeva.

Once Tsvetaeva accidentally mentioned something on a purely literary occasion: “This is the business of poetry specialists. My specialty is Life. She lived a difficult and difficult life, did not know and did not seek either peace or prosperity, she always existed in complete disorder, sincerely asserted that her “sense of ownership” was “limited to children and notebooks”. Marina's life from childhood to her death was ruled by imagination. Imagination grown on books:

red brush

Rowan lit up

Leaves fell -

I was born.

Hundreds argued

Bells.

The day was Saturday

John the Theologian.

To me to this day

I want to gnaw

red rowan

Bitter brush.

Marina Ivanovna spent her childhood, youth and youth in Moscow and in the quiet Tarusa near Moscow, partly abroad. She studied a lot, but, for family reasons, quite haphazardly: as a very little girl - in music school, then in Catholic boarding schools in Lausanne and Freiburg, in the Yalta women's gymnasium, in Moscow private boarding schools.

Tsvetaeva began to write poems from the age of six (not only in Russian, but also in French, not in German), printed - from sixteen. Heroes and events settled in the soul of Tsvetaeva, continued their "work" in her. Little, she wanted, like any child, "to do it herself." Only in this case"it" was not playing, not drawing, not singing, but writing words. Find a rhyme yourself, write something down yourself. Hence the first naive poems at the age of six or seven, and then diaries and letters.

In 1910, without taking off her gymnasium uniform, Marina secretly released a rather voluminous collection "Evening Album" secretly from the family. He was noticed and approved by such influential and demanding critics as V. Bryusov, N. Gumilyov, M. Voloshin. The poems of the young Tsvetaeva were still very immature, but they won over with their talent, well-known originality and spontaneity. All reviewers agreed on this. The strict Bryusov especially praised Marina for the fact that she fearlessly introduces "everyday life", "the immediate features of life" into poetry, warning her, however, against the danger of exchanging her themes for "cute trifles."

In this album, Tsvetaeva wraps her experiences in lyric poems about failed love, about the irrevocable of the past and about the fidelity of the loving:

You told me everything - so early!

I saw everything - so late!

Eternal wound in our hearts

In the eyes of a silent question ...

It's getting dark... The shutters are slammed,

Over all the approach of the night ...

I love you, ghostly old,

You alone - and forever!

Appears in her poems lyrical heroine- A young girl dreaming of love. The Evening Album is a hidden dedication. Before each section there is an epigraph, or even two: from Rostand and the Bible. These are the pillars of the first building of poetry erected by Marina Tsvetaeva. How unreliable it is, this building; how unsteady are some of its parts, created by a semi-childish hand. But some verses already foreshadowed the future poet. First of all - the unrestrained and passionate "Prayer", written by the poetess on the day of her seventeenth birthday, September 26, 1909:

Christ and God! I want a miracle

Now, now, at the beginning of the day!

Oh let me die while

All life is like a book to me.

You are wise, you will not say strictly: "Be patient, the term is not over yet." You gave me too much! I thirst at once - all roads!

I love the cross, and silk, and helmets,

My soul of moments trace ...

You gave me childhood - better than a fairy tale

And give me death - at seventeen!

No, she did not at all want to die at this moment when she wrote these lines; they are only an ethical device. Marina Tsvetaeva was a very resilient person ("I'll last another 150 million lives!"). She greedily loved life and, as befits a romantic poet, made enormous demands on her, often exorbitant ones.

In the poem "Prayer" there is a hidden promise to live and create: "I thirst ... for all roads!" They will appear in a multitude - the various paths of Tsvetaev's creativity. In the poems of the Evening Album, next to attempts to express childhood impressions and memories, there was a non-childish force that fought its way through the simple shell of the rhymed children's diary of a Moscow schoolgirl. "AT Luxembourg garden”, Watching with sadness the children playing and their happy mothers, Tsvetaeva envies them: “You have the whole world”, and at the end declares:

I love women that they were not shy in battle,

Those who knew how to hold a sword and a spear, -

But I know that only in the captivity of the cradle

The usual - female - my happiness!

In the "Evening Album" Tsvetaeva said a lot about herself, about her feelings for people dear to her heart, first of all about her mother and sister Asya. "Evening Album" ends with the poem "Another Prayer". Tsvetaeva's heroine prays to the creator to send her simple earthly love. AT best poems the first book of Tsvetaeva already guess the intonations of the main conflict of her love poetry- the conflict between "earth" and "heaven", between passion and ideal love, between the momentary and the eternal in the world of the conflict of Tsvetaeva's poetry - everyday life and being.

Following the “Evening Album”, two more poetry collections by Tsvetaeva appeared: “The Magic Lantern” (1912) and “From Two Books” (1913) - both under the brand name of the Ole-Lukoye publishing house, the home enterprise of Sergei Efron, a friend of Tsvetaeva’s youth, for whom she will marry in 1912. At this time, Tsvetaeva - "magnificent and victorious" - was already living a very tense life. mental life. The stable life of a cozy house in one of the Staromoskov lanes, the unhurried everyday life of a professorial family - all this was the surface, under which the "chaos" of real, non-childish poetry was already stirring.

By that time, Tsvetaeva already knew her own worth as a poet (already in 1914 she wrote in her diary: “I am unshakably confident in my poems”), but did absolutely nothing to establish and ensure chit their human and literary destiny. Marina's love of life was embodied above all in her love for Russia and Russian speech. Marina loved the city in which she was born very much; She devoted many poems to Moscow:

Over the city rejected by Peter,

The bell thunder rolled.

Rattles capsized surf

Over the woman you rejected.

Tsar Peter, and to you, O king, praise!

But above you, kings: bells.

While they thunder from the blue

The superiority of Moscow is indisputable.

And as many as forty forty churches

Laugh at the pride of kings!

First there was Moscow, born under the pen of a young, then a young poet. At the head of everything and everything reigned, of course, the father's "magic" house in Trekhprudny Lane:

Drops of stars dried up in the emerald sky and roosters crowed.

It was in an old house, a wonderful house...

Wonderful house, our wonderful house in Trekhprudny,

Now turned into poetry.

So he appeared in this surviving fragment of a youthful poem. The house was animated: its hall became a participant in all events, met guests; the dining room, on the contrary, was a kind of space for forced four-time indifferent meetings with "home" - the dining room of an orphaned house, in which there was no longer a mother. We do not learn from Tsvetaeva's poems what the Hall or the dining room looked like, in general the house itself. But we know that a poplar stood next to the house, which remained before the eyes of the poet for the rest of his life:

This poplar! huddle under it

Our children's parties

This poplar among the acacias,

Ash and silver colors.. Later, a hero will appear in Tsvetaeva's poetry, who will pass through the years of her work, changing in the secondary and remaining unchanged in the main: in his weakness, tenderness, unsteadiness in feelings. The lyrical heroine is endowed with the features of a meek, devout woman:

I will go and stand in the church.

And I will pray to the saints

About a young swan.

In the most successful poems, written in mid-January - early February 1917, the joy of earthly existence and love is sung:

The world began in me nomadic:

It is trees that roam the night land,

It roams with golden wine - bunches,

It is the stars that wander from house to house,

It is the rivers that begin their journey - backwards!

And I want to sleep on your chest.

Tsvetaeva dedicates many of her poems to contemporary poets: Akhmatova, Blok, Mayakovsky, Efron:

... Domes are burning in my melodious city,

And the stray blind man glorifies the Light Savior ... -

And I give you my hail of bells, Akhmatova! —

And your heart to boot.

But all of them were for her only fellow writers. But A. Blok was the only poet in Tsvetaeva’s life, whom she revered not just as a brother in the “old craft”, but as a deity from poetry and whom, as a deity, she worshiped. She felt all the others she loved to be her comrades-in-arms, or rather, she felt herself to be their brother and comrade-in-arms, and about each she considered herself entitled to say, as about Pushkin: “I know how I repaired feathers of sharpness: my fingers did not dry out from his ink!” The creativity of only one Blok was perceived by Tsvetaeva as a height so celestial - not by detachment from life, but by its purity - that she, in her "sinfulness", did not even dare to think about any participation in this creative height - only if All her poems dedicated to Blok in 1916 and 1920-1921 became admiration: A lair for the Beast, a road for the Wanderer, a road for the Dead. To each his own.

Woman - to dissemble,

King to rule

I am to praise

Your name.

Tsvetaeva the poet cannot be confused with anyone else. Her poems can be unmistakably recognized - by a special chant, characteristic rhythms, unmistakable intonation. From adolescence, a special “Tsvetaeva” grip in handling the poetic word, the desire for aphoristic clarity and completeness, has already begun to affect. The concreteness of this home-made lyrics also bribed me.

For all her romanticism, young Tsvetaeva did not succumb to the temptations of a lifeless, imaginary meaningful decadent genre. Marina Tsvetaeva wanted to be diverse, she was looking for different ways in poetry. Marina Tsvetaeva is a great poet, and her contribution to the culture of Russian verse in the 20th century is extremely significant. The legacy of Marina Tsvetaeva is difficult to see. Among the created by Tsvetaeva, in addition to lyrics, are seventeen poems, eight poetic dramas, autobiographical, memoir, historical-literary and philosophical-critical prose.

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"Moscow childhood"

poetess Tsvetaeva lyrics

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

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

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

The Tsvetaev family lived in a cozy mansion in one of the old Moscow lanes; she spent her summers in the Kaluga town of Tarusa, and sometimes on trips abroad. All this was the spiritual atmosphere that breathed the childhood and years of youth of Marina Tsvetaeva. She early felt her independence in tastes and habits, strongly defended this property of her nature in the future. At the age of sixteen, she made an independent trip to Paris, where she attended a course in old French literature at the Sorbonne. While studying in Moscow private gymnasiums, she was distinguished not so much by the assimilation of the subjects of the compulsory program, but by the breadth of her general cultural interests.

The formation of the poet

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

In the first two books of poems (“Evening Album” and “Magic Lantern”) and the poem “The Enchanter”, Marina Tsvetaeva carefully describes home life (nursery, “halls”, mirrors and portraits), walks on the boulevard, reading, playing music, relationships with mother and sister imitate the diary of a schoolgirl, who, in this atmosphere of a “childish” sentimental fairy tale, grows up and joins the poetic. Confessional, diary orientation is accentuated by the dedication of the "Evening Album" to the memory of Maria Bashkirtseva. Maria Bashkirtseva is a Russian artist who wrote the book Diary in French. In the poem "On a Red Horse" the story of the poet's formation takes the form of a romantic fairy-tale ballad.

Poetic world and myth

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

One of the important images of this period of Tsvetaeva's work is the image Ancient Rus'. It appears as the element of riot, self-will, unbridled revelry of the soul. There is an image of a woman devoted to rebellion, autocratically surrendering to the whims of her heart, in selfless daring, as if escaping to freedom from the age-old oppression weighing on her. Her love is self-willed, does not tolerate any barriers, is full of audacity and strength. She is either a archer of the Zamoskvoretsky riots, or a fortune-teller-princess, or a wanderer of distant roads, or a member of robber bands, or almost the boyar Morozova. Her Rus' sings, wails, dances, prays and blasphemes to the full extent of Russian irrepressible nature.

"After Russia"

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

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

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

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

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

“The Poem of the End” is a detailed, many-part dialogue about parting, where in deliberately everyday conversations, sometimes sharply abrupt, sometimes tender, sometimes maliciously ironic, the last way through the city is parted forever.

The “Poem of the Stairs” is much more complicated, where the staircase of a house populated by urban poverty is a symbolic image of all the everyday troubles and sorrows of the poor against the backdrop of the well-being of the haves and the prosperous. Staircases that go up and down, carrying the miserable things of the poor and the heavy furniture of the rich.

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

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

For you with every muscle

I stand and I'm proud

Chelyuskins are Russians!

Unlike poems, which did not receive recognition in the emigrant environment (Tsvetaeva's innovative poetic technique was seen as an end in itself), her prose enjoyed success, being readily accepted by publishers and taking the main place in her work of the 1930s. “Emigration makes me a prose writer…” wrote Tsvetaeva. Her prose works- “My Pushkin”, “Mother and Music”, “The House at Staryi Pimen”, “The Tale of Sonechka”, memoirs about Maximilian Voloshin (“Living about the Alive”), M. A. Kuzmin (“An unearthly wind”), Andrey Belom (“The Captive Spirit”), Boris Pasternak, Valeria Bryusov and others, combining the features of artistic memoirs, lyrical prose and philosophy, recreate the spiritual biography of Tsvetaeva. Letters of the poetess to Boris Pasternak and Rainer Rilke adjoin prose. This is a kind of epistolary novel. Marina Tsvetaeva also devoted a lot of time to translations. In particular, she translated fourteen Pushkin's poems into French.

Peculiarities poetic language

Romantic maximalism, motives of loneliness, the tragic doom of love, rejection of everyday life, intonation-rhythmic expressiveness, metaphoricality are inherent in all of Tsvetaeva's work. Confessionalism, emotional tension, energy of feeling, characteristic of Tsvetaeva's poetry, determined the specifics of the language, marked by the conciseness of thought, the swiftness of the development of action. Most bright features Tsvetaeva’s original poetics in all periods of her life was characterized by intonational and rhythmic diversity (she used raesh verse, that is, an accent verse with a pair of rhymes, a rhythmic pattern of a ditty; folklore origins are most noticeable in the fairy tale poems “The Tsar Maiden”, “Well Done”), stylistic and lexical contrasts (from vernacular and grounded everyday realities to elevated high style and biblical imagery), for example:

Planted an apple tree

Small - fun

Old - youth

The gardener is happy.

I drink, I don't get drunk. Breathe in and out a huge breath.

And blood murmuring underground rumble,

So at night, disturbing the sleep of David,

King Saul choked.

Other features of Tsvetaeva’s poetry are unusual syntax (the dense fabric of the verse is replete with the “dash” sign, which often replaces omitted words), for example, “... Through the slabs - up - to the bedchamber - and relish!”, Experiments with sound (for example, the constant playing of paronymic consonances ; paronyms are words that are close in sound, but different in meaning, for example, “hot from bitterness”) and others.

V.A. Rozhdestvensky wrote about Tsvetaeva's poetry: “The power of her poems is not in visual images, but in a bewitching stream of ever-changing, flexible, involving rhythms. Now solemnly upbeat, now colloquially everyday, now song-singing, now fervently mocking, in their intonation richness they masterfully convey the play of flexible, expressive, accurate and capacious Russian speech ... Her poems are always a sensitive seismograph of the heart, thoughts, any excitement who owns a poet"

End of the road

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

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

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

"It's easy to think of me,

It's easy to forget about me."

Many tried to reveal, approve, overturn, challenge Tsvetaeva's talent. Writers and critics of the Russian diaspora wrote about Marina Tsvetaeva in different ways. Russian editor Slonim was confident that "the day will come when her work will be rediscovered and appreciated and will take its rightful place as one of the most interesting documents pre-revolutionary era". The first poems of Marina Tsvetaeva" Evening Album "were published in 1910 and were accepted by readers as the poems of a real poet. But in the same period, the tragedy of Tsvetaeva began. It was a tragedy of loneliness and unrecognized, but without any taste of resentment, infringed vanity. Tsvetaeva accepted life as it is, since at the beginning of her creative way considered herself a consistent romantic, then voluntarily gave herself to fate. Even when something fell into her field of vision, it immediately miraculously and festively transformed, began to sparkle and tremble with some kind of tenfold thirst for life.

Gradually, the poetic world of Marina Tsvetaeva became more complicated. The romantic worldview interacted with the world of Russian folklore. During emigration, the poetry of Marina Tsvetaeva absorbs the aesthetics of futurism. In her works, she moves from melodious and colloquial intonation to oratory, often breaking into a scream, a cry. Tsvetaeva futuristically falls upon the reader with all poetic devices. Most of Russian emigration, in particular living in Prague, responded to her with an unfriendly attitude, although she recognized her talent. But the Czech Republic still remained in the memory of Marina Tsvetaeva as a bright and happy memory. In the Czech Republic, Tsvetaeva is finishing her poem "Well Done". This poem was the guardian angel of the poetess, she helped her to survive the most difficult time in the initial period of existence in the depths.

Marina Tsvetaeva works very hard in Berlin. In her poems, one can feel the intonation of a thought through suffering, endurance and burning feelings, but something new has also appeared: bitter concentration, inner tears. But through longing, through the pain of experience, she writes poems full of self-denial and love. Here Tsvetaeva creates "Sibyl". This cycle is musical in composition and imagery, and philosophical in meaning. It is closely connected with her "Russian" poems. In the emigrant period, there is an enlargement of her lyrics.

It is just as impossible to read, listen, perceive Tsvetaeva's poems calmly, just as one cannot touch bare wires with impunity. Her poems include a passionate social origin. According to Tsvetaeva, the poet is almost always opposed to the world: he is the messenger of the deity, an inspired mediator between people and heaven. It is the poet who is opposed to the rich in Tsvetaev's "Praise ...".

The poetry of Marina Tsvetaeva constantly changed, shifted the usual outlines, new landscapes appeared on it, other sounds began to be heard. AT creative development Tsvetaeva invariably manifested a pattern characteristic of her. "The Poem of the Mountain" and "The Poem of the End" represent, in essence, one poem-dilogue, which could be called either the "Poem of Love" or the "Poem of Parting". Both poems are a love story, a stormy and brief passion that left a mark on both loving souls for life. Never again did Tsvetaeva write poems with such passionate tenderness, feverishness, frenzy and complete lyrical confession.

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

AT Parisian years she writes little lyrical poetry, she works mainly on memoir and critical poetry and prose. In the 30s, Tsvetaeva was hardly printed - the poems go in a thin intermittent stream and, like sand, into oblivion. True, she manages to send "Poems to the Czech Republic" to Prague - they were saved there as a shrine. So there was a transition to prose. Prose for Tsvetaeva, not being a verse, is, nevertheless, the real Tsvetaeva poetry with all the other features inherent in it. In her prose, not only the personality of the author is visible, with her character, passions and manner, well known from poetry, but also the philosophy of art, life, history. Tsvetaeva hoped that prose would shield her from the emigre publications that had become unfriendly. Marina Tsvetaeva's last cycle of poems was Poems for the Czech Republic. In them, she warmly responded to the misfortune of the Czech people.

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

Russian poetry is our great spiritual heritage, our national pride. But many poets and writers were forgotten, they were not published, they were not talked about. In connection with the great changes in our country recently in our society, many unfairly forgotten names began to return to us, their works began to be printed. These are such wonderful Russian poets as Anna Akhmatova, Nikolai Gumilyov, Osip Mandelstam, Marina Tsvetaeva.

Marina Ivanovna Tsvetaeva was born in Moscow on September 26 (October 8), 1892. If the influence of his father, Ivan Vladimirovich, a university professor and creator of one of the best Moscow museums (now the Museum of Fine Arts), for the time being remained hidden, latent, then the influence of his mother was obvious: Maria Alexandrovna, passionately and violently she was engaged in raising children until her very early death, - in the words of her daughter, she “started” them with music. “After such a mother, there is only one thing left for me: to become a poet,” wrote Marina Tsvetaeva.

red brush

Rowan lit up

Leaves fell -

I was born.

Hundreds argued

Bells.

The day was Saturday

John the Theologian.

To me to this day

I want to gnaw

red rowan

Bitter brush.

Marina Ivanovna spent her childhood, youth and youth in Moscow and in the quiet Tarusa near Moscow, partly abroad. She studied a lot, but, for family reasons, rather haphazardly: as a little girl - at a music school, then in Catholic boarding schools in Lausanne and Freiburg, in the Yalta women's gymnasium, in Moscow private boarding schools.

Tsvetaeva began to write poems from the age of six (not only in Russian, but also in French, not in German), printed - from sixteen. Heroes and events settled in the soul of Tsvetaeva, continued their "work" in her. Little, she wanted, like any child, "to do it herself." Only in this case, "it" was not a game, not drawing, not singing, but writing words. Find a rhyme yourself, write something down yourself. Hence the first naive poems at the age of six or seven, and then diaries and letters.

In this album, Tsvetaeva wraps her experiences in lyrical poems about failed love, about the irrevocableness of the past and about the fidelity of the one who loves:

You told me everything - so early!

I saw everything - so late!

Eternal wound in our hearts

In the eyes of a silent question ...

It's getting dark... The shutters are slammed,

Over all the approach of the night ...

I love you, ghostly old,

You alone - and forever!

A lyrical heroine appears in her poems - a young girl dreaming of love. The Evening Album is a hidden dedication. Before each section there is an epigraph, or even two: from Rostand and the Bible. These are the pillars of the first building of poetry erected by Marina Tsvetaeva. How unreliable it is, this building; how unsteady are some of its parts, created by a semi-childish hand. But some verses already foreshadowed the future poet. First of all - the unrestrained and passionate "Prayer", written by the poetess on the day of her seventeenth birthday, September 26, 1909:

Christ and God! I want a miracle

Now, now, at the beginning of the day!

Oh let me die while

All life is like a book to me.

You are wise, you will not say strictly: "Be patient, the term is not over yet." You gave me too much! I thirst at once - all roads!

I love the cross, and silk, and helmets,

My soul of moments trace ...

You gave me childhood - better than a fairy tale

And give me death - at seventeen!

In the poem "Prayer" there is a hidden promise to live and create: "I thirst ... for all roads!" They will appear in a multitude - the various paths of Tsvetaev's creativity. In the poems of the Evening Album, next to attempts to express childhood impressions and memories, there was a non-childish force that fought its way through the simple shell of the rhymed children's diary of a Moscow schoolgirl. “In the Luxembourg Garden”, watching with sadness the children playing and their happy mothers, Tsvetaeva envies them: “You have the whole world”, and at the end declares:

I love women that they were not shy in battle,

Those who knew how to hold a sword and a spear, -

But I know that only in the captivity of the cradle

The usual - female - my happiness!

In the "Evening Album" Tsvetaeva said a lot about herself, about her feelings for people dear to her heart, first of all about her mother and sister Asya. "Evening Album" ends with the poem "Another Prayer". Tsvetaeva's heroine prays to the creator to send her simple earthly love. In the best poems of Tsvetaeva's first book, the intonations of the main conflict of her love poetry are already guessed - the conflict between "earth" and "heaven", between passion and ideal love, between the momentary and eternal in the world of conflict of Tsvetaeva's poetry - everyday life and being.

Following the “Evening Album”, two more poetry collections by Tsvetaeva appeared: “The Magic Lantern” (1912) and “From Two Books” (1913) - both under the brand name of the Ole-Lukoye publishing house, the home enterprise of Sergei Efron, a friend of Tsvetaeva’s youth, for whom she will marry in 1912. At this time, Tsvetaeva - "magnificent and victorious" - was already living a very intense spiritual life. The stable life of a cozy house in one of the Staromoskov lanes, the unhurried everyday life of a professorial family - all this was the surface, under which the "chaos" of real, non-childish poetry was already stirring.

Over the city rejected by Peter,

The bell thunder rolled.

Rattles capsized surf

Over the woman you rejected.

Tsar Peter, and to you, O king, praise!

But above you, kings: bells.

While they thunder from the blue

The superiority of Moscow is indisputable.

And as many as forty forty churches

Laugh at the pride of kings!

First there was Moscow, born under the pen of a young, then a young poet. At the head of everything and everything reigned, of course, the father's "magic" house in Trekhprudny Lane:

Drops of stars dried up in the emerald sky and roosters crowed.

It was in an old house, a wonderful house...

Wonderful house, our wonderful house in Trekhprudny,

Now turned into poetry.

This poplar! huddle under it

Our children's parties

This poplar among the acacias,

I will go and stand in the church.

And I will pray to the saints

About a young swan.

In the most successful poems, written in mid-January - early February 1917, the joy of earthly existence and love is sung:

The world began in me nomadic:

It is trees that roam the night land,

It roams with golden wine - bunches,

It is the stars that wander from house to house,

It is the rivers that begin their journey - backwards!

And I want to sleep on your chest.

Tsvetaeva dedicates many of her poems to contemporary poets: Akhmatova, Blok, Mayakovsky, Efron:

... Domes are burning in my melodious city,

And the stray blind man glorifies the Light Savior ... -

And I give you my hail of bells, Akhmatova! —

And your heart to boot.

Woman - to dissemble,

King to rule

I am to praise

Your name.

Ministry of Education and Science of the Samara Region

State budget educational institution

secondary vocational education

Togliatti Socio-Economic College

Topic of educational and research work:

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

Subject: Literature.

Head of educational and research work M.P. Ivanova

Executed by E.S.Tikhonova

Group IS-11

Tolyatti

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

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

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

3.1. Peculiarities poetic world Tsvetaeva M.I………………………….8

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

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

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

3.5. Peculiarities poetic syntax Tsvetaeva M.I…………………17

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

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

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

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

1. Introduction

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

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

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

Purpose of the study:

1) identify and describe potential opportunities language units realized in the special conditions of the poetic text.

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

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

2. Biography of Tsvetaeva M.A.

Tsvetaeva Marina Ivanovna

Russian poetess.

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

In the next books "Milestones" (1921-22) and "Craft" (1923), revealing the creative maturity of Tsvetaeva, the focus on the diary and fairy tale is preserved, but already being transformed into part of an individual poetic myth. In the center of the cycles of poems addressed to contemporary poets A. A. Blok, S. Parnok, A. A. Akhmatova, dedicated to historical figures or literary heroes - Marina Mnishek, Don Juan, etc., is a romantic person who cannot be understood by contemporaries and descendants, but also does not seek primitive understanding, philistine sympathy. Tsvetaeva, identifying herself with her characters to a certain extent, endows them with the possibility of life outside of real spaces and times, the tragedy of their earthly

existence is compensated by belonging to the higher world of the soul, love, poetry.
The romantic motifs of rejection, homelessness, sympathy for the persecuted, characteristic of Tsvetaeva's lyrics, are supported by the real circumstances of the poetess's life. In 1918-22, together with her young children, she was in revolutionary Moscow, while her husband S. Ya. Efron was fighting in the white army (poems 1917-21, full of sympathy for the white movement, made up the Swan Camp cycle). From 1922, Tsvetaeva's emigrant existence began (a short stay in Berlin, three years in Prague, from 1925 - Paris), marked by a constant lack of money, household disorder, difficult relations with Russian emigration, and increasing hostility of criticism. To the best poetic works of the emigrant period (the last lifetime collection of poems "After Russia" 1922-1925, 1928; "The Poem of the Mountain", "The Poem of the End", both 1926; the lyrical satire "The Pied Piper", 1925-26; tragedies on ancient subjects "Ariadne" , 1927, published under the title "Theseus", and "Phaedra", 1928; the last poetic cycle "Poems to the Czech Republic", 1938-39, was not published during his lifetime, etc.) philosophical depth, psychological accuracy, expressiveness of style are inherent.
Confession, emotional tension, energy of feeling, characteristic of Tsvetaeva's poetry, determined the specifics of the language, marked by the conciseness of thought, the swiftness of the deployment of lyrical action. The most striking features of Tsvetaeva's original poetics were intonational and rhythmic diversity (including the use of raesh verse, the rhythmic pattern of a ditty; folklore origins are most noticeable in the fairy tale poems "The Tsar Maiden", 1922, "Well Done", 1924), stylistic and lexical contrasts (from vernacular and grounded everyday realities to elevated high style and biblical imagery), unusual syntax (the dense fabric of the verse is replete with the dash sign, which often replaces omitted words), breaking the traditional metric (mixing classical stops within one line), experiments on sound (including the constant play on paronymic consonances, which turns morphological level language into poetically significant), etc.

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

In 1937, Sergei Efron, who, for the sake of returning to the USSR, became an NKVD agent abroad, being involved in a contract political assassination, fled from France to Moscow. In the summer of 1939, following her husband and daughter Ariadna (Alei), Tsvetaeva returned to her homeland with her son Georgy (Mur). In the same year, both the daughter and the husband were arrested (S. Efron was shot in 1941, Ariadne was rehabilitated in 1955 after fifteen years of repression). Tsvetaeva herself could not find housing or work; her poems were not published. Being at the beginning of the war in the evacuation in the city of Yelabuga, now Tatarstan, she unsuccessfully tried to get support from the writers.
August 31, 1941 committed suicide.

3. The artistic world of M.I. Tsvetaeva

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

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

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

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

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

We know, we know a lot

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

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

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

3.2. Contrast techniques

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

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

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

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

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

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

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

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

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

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

Blood silver, silver

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

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

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

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

O-de-co-lones

family, sewing

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

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

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

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

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

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

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

So, stairs descending

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

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

Where are the shone remains?
Salty wave, answer!

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

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

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

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

3.6. Symbolism of Tsvetaeva M.I.

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

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

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

3.7. Features of the fate of the poet

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

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

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

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

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

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

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

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

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

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

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

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

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

Tsvetaeva wrote about the poet's perception of time in the article "The Poet and Time". Tsvetaeva considers modern non-poets " social order”, and those who, without even accepting modernity (for everyone has the right to their own “time of the soul”, to their beloved, internally close era), are trying to “humanize” it, to fight its vices.

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

4. Conclusion

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

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

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

An analysis of color designation in M. Tsvetaeva's poetry convinces us that she has no purely aesthetic attitude to color. Apparently, this is what common property Tsvetaeva’s pictorial system explains such particulars as the lack of diminutive forms and suffixes of incompleteness of quality when color designating

5. List of sources used