One of the brightest famous poets last century - Marina Tsvetaeva, whose biography and personal life we are discussing today. She wrote not only wonderful poetry, but also biographies and critical articles. With poems by a talented poetess in mandatory introduce all schoolchildren. Her work is still on the lips of actors and singers today. Tsvetaeva’s books seem to turn something deep inside and remain in the heart forever.
Marina was born in Moscow. Her father, Ivan Vladimirovich Tsvetaev, was a famous academician. And Marina’s mother is pianist Maria Main. Of course creative family influenced Tsvetaeva’s childhood. Her mother taught her to play the piano, hoping that the girl will go in her footsteps. And her father forever instilled in Marina a passionate love for literature and foreign languages.
Marina and her mother periodically lived in Europe. Therefore, the girl perfectly learned foreign languages - French and German. Already at the age of six she began writing poetry in both her native and foreign languages. Most of all she liked to create in French.
In addition, Marina studied not only in a Moscow private gymnasium, but also in foreign boarding schools for girls, in Switzerland and Germany. At the age of 16, she decided to study at the Sorbonne in Paris. I started listening to this famous educational institution a course of lectures on old French literature, but soon dropped out of school.
At the beginning of the last century, the young poetess began publishing her first poems. At that time, she closely communicated with representatives of the Moscow Symbolists, was very active, and took part in the life of literary circles.
But the carefree youth did not last long - the country was gripped by the Civil War. Marina could not accept the division of her native, beloved country into “white” and “red” parts. It was very difficult for the girl mentally.
In the spring of 1922, she received permission to emigrate and settled in the Czech Republic. Moreover, her husband, Sergei Efron, had lived in this country for several years and studied at the local university.
But Tsvetaeva did not remain in Prague for long. Three years later, she and her family moved to Paris. But in this country, her family encountered difficulties, and Marina realized that her heart was longing for her homeland.
Poems by Marina Tsvetaeva
In 1910, the talented girl released the first collection of her poems, “Evening Album.” It consisted, for the most part, of poems that Marina wrote in school. The “gurus” of Soviet poetry - Maximilian Voloshin, Nikolai Gumilyov and Valery Bryusov - became interested in Tsvetaeva’s work.
It is interesting that Marina did not seek anyone’s support to publish her books. The very first of them were published with her own money.
The second collection of poems by Marina Tsvetaeva, whose personal life and biography we are discussing today, was called “The Magic Lantern.” And after some time, the next collection “From Two Books” was published.
During the outbreak of the civil war, Marina supported her husband, a “white” officer, although she did not at all approve of the division of the country. During this period she wrote many poems, poems, and plays.
After moving abroad, she composed some of her most famous poems - “The Poem of the Mountain” and “The Poem of the End.” In addition, in 1925, a collection of poems by Tsvetaeva “After Russia” was published.
But foreigners liked Tsvetaeva’s prose more. They read her impressions of the work of famous Russian poets. Collections of poems were purchased extremely rarely. Although at that time the girl wrote wonderful works. For example, the cycle “Mayakovsky”, written in emotions due to the death of the great poet.
This event greatly shocked Tsvetaeva. And many years later you can feel her pain by reading those lines. Today we will briefly recall the work of Marina Tsvetaeva, talk about her biography and personal life.
Personal life
Marina Tsvetaeva, whose personal life and biography are full of dramatic events, had three children. In 1911, the girl met the man who became her husband, Sergei Efron. A year later they got married. And soon their daughter Ariadne was born. However, there was no idyll in this family. Periodically, Tsvetaeva fell in love with other men.
One of her most striking romances was with the poet Boris Pasternak. Their relationship lasted 10 years. And even after emigrating from Russia, Tsvetaeva kept in touch with Boris.
In other matters, in Prague she began another affair, with Konstantin Rodzevich. This relationship lasted for about six months, and after that Marina wrote the famous “Poem of the Mountain” and dedicated it to Konstantin. The end was put in their relationship at the moment when Tsvetaeva decided to help Rodzevich’s fiancee choose a dress for the wedding.
In addition, Marina Tsvetaeva had a close relationship with the poetess Sofia Parnyuk. Tsvetaeva dedicated her close friend a series of poems, thereby publicly declaring their relationship. Once Marina even left her husband for Parnyuk after a scene of jealousy. But after some time she returned to Sergei and gave birth to another daughter, Irina.
Tsvetaeva later explained her relationship with Parnyuk by saying that she was bored of loving only men. Besides. She called this love “the first disaster of her life.”
After Marina’s second daughter was born, changes took place in the country. My husband fled abroad. The girl was left with the children in extreme need, she was starving. To feed the children, she had to send them to an orphanage near Moscow. After which, a new tragedy happened in Tsvetaeva’s life - in three years of age Irina died.
Having moved to Prague, Marina gave birth to another child from Sergei - son George. This boy was sick a lot since childhood, but this did not stop him from going to war. In the summer of 1944 he died at the front. Unfortunately, the poetess has no descendants.
Death of Marina Tsvetaeva
In Europe, Marina and her family lived very poorly. Sergei Efron was sick a lot and was unable to support his family; Marina had little Grisha in her arms. They only helped out. modest fees for articles and essays, but they did not save the situation. Even then, Marina said that she was not living, but was just slowly fading away from hunger. She tirelessly asked the Soviet embassy to return her and her family to Russia.
In 1937, Ariadne was allowed to return to her homeland, and six months later Sergei Efron secretly returned to Moscow. In France, a man could go to jail because he was suspected of involvement in a political murder. After some time, Marina and her son returned to the country. But they were not greeted warmly at home.
The poetess's daughter and husband were arrested by the NKVD. Ariadne spent more than 15 years in prison, and then she was rehabilitated. But Efron was shot in 1941.
However, Marina never found out about the fate of her loved ones. After the start of the Great Patriotic War, she and her son moved to the small town of Elabuga. There a woman got a job as a dishwasher. And three days later, Marina committed suicide. The woman hanged herself.
Marina hanged herself with a rope given to her by Boris Pasternak. He helped Marina pack her things for evacuation and bought this rope for her, which was convenient for tying things up.
Marina Tsvetaeva, whose biography and personal life are very interesting to fans of her work, was buried in Yelabuga. Where exactly is unknown. 50 years after her death, Marina’s funeral service was performed for the first time. Patriarch of Russia Alexei II decided to do this, despite Orthodox customs. The church ceremony was held in Moscow in the Church of the Ascension of the Lord.
Now in our country and abroad there are several museums dedicated to the life and work of the famous poetess. A monument was erected on the banks of the Oka in honor of the memory of Marina Tsvetaeva.
There is an opinion that Marina sought to die all her life. It could have happened a year earlier or later, no matter when. But it would happen. In her writings dedicated to Mayakovsky, Marina wrote that suicide begins not at the moment when the trigger is pulled, but much earlier. Coincidentally, on August 31, 1941, Marina was left at home alone and took advantage of this opportunity.
(1892 1941)
Russian poetess. Daughter of a scientist, specialist in the field ancient history, epigraphy and art, Ivan Vladimirovich Tsvetaev. Romantic maximalism, motives of loneliness, the tragic doom of love, rejection of everyday life (collections "Versta", 1921, "Craft", 1923, "After Russia", 1928; satirical poem "The Pied Piper", 1925, "Poem of the Mountain", "Poem of the End" ", both 1926). Tragedies ("Phaedra", 1928). Intonation-rhythmic expressiveness, paradoxical metaphor. Essay prose (“My Pushkin”, 1937; memories of A. Bely, V. Ya. Bryusov, M. A. Voloshin, B. L. Pasternak, etc.). In 1922 39 in exile. She committed suicide.
Biography
Born on September 26 (October 8, n.s.) in Moscow into a highly cultured family. Father, Ivan Vladimirovich, a professor at Moscow University, a famous philologist and art critic, later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts (now the State Museum fine arts them. A. S. Pushkin). Mother came from a Russified Polish-German family and was a talented pianist. She died in 1906, leaving two daughters in the care of her father.
Tsvetaeva's childhood years were spent in Moscow and at her dacha in Tarusa. Having begun her education in Moscow, she continued it in boarding houses in Lausanne and Freiburg. At the age of sixteen she committed independent trip to Paris to listen at the Sorbonne short course history of Old French literature.
She began writing poetry at the age of six (not only in Russian, but also in French and German), publishing at sixteen, and two years later, secretly from her family, she released the collection “Evening Album,” which was noticed and approved by such discerning critics as like Bryusov, Gumilev and Voloshin. From the first meeting with Voloshin and a conversation about poetry, their friendship began, despite the significant difference in age. She visited Voloshin many times in Koktebel. Collections of her poems followed one after another, invariably attracting attention with their creative originality and originality. She did not join any of the literary movements.
In 1912, Tsvetaeva married Sergei Efron, who became not only her husband, but also her closest friend.
The years of the First World War, revolution and civil war were a time of rapid creative growth for Tsvetaeva. She lived in Moscow, wrote a lot, but almost never published. October Revolution she did not accept, seeing in it a rebellion of “satanic forces.” In the literary world, M. Tsvetaeva still kept herself apart.
In May 1922, she and her daughter Ariadne were allowed to go abroad to join her husband, who, having survived the defeat of Denikin as a white officer, now became a student at the University of Prague. At first, Tsvetaeva and her daughter lived for a short time in Berlin, then for three years on the outskirts of Prague, and in November 1925, after the birth of their son, the family moved to Paris. Life was an emigrant, difficult, poor. It was beyond our means to live in the capitals; we had to settle in the suburbs or nearby villages.
Tsvetaeva’s creative energy, no matter what, did not weaken: in 1923 in Berlin, the Helikon publishing house published the book “The Craft,” which was highly praised by critics. In 1924, during the Prague period, the poems “Poem of the Mountain”, “Poem of the End”. In 1926 she finished the poem “The Pied Piper,” which she began in the Czech Republic, and worked on the poems “From the Sea,” “The Poem of the Staircase,” “The Poem of the Air,” and others. Most of what she created remained unpublished: if at first the Russian emigration accepted Tsvetaeva as one of their own, then very Soon her independence, her uncompromisingness, her obsession with poetry define her complete loneliness. She did not take part in any poetry or political directions. She has “no one to read, no one to ask, no one to rejoice with,” “alone all her life, without books, without readers, without friends...”. The last collection of his lifetime was published in Paris in 1928 “After Russia”, which included poems written in 1922 1925.
By the 1930s, the line separating her from the white emigration seemed clear to Tsvetaeva: “My failure in emigration is that I am not an emigrant, that I am in spirit, i.e. by air and by scope there, there, from there...” In 1939, she restored her Soviet citizenship and, following her husband and daughter, returned to her homeland. She dreamed that she would return to Russia as a “welcome and welcome guest.” But this did not happen: the husband and daughter were arrested, sister Anastasia was in the camp. Tsvetaeva still lived alone in Moscow, somehow getting by with translations. The outbreak of war and evacuation brought her and her son to Yelabuga. Exhausted, unemployed and lonely, the poet committed suicide on August 31, 1941.
The first posthumous book of poems by Marina Tsvetaeva, “Favorites,” was published in the USSR in 1961, 20 years after the death of the author and almost 40 years after the previous publication in her homeland. By the time “The Chosen One” was published, few readers remembered the young Tsvetaeva and almost no one could imagine the magnitude of the figure she had become as she went through her tragic path.
Marina Tsvetaeva's first books
Marina Tsvetaeva was born on October 8, 1892 in Moscow. Her father Ivan Tsvetaev is a doctor of Roman literature, an art historian, an honorary member of many universities and scientific societies, director of the Rumyantsev Museum, founder of the Museum of Fine Arts (now the Pushkin State Museum of Fine Arts). Mother Maria Main was a talented pianist. Deprived of the opportunity to pursue a solo career, she put all her energy into raising her children, Marina and Anastasia, as musicians.
Ivan Tsvetaev. Photo: scientificrussia.ru
Anastasia and Marina Tsvetaeva. Photo: 1abzac.ru
Maria Main. Photo: alexandrtrofimov.ru
Marina later wrote about her mother: “The whole spirit of education is German. Enthusiasm for music, enormous talent (I’ll never hear such playing on the piano and guitar again!), ability for languages, brilliant memory, magnificent style, poetry in Russian and German, painting classes.”. After the death of her mother - Marina Tsvetaeva was 14 years old at that time - music lessons came to naught. But the melody remained in the poems, which Tsvetaeva began writing at the age of six - immediately in Russian, German and French.
When I later, forced by the necessity of my rhythm, began to break up, tear words into syllables using an unusual dash in poetry, and everyone scolded me for this for years, I suddenly one day saw with my own eyes those romance texts of my infancy with solid legal dashes - and I felt yourself washed, supported, confirmed and legitimized - like a child secret sign kind of turned out to be family, in the right to life, finally!
Marina Tsvetaeva. "Mother and Music"
In 1910, Tsvetaeva published her first poetry collection, “Evening Album,” at her own expense. I sent it to the master, Valery Bryusov, for review. The symbolist poet mentioned the young talent in his article for the magazine “Russian Thought”: “When you read her book, you feel awkward for minutes, as if you had immodestly looked through a half-closed window into someone else’s apartment and spied a scene that strangers shouldn’t see.”.
Maximilian Voloshin and Nikolai Gumilyov also responded to “Evening Album” in print. In Koktebel, visiting Voloshin, Marina met Sergei Efron, the son of the People's Will revolutionaries Yakov Efron and Elizaveta Durnovo. In January 1912, they got married, and soon two books with “talking” titles were published: “The Magic Lantern” by Tsvetaeva and “Childhood” by Efron. Tsvetaeva’s next collection, “From Two Books,” was compiled from previously published poems. He became a kind of watershed between the poet’s peaceful youth and tragic maturity.
"An outrageously great poet"
First World War They met a small family - their daughter Ariadna was born in 1912 - in a house on Borisoglebsky Lane. Sergei Efron was preparing to enter university, Marina Tsvetaeva was writing poetry. Since 1915, Efron worked for sanitary train, was mobilized in 1917. Later he found himself in the ranks of the White Guards, from Crimea with the remnants of the defeated White Army he moved to Turkey, then to Europe. Marina Tsvetaeva, who did not receive news from her husband during the Civil War, remained in Moscow - now with two children.
Marina Tsvetaeva and Sergei Efron. Photo: diwis.ru
The daughters of Marina Tsvetaeva are Ariadna and Irina Efron. Photo: alexandrtrofimov.ru
Sergei Efron, Marina Tsvetaeva with Georgy (Moore) and Ariadna Efron. Photo: alexandrtrofimov.ru
At this time, she became close to the Vakhtangov studio students (the future Third Studio of the Moscow Art Theater), who “registered” in Mansurovsky Lane. Among Tsvetaeva’s closest friends were the poet Pavel Antokolsky, director Yuri Zavadsky, and actress Sofia Golliday. For them and under the influence of the adored “poetic deity” - Alexander Blok - Tsvetaeva wrote “romantic dramas”. Their light, elegant syllable carried the young poetess into beautiful distances, away from freezing military Moscow.
In February 1920, Marina Tsvetaeva’s youngest daughter died of starvation. A year later, news from Efron came from abroad, and Tsvetaeva decided to go to him. In May 1922, the couple met in Berlin. Berlin in the early 1920s was the publishing Mecca of the Russian emigration. In 1922–1923, Marina Tsvetaeva published 5 books here. A little earlier, the collection “Milestones”, the dramatic sketch “The End of Casanova” and the fairy tale poem “The Tsar Maiden” were published in Moscow - this was the farewell to Russia.
Sergei Efron studied at the University of Prague, which offered free places to refugees from Russia, Marina and her daughter followed him to the Czech Republic. We couldn’t afford to rent an apartment in Prague, so we lived in the surrounding villages for several years. Tsvetaeva was published. In the Czech Republic, “The Poem of the Mountain” and “The Poem of the End”, “Russian” fairy tale poems “Well done”, “Alleys”, the drama “Ariadne” were born, and “The Pied Piper” was started - a re-interpretation of the German legend about the rat catcher from the city of Gammeln. In the Czech emigration, Tsvetaeva's epistolary romance with Boris Pasternak began, which lasted almost 14 years.
"She was one misery"
In 1925, the Tsvetaev-Efron family, already with their son Georgy, moved to Paris. The capital of the Russian diaspora greeted them, at first glance, warmly. Tsvetaeva’s poetry evening was a success, her poems were published. In 1928, the book “After Russia” was published in Paris - the last collection of the poet published during his lifetime.
But the differences between the independent Marina Tsvetaeva and the old-school Russian intelligentsia became increasingly obvious. Her morals were too different from the habits of the masters who reigned here: Dmitry Merezhkovsky and Zinaida Gippius, Vladislav Khodasevich and Ivan Bunin. Tsvetaeva interrupted odd jobs: gave lectures, wrote articles, made translations. The situation was aggravated by the fact that emigrants, most of whom did not accept the revolution, looked askance at Sergei Efron. He became an open supporter of Bolshevism and joined the ranks of the Homecoming Union. Efron insisted that he fell into the camp of the White Guards almost by accident. In 1932, he applied to receive a Soviet passport and was recruited by the NKVD.
Marina Tsvetaeva. 1930. Photo: alexandrtrofimov.ru
Marina Tsvetaeva with her daughter Ariadna. 1924. Photo: alexandrtrofimov.ru
Georgy Efron. Paris. 1930s. Photo: alexandrtrofimov.ru
Ariadna Efron was the first to leave for Moscow in March 1937. Graduate High school Louvre, art historian and book graphic artist, she settled in soviet magazine, which overlooked French. She wrote and translated a lot. In the fall of 1937, after participating in the elimination of a defector Soviet agent, Efron fled to Moscow. He was settled in a dacha in Bolshevo, and life seemed to improve.
Marina Tsvetaeva did not share her family’s enthusiasm and hopes for a happy future in the Soviet Union. And yet, in June 1939, she came to the USSR. After 2 months, Ariadne was arrested, and after another month and a half, Sergei Efron. For Marina and fourteen-year-old Georgy - Moore at home - the ordeal began. They lived either with relatives in Moscow or at the dacha of the Writers' House of Creativity in Golitsyn. They tried to get a meeting with relatives or at least find out something about them.
With great difficulty and not immediately, it was possible to rent a room where Tsvetaeva continued to work. She made a living by translating. In 1940, a review was published by critic Zelinsky, who branded Tsvetaeva’s book, which was to be published, with the terrible word “formalism.” For the poet, this meant closing all doors. On August 8, 1941, at the height of the fascist offensive on Moscow, Tsvetaeva and her son went with a group of writers to evacuate to the Volga city of Elabuga. Boris Pasternak and the young poet Viktor Bokov came to see them off at the river station.
“She completely lost her head, completely lost her will; she was nothing but misery", Moore later said in a letter about his mother’s last days. On August 31, Marina Tsvetaeva committed suicide. In her suicide notes, she asked to take care of her son. Georgy Efron died at the front in 1944. His father was shot in October 1941 and was posthumously rehabilitated in 1956. Ariadne Ephron was rehabilitated in 1955. After returning from exile, she worked on translations, prepared Marina Tsvetaeva’s works for publication, and wrote memoirs about her.
Marina Ivanovna Tsvetaeva is a brilliant poetess, a brave critic, the author of numerous biographies of great contemporaries; her works are included in the treasury of Russian literature of the 20th century.
Marina Tsvetaeva became a symbol of the era of outgoing romanticism, which was replaced by pragmatic revolutionary prose. The life and work of Marina Tsvetaeva were full of tragedy and sensuality, and her death left an indelible mark in the hearts of admirers of Tsvetaeva’s talent.
Childhood and youth of the poetess
Information about who Marina Tsvetaeva is, her biography, Interesting Facts about her - all this is described in some detail in the Internet encyclopedia Wikipedia, so let's try to look at the poetess a little differently - for example, through the eyes of her contemporaries.
Tsvetaeva Marina Ivanovna was born on September 26, when the day of St. John the Evangelist was celebrated, in 1892. The baby's childhood flowed smoothly in a cozy Moscow mansion under the supervision of her loving mother - the talented, virtuoso pianist Maria Main. The girl's father, Ivan Vladimirovich, was a philologist and a fairly famous art critic, taught at one of the faculties of Moscow University, and in 1911 founded the Museum of Fine Arts.
Playing the piano was somewhat worse for the future poetess: according to her memoirs, the girl did not feel the urge to play music. Soon Tsvetaeva’s mother fell ill with consumption and, despite all attempts to recover, died.
Tsvetaeva’s father, who was left with four children, tried to give them a decent education, but did not want to devote all his time to his offspring. The poetess’s sisters and her brother led a fairly independent life and early became interested in politics and the opposite sex.
Marina Tsvetaeva focused on studying art, domestic and foreign literature, attended a course of lectures on Old French literature at one of the faculties of the Sorbonne, but was unable to complete her education. Thanks to her mother, Marina Tsvetaeva possessed beauty foreign languages, this allowed her to earn enough money and not go into poverty.
The beginning of a creative journey
The biography of Marina Tsvetaeva is full of twists and turns; her short happiness was always replaced by long-term adversity. All this influenced the poetess’s work and added a certain romantic tragedy to her poetry and prose. The first attempts at writing took place in the spring of 1910, when young Marina Tsvetaeva published her first collection of poetry, “Evening Album,” at her own expense. It included school essays poetess, every page of this book was saturated with love and hope, and despite young age author, the work turned out to be very worthy.
The second collection was published a couple of years later and earned very flattering reviews from eminent writers such as Gumilev, Bryusov, Voloshin. Tsvetaeva actively participates in various literary circles, makes her first attempts to write as a literary and poetry critic, and her first work in this field is dedicated to the work of Bryusov. The revolution and the civil war that followed fell heavily on the shoulders of Tsvetaeva, who was unable to come to terms with the “red-white crack” that divided great country into two parts.
Marina Tsvetaeva’s sister invites her to spend the summer of 1916 in Alexandrov, to enjoy the tranquility and comfort of the family hearth. This time passes fruitfully for Tsvetaeva: the poetess writes several cycles of poems and publishes them with success. Anna Akhmatova, to whom Tsvetaeva dedicates one of her poems, at a literary meeting in St. Petersburg says that she admires her poems and shakes her hand in farewell. Contemporaries note that this was a meeting of two great poets, two universes, one of which was immeasurable, and the other harmonious.
- The dramatic work “Theseus”, full of longing for unfulfilled hopes (1926).
- Poems “To Mayakovsky”, “From the Sea”, “New Year’s Eve” (from 1928 to 1930).
- Prose works: the sad “House at Old Pimen”, the delightful “Mother and Music”, the restrained “My Evening” (from 1934 to 1938).
Personal life of the poetess
The personal life of Marina Tsvetaeva, according to the recollections of her sister, was bright and full of events, and the entire creative bohemia gossiped about her novels. In short, the poetess was a very flighty person, but the marriage concluded in 1912 with Sergei Efron became for her a real union for life.
However, the happy marriage did not last long, soon the marriage was on the verge of collapse, and the reason for this was Sofia Parnok, a young but very talented translator and writer. Marina’s stormy romance that broke out lasted two years; this story made her husband very worried, but Efron was able to forgive and accept her. Tsvetaeva spoke of this period of her life as a disaster, talking about the strangeness and vicissitudes of love for men and women. Later, the poetess would write love poems dedicated to Parnok, which would fill her books with a special romanticism.
Returning to her husband, Marina Ivanovna Tsvetaeva gave birth to a second daughter in 1917, whom she named Irina. This period was perhaps the most difficult; Efron is an ardent opponent of the Reds and joins the White army, leaving his wife with two daughters in his arms.
At the end of the spring of 1922, she and her little daughter moved to her husband, who at that moment was studying at the University of Prague. Tsvetaeva spoke of this period of her life as throwing herself “between a coffin and a cradle,” family life with Efron I was full of need and hopelessness. The husband accidentally finds out about her affair with Konstantin Rodzevich, and this makes him suffer from jealousy, but the wife soon breaks off relations with her lover. A couple of years later, Marina Tsvetaeva’s son is born, who gives her hope for happiness.
A year later, the family moves to Paris, and their financial situation worsens to the limit. Tsvetaeva earns mere pennies by writing, and the eldest daughter exhausts herself embroidering hats. Efron became seriously ill and could not work; all this puts oppressive pressure on Tsvetaeva, she stops paying attention to herself and is rapidly aging. Out of despair, the family decides to return to their homeland, hoping for a loyal attitude from the new government.
Homeland. Death
After the death of her husband, love dies in the poetess’s soul, taking with it everything that made her happy. A few months after the start of the war, Tsvetaeva and her son are sent to be evacuated to the rear, she barely has time to say goodbye to her only friend Pasternak, it is he who will bring her a rope for bandaging things, which will later play a fatal role. Jokingly, Boris tells Marina: “This rope is so strong, you could hang yourself.”
Marina went to the rear with her son on a ship sailing along the Kama River. The poetess's condition was terrible, she lost the meaning of life, even her son did not warm her heart. After spending a little time in evacuation in Yelabuga, the poetess hanged herself with the same rope that Boris Pasternak brought. Her friends and fans wondered: why did Tsvetaeva do this, what were the reasons for suicide? The answer was hidden in her suicide notes to her son and friends, because Tsvetaeva hinted between the lines that she could no longer live without her beloved people and poems.
The children of Marina Tsvetaeva left no descendants. The son died in battle and was buried in the cemetery of the city of Braslav in Belarus. Her eldest daughter lived quite a long time and died at an old age, childless. Unfortunately, recognition came to Tsvetaeva only after the tragic death. Author: Natalya Ivanova
On the very eve of the new year, 2008, in Moscow, on the 115th anniversary of the birth of Marina Tsvetaeva, a monument to the poetess was erected. Its place is Borisoglebsky Lane, opposite her house-museum. By the way, the monument was cast in bronze at the expense of the capital’s Department of Culture, as well as sponsors. The question posed itself: belated recognition, tribute or rehabilitation of dissident patriots?
So who was “the most extraordinary poet of the twentieth century” for Russians? “What did Tsvetaeva read to you when she came from her funeral?”
...Tsvetaeva was born in Moscow on September 26, 1892. Her youth passed in Borisoglebsky Lane. As a poet, prose writer and playwright, she took place in Moscow. And she settled scores with herself in Elabuga (now Tatarstan) on August 31 in the difficult year of 1941. Her grave in Yelabuga is lost. The only monuments left to her are the books of those people who knew, loved, and studied her.
The poetess passed away uninveterately. Half a century later, in 1990, Patriarch Alexy II gave his blessing for her funeral service, while funeral services for suicides are strictly prohibited in the Russian Orthodox Church. What made it possible to make an exception for her? “People’s love,” answered the patriarch.
Tsvetaeva was not born a “simple Russian” girl: her father was an art professor, the creator of a museum of fine arts, her mother was a pianist, a student of the famous A. Rubinstein, her grandfather was a famous historian. Due to her mother’s consumption, Tsvetaeva lived for a long time in Italy, Switzerland, and Germany; received an excellent education in boarding schools in Lausanne and Freiburg. Young Marina was fluent in French and German languages, took a course in French literature at the Sorbonne. That is why the girl began writing poetry at the age of 6 simultaneously in Russian, German and French.
She left three posthumous notes: an official one, with the words “dear comrades”, the second - to the poet Aseev, where she begged him to adopt his 16-year-old son and teach him (which Aseev did not do!) and to his teenage son himself - that she was in a dead end and, alas, he sees no way out...
A week before her suicide, Tsvetaeva wrote an application asking to be hired as a dishwasher in an opening enterprise, but the canteen was opened in the winter of 1943, when Tsvetaeva was no longer alive. Her son was first evacuated to Tashkent, then called to the front, where he, large and unathletic, was killed in battle at the end of the war.
...The family of emigrant Tsvetaeva was reunited in Russia on the eve of the Great Patriotic War, in June 1939. Her husband, Sergei Efron, and his daughter Alya returned to their homeland a little earlier, in 1937. They spoke of him as “an intelligence officer confused in the West.” According to the official version, S. Efron, in order to return to the USSR, accepted an offer to cooperate with the NKVD abroad. And then he became involved in a contract political assassination, because of which he fled from France to Moscow. In the summer of 1939, Tsvetaeva and her son Georgiy returned after him and his daughter.
Soon, real hell began in the family of the repatriate Tsvetaeva: daughter Alya was taken to the NKVD as a spy, then Sergei, her beloved husband, and even with a mockery: “I was waiting for an order, but I received a warrant.” The daughter and husband were arrested: Efron was shot in 1941, the daughter was rehabilitated after 15 years of repression. Tsvetaeva herself could neither find a job nor find housing; no one published her works. According to close people, he and his son were literally starving.
“The White Guards have returned,” they whispered about Efron and Tsvetaeva. And... off we go: prison queues and hassles, hysterics, fear for herself and her children, as for the last breadwinner, tormented by the unknown ahead, she felt as if in a terrible meat grinder...
She was a passionate mother, but she did not experience harmony here either: in civil war lost youngest daughter, then she made an idol out of her son, she literally adored him tyrannically, and the “idol” became obstinate, ambitious, and asked him not to overfeed motherly love.
All two years in Russia, they quarreled with their son, shouting loudly in French. By the way, Efron, with paternal sarcasm, called the boy “Marin” - precisely because he was similar to his mother in both his temper and his “nervousness,” that is, sensuality. taught him to live among people as equals. Having passed away, his mother left him an outcast in a strange world.
Why did Moscow greet Tsvetaeva with caution? And not just a “Parisian”, not just “one of the former”! Namely, branded. There is a version that it was precisely her colleagues “in the poetic workshop” who were afraid of the poetess’ return. She was pushed far away even by Pasternak, with whom she had a stormy epistolary affair. And not only “politically,” but also as a man. And at a very long distance: he was afraid of a possible “fire”, it was he who once in the heat of the moment said: they say, Marina’s kerosene gas is burning with “Siegfried’s flame.” But that’s not possible!
After returning to her homeland, Tsvetaeva is preparing a collection of poems for publication, she translates a lot, but no one publishes it.
“Beggar elegance,” that’s what Tsvetaeva was called behind her back in the last period of her life. In appearance, she always looked like a mouse: gray, discreet, in low heels, with a huge belt and amber beads, on her wrists - exquisite silver bracelets, with a short haircut. And the eyes are green. Literally like gooseberries. And the gait is firm, almost masculine. Tsvetaeva seemed to always be overcoming something: she was afraid of street cars, of escalators in the subway, of elevators in houses, she always seemed as if short-sighted, not of this world, very unprotected.
The war declared in 1941 and the prospect of plunging into Hitler’s yoke terrified her even more, much more than Stalin’s! And she had a hard time believing in Russia’s victory. On June 22, the day war was declared, Tsvetaeva uttered a strange phrase: “I would like to exchange with Mayakovsky.” And she also said this: “A person needs little: a piece of solid earth to put his foot on and stay on it. That's all".
Judging the reasons for her suicide is, apparently, nonsense. Only she herself knew about this, forever silent.
Here short milestones biography of the poetess. During the revolutionary period, until 1922, she lived in Moscow with her children, while her husband, officer Efron, fought in the White Army. Since 1922, the family emigrated: they lived for a short time in Berlin, for 3 years in Prague, in 1925 the “Parisian period” began, marked by a complete lack of money, everyday disorder, difficult relationship with Russian emigration, at this time the hostility of criticism towards it increased. The family's living conditions abroad were incredibly difficult. At home it’s even more difficult.
Tsvetaeva grew up in a democratically minded family. And if the revolution of 1917 became the guiding force for people like Mayakovsky, Blok, Yesenin and others, then 1917 appeared differently before M. Tsvetaeva.
Her attitude towards the revolution was ambiguous; Trying to find something heroic in the White Army, where her husband served, she at the same time understood the hopelessness of the counter-revolutionary movement. At that time, her circle of acquaintances was very rich. These are Balmont, Blok, Akhmatova, Voloshin, Kuzmin, Remizov, Bely, Bryusov, Yesenin, Antokolsky, Mandelstam, Lunacharsky, with whom he performs at concerts. And this is also a wide circle of actors - students of E. Vakhtangov.
There is information that at the age of 17 Marina tried to commit suicide. She even wrote a farewell letter to her sister Anastasia, which came to her 32 years later. This is what her sister wrote in her memoirs: “Marina wrote about the impossibility of living further, said goodbye and asked me to distribute her favorite books and engravings - then there was a list and enumeration of people. I remember the lines addressed to me personally: “Never regret anything, don’t count and don’t be afraid, otherwise you’ll have to suffer as much as I did.” Then came a request to sing our favorite songs in her memory on spring evenings.
These lines are particularly etched in my memory: “If only the rope didn’t break. Otherwise, being underweight is disgusting, right? – my sister wrote. - I remember these lines verbatim. And remember that I would always understand you if I were with you." And a signature.
Further, so as not to be accused of plagiarism, I bring close to the text scattered excerpts from the book of Tsvetaeva’s sister, Anastasia. “On February 1, 1925, Marina had a son, Georgy (“Mur” - short for “Purr”, who survived until the end. A dream come true! The pride of a mother. But about him at the age of 10, Marina wrote: “Mentally undeveloped...”
War. Evacuation. Marina took the declaration of war much more difficult than others, which unexpectedly broke out on the territory of her homeland, where she could hope to hide from what she had experienced in the West. She expected that the war would not come here. Marina was seized by what is called panic horror. She was rushing away from Moscow to save Moore from danger incendiary bombs which he extinguished. Shuddering, she said: “If I had found out that he was killed, I would, without a moment’s hesitation, throw myself out of the window” (they lived on the seventh floor of building 14/5 on Pokrovsky Boulevard). But the most incendiary force was ripening in George: the thirst to free himself from maternal care, to live as he wanted.
And here’s how others said: “... Tsvetaeva came to Yelabuga, begging not to allow her to be separated from her son; children of this age were sent to be evacuated from their parents separately. The son was not taken away. What about all the difficulties of life next to this? But he rebelled. He did not want to live in Yelabuga. She took him out of Moscow against his will. He had his own circle there, friends and girlfriends. He was rude. Marina bore his rudeness with a frozen mother’s heart. How scary it was to imagine him without her worries during the war days!
The son could not live without her help. He didn't understand people. In Yelabuga he became friends with two men who came from nowhere and were much older than him. He did not want to listen to his mother, did not want to treat his sore leg. He argued at every turn. She got used to his tone, and for the last two years without her father, she endured it. They talked about Marina’s extraordinary patience with him. Everyone said that “she loved him slavishly.”
Her pride was humbled before him. He had to be grown at all costs, compressing himself into a ball. She remembered herself at his age: wasn’t she the same? “He’s young, this will all pass,” she responded to the surprised remarks of her friends about how she, a mother, could endure such treatment. The last decisive push was the threat of Moore, who shouted to her in despair: “Well, one of us will be carried out of here feet first!” "Me!" - she groaned. Their “together” is over! He doesn't need her anymore! She bothers him...
All ties with life were severed. She no longer wrote poetry, and even they would have meant nothing next to her fear for Moore. Another fear consumed her: if the war did not end soon, Moore would be taken to war. Yes, the thought of suicide had been with her for a long time, and she wrote about it. But there is a huge distance between thought and action.
In 1940, she wrote: “I’ve been trying on death for a year now. But for now I’m needed.” She relied on this need. Marina would never leave Moore of her own free will, no matter how hard it was for her. For years, Marina stared at the hooks on the ceiling, but the time came when she had to act instead of think. And a nail was enough." The mercilessly rude words of the 16-year-old son sounded in Marina's motherhood - an order of death - to herself.
In response to her son’s reproaches that she did not know how to achieve anything, to get settled, she, in bitter arrogance and momentarily flaring pride, said to her son: “So what, in your opinion, is there nothing else left for me but suicide?”
The son replied: “Yes, in my opinion, there is nothing else left for you!” This was not just the boy’s insolence! Shocked by her departure, he will not repeat her step. Let him live, young branch!
...She remembered herself from the age of 17, her suicide attempt. He was - chipped off her.
