The writer I. Ehrenburg, who was abroad, at Tsvetaeva’s request, found her husband in Czechoslovakia. In July 1921, a letter arrived from Efron from Prague: “I live in faith in our meeting. There will be no life for me without you...” In May 1922, M.I. Tsvetaeva and her daughter went abroad. Thus began her emigration. First, Berlin, which remained forever a foreign city for her, although she met her well. Several books were published here: “Poems to Blok”, “Separation”, “Psyche” and the poem “Tsar-Maiden”, a collection of poems “Craft” (1923). There, in Berlin, there was a meeting with Andrei Bely, who made a great impression on Tsvetaeva.

In August 1922, Tsvetaeva moved to Prague and fell in love with the city with all her soul. Later, in 1938-1939, she created “Poems for the Czech Republic.” To the occupation fascist troops The Czech Republic Tsvetaeva wrote immortal lines laced with bitterness:

I refuse to be.
In the Bedlam of the Inhumans
I refuse to live.
With the wolves of the squares

I refuse - howl.
With the sharks of the plains
I refuse to swim -
Downstream - spin.

I don't need any holes
Ears, no prophetic eyes.
To your crazy world
There is only one answer - refusal.
O tears in my eyes! March 15 - May 11, 1939

Here in February 1925, son Georgy was born. The family lived poorly, but this did not interfere with creativity. Tsvetaeva continued to write. During the years of emigration, dozens of poems were created, the poems “Well done,” “Poem of the Mountain,” “Poem of the End,” and prose works. But the lack of money forced me to think about moving. In the fall of 1925, the family moved to Paris. However, it was not possible to escape from poverty here either. At first, Tsvetaeva was eagerly published in Russian magazines; in February 1926, her evening was held in Paris with great success. In 1928, a book of poems “After Russia” was published, which turned out to be the poet’s last lifetime book.

While still in Prague, S. Efron took the first steps to return to Soviet Russia: he took part in the creation of the magazine “In My Own Ways,” which provided sympathetic information about the USSR, and the collection “Marches.” In Paris, Efron continued this work, becoming one of the most active members of the Homecoming Union. S.Ya. Efron, who became an NKVD agent abroad, became involved in a contracted political murder. He urgently had to leave for Moscow. Ariadne already lived there. Tsvetaeva could no longer stay in Paris: her husband and daughter lived in Moscow, her son was eager to go to Russia, and the emigrant environment turned away from her.

M. I. Tsvetaeva Test

Exercise 1

For political reasons.
Due to the irresistible desire to meet my husband and the impossibility of his arrival
to post-revolutionary Russia.
For other reasons.

Task 2

Love for nature.
Commitment to the ideals of the White Army.
Love for her husband Sergei Efron.

Task 3

Celebrating women's lot and women's happiness.
Defending the highest truth - the poet’s right to the incorruptibility of his lyre, poetic honesty.
The poet's desire to be a bearer of ideas
time, his political tribune.

Task 4

Poets with history, “arrows”, i.e. thoughts
the poet reflects the changes in the world.
Poets without history, pure lyricists of the “circle”, poets of feeling, immersed in themselves, removed from the bustling life and historical events.

Task 5

M. Tsvetaeva considered herself:

"Pure lyricist."
"The poet of time."

Task 6

Feeling of unity of thoughts and creativity.
Alienation from reality and self-absorption.
Romantic abstraction from reality.
Reflection in poetry of thoughts related
with the movement of time and the changing world.

Task 7

Task 8

“Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will be left behind on the way,

And finally it will be resolved

A selfish, lonely dream."

Task 9

In opposition to oneself - Russian - to everything non-Russian.
In opposition to Soviet Russia.

Task 10

The inversion used by M. Tsvetaeva in the poem “Orpheus” enhances the emotional intensity of the poem. Underline an example of inversion:

"Blood-silver, silver-

Bloody trail of double lia,

Along the dying Hebra -

My gentle brother! My sister".

Task 11

A. A. Blok.
A. A; Akhmatova.
A. S. Pushkin.

Task 12

And your heart to boot.”

A. A. Blok.
A. S. Pushkin.
A. A. Akhmatova.

Task 13

“When I die, I won’t say: I was,

And I’m not sorry, and I’m not looking for the guilty.

There are more important things in the world

“Phoenix Bird - I only sing in the fire! Support my high life!

I'm burning high - and burning to the ground!

Theme of the poet and poetry.
Nature theme.
Intimate lyrics.

Task 14

“In front of the house there is an apple tree in a snowdrift,

And the city is covered in snow -

Your huge tombstone

What a whole year it seemed to me. Face turned to God,

You reach out to him from the ground,

Like on the days when you're done

They haven’t let us down yet.”

Anna Akhmatova.
Boris Pasternak.
Osip Mandelstam.
Nikolay Gumilyov.

ANSWERS TO THE TEST

In August 1922, Tsvetaeva moved to Prague and fell in love with the city with all her soul. Later, in 1938-1939, she created “Poems for the Czech Republic.” In response to the occupation of the Czech Republic by fascist troops, Tsvetaeva wrote immortal lines laced with bitterness:

I refuse to be.
In the Bedlam of the Inhumans
I refuse to live.
With the wolves of the squares

I refuse - howl.
With the sharks of the plains
I refuse to swim -
Downstream - spin.

I don't need any holes
Ears, no prophetic eyes.
To your crazy world
There is only one answer - refusal.
O tears in my eyes! March 15 - May 11, 1939

The emigration period in the works of Marina Tsvetaeva

I. The tragedy of the fate of the poet of the “Silver Age”. 2

II. Creativity of M. Tsvetaeva during the period of emigration. 2

1. Czech period emigration. Relations with emigrant circles. 2

2. Homesickness. 4

3. New motives in the work of a mature poet. 6

4. Contrasts of M. Tsvetaeva’s creativity. 8

5. Immersion in myth-making and the search for monumentality. eleven

6. Poems by M. Tsvetaeva - “Poem of the Mountain” and “Poem of the End”. 13

7. Features of M. Tsvetaeva’s dramaturgy. 15

8. Moving to France. Addressing the theme of the poet and poetry. 18

9. Trends in M. Tsvetaeva’s creativity by the beginning of the 30s. 21

10. Autobiographical and memoir prose by M. Tsvetaeva. 22

11. “Pushkiniana” by Tsvetaeva. 23

12. Return to the homeland. 26

III. The significance of M. Tsvetaeva’s work for Russian literature.. 27

Literature. 28

I. The tragedy of the fate of the poet of the “Silver Age”

The poets of the “Silver Age” worked in very difficult times, a time of catastrophes and social upheavals, revolutions and wars. Poets in Russia in that turbulent era, when people forgot what freedom was, often had to choose between free creativity and life. They had to go through ups and downs, victories and defeats. Creativity became a salvation and a way out, maybe even an escape from the Soviet reality that surrounded them. The source of inspiration was the Motherland, Russia.

Marina Ivanovna Tsvetaeva () - playwright and prose writer, one of the most famous Russian poets, whose tragic fate, full of ups and downs, never ceases to excite the consciousness of readers and researchers of her work.

1. Czech period of emigration. Relations with emigrant circles

In the summer of 1921, Tsvetaeva received news from her husband, who, after the defeat of the White Army, found himself in exile. In January-May 1922, M. Tsvetaeva continued to write farewell poems. I wrote the poem “Lane Streets” - farewell to Moscow. And on May 3 - 10 M. Tsvetaeva received Required documents to travel abroad with his daughter and on May 11 leaves Soviet Russia, initially to Berlin, and then to Prague, where S. Efron studied at the university.

Tsvetaeva’s Czech period of emigration lasted more than three years. In the early 20s, she was widely published in White émigré magazines. He managed to publish the books “Poems for Blok”, “Separation” (both in 1922), and the fairy tale poem “Well done” (1924). During this time, she published two original books in Berlin - “Craft. Book of Poems" (1923) and "Psyche. Romance" (1923), which included works recent years from among those written in their homeland.

Soon, Tsvetaeva’s relationship with emigrant circles worsened, which was facilitated by her growing attraction to Russia (“Poems to my son,” “Motherland,” “Longing for the Motherland! Long time ago...”, “Chelyuskinites,” etc.). The last lifetime collection of poems is “After Russia. 1922 - 1925" - published in Paris in 1928.

In one of her most difficult moments, Marina Tsvetaeva wrote with bitterness: “...My reader remains in Russia, where my poems do not reach. In emigration, they first print me (in the heat of the moment!), then, having come to their senses, they take me out of circulation, sensing that it’s not theirs—it’s from there!”

Her poetic work of these years underwent a significant change: it clearly showed a turn towards large-format canvases. The lyrics, which predominantly retained their leading themes - love, creativity and Russia, only the latter took on a very definite nostalgic character - were replenished with such works as “The Poet” (“The poet starts talking from afar. / The poet starts talking far... "), "An attempt at jealousy", "Rumor", "I bow to Russian rye...", "Distance: miles, miles..." While in exile, M. Tsvetaeva constantly thought about her homeland. In the poem addressed to B. Pasternak, notes of indescribable melancholy and sadness are heard.

I bow to Russian rye,

Niva, where the woman sleeps...

Friend! It's raining outside my window

Troubles and joys in the heart...

You, in the horn of rain and troubles -

The same as Homer in hexameter.

Give me your hand - to the whole world!

Here - both of mine are busy.

In the literary world, she still kept herself apart. Abroad, she lived first in Berlin, then for three years in Prague; in November 1925 she moved to Paris. Life was an emigrant, difficult, poor. I had to live in the suburbs, since it was beyond my means in the capital. At first, the white emigration accepted Tsvetaeva as one of their own; she was eagerly published and praised. But soon the picture changed significantly. First of all, Tsvetaeva experienced a severe sobering up. The white emigrant environment, with mouse fuss and furious squabbling of all kinds of “factions” and “parties,” immediately revealed itself to the poetess in all its pitiful and disgusting nakedness. Gradually, her ties with white emigration are broken. It is published less and less, some poems and works do not get into print for years or even remain in the author’s desk.

Literature

1. Bavin S., Semibratova I. Fates of the poets of the Silver Age: Bibliographical essays. - M.: Book. Chamber, 19с.

2. Memories of Marina Tsvetaeva. - M., 1992.

3. Gasparov Tsvetaeva: from the poetics of everyday life to the poetics of the word // Gasparov articles. - M., 1995. - P. 307-315.

4. Kedrov K. Russia - golden and iron cages for poetesses // “New News”. - No. 66, 1998

5. Kudrova, they gave... Marina Tsvetaeva: . - M., 1991.

6. Kudrova Marina Tsvetaeva. // “World of Russian Word”, No. 04, 2002.

7. Osorgin M. – M.: Olimp, 1997.

8. Pavlovsky rowan trees: About the poetry of M. Tsvetaeva. - L., 1989.

9. Razumovskaya M. Marina Tsvetaeva. Myth and reality. - M., 1994.

10. Sahakyants Tsvetaeva. Pages of life and creativity (). - M., 1986.

11. Tsvetaeva M. In my singing city: Poems, play, novel in letters / Comp. . - Saransk: Mordov. book publishing house, 19 p.

12. Tsvetaeva M. Simply - the heart... //Home library of poetry. - Moscow: Eksmo-Press, 1998.

13. Schweitzer Victoria. Life and Being of Marina Tsvetaeva. - M., 1992.

Not only our contemporaries sought happiness far from their native Russia, but also great artists whose names were included in world history. And despite your skepticism or attempts to escape from reality, creativity famous poets, for example, such as Maria Tsvetaeva, are immortalized as a heritage of Russian culture.

As the poetess herself said, the “Russian” folk trend was always present in her poems. It includes the works “And, my dear, I lit a match...”, “Forgive me, my mountains!..”, a cycle of poems about Stepan Razin.

Marina Tsvetaeva did not accept or understand the October Revolution; in the literary world she still stood apart. In May 1922, Tsvetaeva and her daughter went abroad to visit her husband. Life in exile was difficult. At first, Tsvetaeva was accepted as one of their own, willingly published and praised, but soon the picture changed significantly. The emigrant environment with its furious squabbling of all kinds of “factions” and “parties” revealed itself to the poetess in all its ugliness. Tsvetaeva published less and less, and many of her works lay on the table for years. Having decisively abandoned her former illusions, she did not mourn anything and did not indulge in memories of the past.

A blank wall of loneliness closed ever closer around Tsvetaeva. She had no one to read her poems to, no one to ask, no one to rejoice with. But even in such deep isolation, she continued to write.

Having escaped from the revolution, it was there, abroad, that Tsvetaeva first gained a sober view of social inequality and saw the world without romantic veils. At the same time, Tsvetaeva’s keen interest in what is happening in Russia is growing and strengthening.

“The homeland is not a convention of territory, but a property of memory and blood,” she wrote. - Only those who think of Russia outside of themselves can be afraid of not being in Russia, of forgetting Russia. Whoever has it inside loses it only with life.” Longing for Russia is reflected in such lyrical poems as “Dawn on the Rails”, “Luchina”, “I bow to Russian Rye”, “Oh, stubborn language...” and many others.

In the fall of 1928, Tsvetaeva wrote an open letter to Mayakovsky, which became the reason for accusing her of pro-Soviet sympathies, breaking a number of emigrant circles with her, and stopping the publication of her poems. This was a heavy financial blow. In the summer of 1933, thanks to the efforts of friends, publications resumed, but often her poems were shortened, edited, and advances were delayed. Almost none of the major poetic works written by Tsvetaeva in exile were published. During the 14 years of her life in Paris, Marina Ivanovna was able to publish only one book - “After Russia. 1922 - 1925.” In search of income, she tried to enter French literature by translating, but despite the praise, she never managed to get published. Sometimes creative evenings were held, which provided some money to support the family and pay the rent. The help of friends and friends of friends, acquaintances and strangers, along with a small Czech scholarship, was Tsvetaeva’s main real income. In the mid-1930s, the “Committee to Help Marina Tsvetaeva” was even organized, which included a number of famous writers.

By the 1930s, Tsvetaeva clearly realized the line that separated her from the white emigration. Of great importance for understanding the poetry of this time is the cycle “Poems to my Son,” where she speaks loudly about the Soviet Union as a country of a very special kind, uncontrollably rushing forward - into the future, into the universe itself.

Go, my son, to your country, -

To the edge - vice versa to all edges!

Where to go back - forward...

Tsvetaeva’s husband, Sergei Efron, was increasingly attracted by the thought of returning to Russia. He believed that emigrants were guilty before their homeland and forgiveness must be earned through cooperation with Soviet authorities. Thus, he became one of the active figures in the Paris Homecoming Union. In 1932, the question of leaving was already decided for him and he began to worry about a Soviet passport. Marina Tsvetaeva believed that there was no need to go anywhere: “That Russia doesn’t exist...”, but the children were on their father’s side, believed in his truth and saw their future in the USSR. Gradually, she began to succumb, as she was increasingly denied work. Marina’s husband is mired in political problems, her daughter has already left for Russia. It was pointless to stay in France: the emigrant community completely turned its back on the Efrons. Leaving most her archive to friends, Tsvetaeva left Paris with her son in 1939.

Of course, Tsvetaeva’s fate after returning to Russia also cannot be called happy and unambiguous. However, foreign countries never became a home for the great poetess, while the thought of Russia was, in fact, always nearby.

"Distance, which has made me close,

Dahl saying: "Come back

Home!" From everyone - to the highest stars -

She's filming me!"

Homesickness

Homesickness! For a long time
A hassle exposed!
I don't care at all -
Where all alone

To be on what stones to go home
Wander with a market purse
To the house, and not knowing that it is mine,
Like a hospital or a barracks.

I don't care which ones
Faces bristling captive
Leo, from what human environment
To be forced out is certain -

Into oneself, in the sole presence of feelings.
Kamchatka bear without ice floe
Where you can’t get along (and I don’t bother!)
Where to humiliate myself is the same.

I won’t flatter myself with my tongue
To my dear ones, by his milky call.
I don't care which one
To be misunderstood!

(Reader, newspaper tons
Swallower, milker of gossip...)
Twentieth century - he,
And I - until every century!

Stunned like a log,
What's left of the alley,
Everyone is equal to me, I don’t care,
And perhaps most equally -

The former is dearer than anything.
All the signs are from me, all the signs,
All the dates are gone:
A soul born somewhere.

So the edge didn’t save me
My, that and the most vigilant detective
Along the whole soul, all across!
He won’t find a birthmark!

Every house is foreign to me, every temple is empty to me,
And everything is the same, and everything is one.
But if there is a bush along the way
Especially the mountain ash stands up...

11th grade TEST

"M. I. Tsvetaeva"

Exercise 1

Marina Tsvetaeva ended up in exile:

1. For political reasons.

2. Due to the irresistible desire to meet my husband and the impossibility of his coming to post-revolutionary Russia.

3. For other reasons.

Task 2

The impetus for the creation of the collection “Swan Camp” was:

1. Love for nature"

2. Commitment to the ideals of the White Army.

3. Love for her husband Sergei Efron.

Task 3

Marina Tsvetaeva considered the highest purpose of the poet:

1. Glorifying the female lot and female happiness.

2. Upholding the highest truth - the poet’s right to the incorruptibility of his lyre, poetic honesty.

3. The poet’s desire to be a bearer of the ideas of the time, its political tribune.

Task 4

M. Tsvetaeva in her article “Poets with history and poets without history” divides all artists into two categories. Which group does she belong to?

1. Poets with history, “arrows,” that is, the poet’s thoughts reflect changes in the world.

2. Poets without history, pure lyricists of the “circle”, poets of feeling, immersed in themselves, removed from the vibrant life and historical events.

Task 5

Marina Tsvetaeva wrote: “Pure lyrics live by feelings. Feelings are always the same. Feelings have no development, no logic. They are inconsistent. They are given to us at once, all the feelings that we are ever destined to experience: they are like the flame of a torch, squeezed into our chest from birth.”

M. Tsvetaeva considered herself:

1. “Pure lyricist.”

2. "Poet of time."

Task 6

It was typical for M. Tsvetaeva:

1. Feeling of unity of thoughts and creativity.

2. Alienation from reality and self-absorption.

3. Romantic abstraction from reality.

4. Reflection in poetry of thoughts related to the movement of time and changes in the world.

Task 7

The lyrical hero of M. Tsvetaeva is identical to the personality of the poet:

1. No. 2. Yes.

Task 8

In her poetry, M. Tsvetaeva often challenges the world. Underline the line that proves this statement:

“Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will be left behind on the way,

And the first lump will crash on the coffin lid, -

And finally it will be resolved

A selfish, lonely dream."

Task 9

The tragedy of the loss of the Motherland sometimes results in the emigrant poetry of Marina Tsvetaeva:

1. In opposition of oneself - Russian to everything non-Russian.

2. In opposition to Soviet Russia.

Task 10

The inversion used by M. Tsvetaeva in the poem “Orpheus” enhances the emotional intensity of the poem. Underline an example of inversion:

"Blood-silver, silver-

Bloody trail of double lia,

Along the dying Hebra -

My gentle brother! My sister".

Task 11

To which of the Silver Age poets does M. Tsvetaev dedicate his cycle of poems:

1. A. A. Blok.

2. A. A. Akhmatova.

3. A. S. Pushkin.

Task 12

To which poet are these lines dedicated?

“In my singing city the domes are burning,

And the wandering blind man glorifies the Holy Savior,

And I give you my bell hail,

... - and your heart to boot.”

1. A. A. Blok.

2. A. S. Pushkin.

3. A. A. Akhmatova.

Task 13

Determine which creative motive the following passages can be attributed to:

“When I die, I won’t say: I was,

And I’m not sorry, and I’m not looking for the guilty.

There are more important things in the world

Passionate storms and exploits of love."

“Phoenix Bird - I only sing in the fire!

Support my high life!

I'm burning high - and burning to the ground!

And may the night be bright for me!”

1. Theme of the poet and poetry.

2. Nature theme.

3. Intimate lyrics,

“In front of the house there is an apple tree in a snowdrift,

And the city is covered in snow -

Your huge tombstone

What a whole year it seemed to me.

Face turned to God,

You reach out to him from the ground,

Like on the days when you're done

They haven’t let us down yet.”

1. Anna Akhmatova.

2. Boris Pasternak.

3. Osip Mandelstam.

4. Nikolay Gumilyov.

Answers to the test "M.I. Tsvetaeva"

1	2	3	4	5	6	7	8	9	10	11	12	13	14
2	3	2	2	1	4	2	2	1	ate, line	3	3	1	2

11th grade Test “C. A. Yesenin"

Exercise 1

Match the literary movement of the early 20th century with the “key” word:

1. Symbol.

3. Highest degree anything, blooming power.

4. Future.

P acmeism P futurism P imagism and symbolism

Task 2

“What literary movement was S. Yesenin close to:

1. Symbolism. 2. Acmeism. 3. Imagism. 4. Futurism.

Task 3

The most important role in S. Yesenin’s artistic world is played by the system of images. What image for the poet is generalizing, uniting his entire perception of the world:

1. Image of the moon and sun.

2. Spatial image of the earth.

3. The image of moving time.

4. Image (path) of the road.

Task 4

Determine the artistic means of expression with which S. Yesenin creates the image of nature:

"White birch

Below my window

Covered with snow

Like silver."

1. Epithets.

2. Metaphor.

3. Comparison.

4. Metaphoristic comparison.

Task 5

Determine the artistic means of expression used by the poet to create the image:

1. “Dawn with the hand of cool dew

Knocks down the apples of dawn.”

2. “Xin sometimes dozes, then sighs.”

3. “Like earrings, a girl’s laughter will ring.”

4. “...There is a ringing furrow in the waters of the bosom.”

5. “...The poplars are withering loudly.”

Personification

P sound writing

P epithets

P metaphorical comparisons

P metaphors

Task 6

WITH. Yesenin uses the artistic device of antithesis in his address to the theme of the Motherland. Antithesis is:

1. An artistic device that consists of using a transparent allusion to some well-known everyday, literary or historical fact instead of mentioning the fact itself.

2. Artistic contrast of characters, circumstances, concepts, images, etc., creating the effect of sharp contrast.

3. A sound writing technique that involves repeating identical or similar-sounding consonant sounds.

Task 7

The poetry of S. Yesenin has not only the first, lexical meaning, but with the help artistic means the poet creates both the second, figurative-metaphorical, and the third, philosophical-symbolic, level of the poetic world. Is it possible to single out the main one:

Task 8

The lyrical hero is:

1. A conventional image in lyrical and lyric-epic works, whose attitude (lyrical assessment) to the depicted the author seeks to convey.

3. Main character or most importantly actor work of art, evoking the author's sympathy (positive hero).

Task 9

The lyrical “I” of Yesenin’s poems is the poet himself:

Task 10

What theme does S. Yesenin reveal with the help of the image of a dog and its puppies in the poem “Song of the Dog”:

1. The theme of love for all living things in the world and mercy.

2. Theme of the Motherland.

3. The theme of nature.

4. The theme of motherhood.

Task 11

All Yesenin’s work is a single whole - a kind of lyrical novel, the main character of which is:

1. The poet himself.

2. The image of the poet.

Task 12

Determine the size of the versification of the given passage:

“It’s painful to see your poverty

And birches and poplars."

1. Dactyl.

2. Anapest.

3. Amphibrachium.

Answers to the test "S. Yesenin" 11th grade

1	2	3		4		5
1 - symbolism	3	4		4		1 - personification
2 - imagism 3- Acmeism 4- futurism								2 - metaphors 3- metaphorical comparisons 4- epithets 5- sound writing
6	7		8		9		10		11	12
2	2		1		1		1		1	2

^ TEST9 M. E. Saltykov-Shchedrin

Exercise 1

Allegory is:

1. One of the tropes, an allegory, the depiction of some abstract idea in a specific, clearly represented image.

2. An artistic device that consists of using a transparent allusion to some well-known everyday, literary or historical fact instead of mentioning the fact itself.

3. Artistic contrast of characters, circumstances, concepts, images, compositional elements, creating the effect of sharp contrast.

Task 2

Arrange these concepts as the force of influence increases:

Task 3

Satire is:

1. One of the types of comic, hidden ridicule, based on the fact that a word or expression is used in a meaning opposite to the generally accepted one.

2. One of the types of comic, caustic, evil, mocking ridicule.

3. One of the types of comic, depiction of any shortcomings or vices of a person or society.

Task 4

Hyperbole is:

1. One of the tropes, artistic exaggeration, the essence of which is to enhance some qualities.

2. One of the tropes, which consists of deliberately implausible artistic understatement.

3. One of the tropes, which consists in comparing objects or phenomena that have common feature, to explain one to the other.

Task 5

From which tales of Saltykov-Shchedrin are excerpts given:

1. “[They] served in some kind of registry; they were born there, raised and grew old, and therefore did not understand anything. They didn’t even know any words except: “Accept the assurance of my complete respect and devotion.”

2. “In a certain kingdom, in a certain state, there lived..., he lived and, looking at the light, he rejoiced. He had enough of everything: peasants, bread, livestock, land, and gardens. And he was stupid, he read the newspaper “Vest” and his body was soft, white and crumbly.”

3. “And suddenly he disappeared. What happened here! - Whether a pike swallowed him, crushed a crayfish with a claw, or died of his own death and floated to the surface - there were no witnesses to him. Most likely he died himself...”

P. “The story of how one man fed two generals”

P. "Wild Landowner"

P. “The Wise Minnow”

Task 6

Select the missing words from the right column so that the names of Saltykov-Shchedrin’s fairy tales are restored:

1. “... in the voivodeship.” Eagle

2. “... is a philanthropist.” P bear

3. “... is an idealist.” P hare

4. “... is a petitioner.” P crucian carp

5. “Selfless...” P raven

Task 7

Aesopian language is:

1. Artistic exaggeration.

2. Allegory.

3. Artistic comparison.

Task 8

In Saltykov-Shchedrin’s novel “The History of a City,” mayors replace each other, which is accompanied by an intensification of the writer’s satire. Find the correspondence between mayors and the characteristics of their activities:

1. Grotesque soulless automatism.

2. Unlimited despotism.

3. Punitive steadfastness.

4. Scrupulous clerical bureaucracy.

5. Cruel bureaucratic corrosiveness.

6. Idolatrous obsession.

P Grustilov P Dvoekurov P Ferdyshchenko P Brudasty P Ugryum-Burcheev

P Borodavkin

Task 9

About whom M.E. Saltykov-Shchedrin wrote: “If instead of the word “organ” the word “fool” had been put, then the reviewer probably would not have found anything unnatural...”

1. Gloomy-Burcheev.

2. Sadness.

3. Ferdyshchenko.

4. Busty.

Task 10

Each image of the mayor is a generalized image of his era. The barracks ideal of which of the mayors absorbs the most striking signs of reactionary political regimes different countries and eras:

1. Wartkin. 2. Sadness. 3. Gloomy-Burcheev.

4. Busty.

Task 11

M.E. Saltykov-Shchedrin in “The History of a City” proves the hostility of state power to the people. The submissiveness of the people is most clearly manifested in the work:

1. In the psychological depiction of the peasant’s personality.

2. In the depiction of crowd scenes.

3. In the depiction of scenes of popular “revolts”.

Task 12

M. E. Saltykova-Shchedrin does not belong to Peru:

1. “Poshekhon antiquity.”

2. “Messrs. Golovlevs.”

3. “The history of one city.”

4. "The day before."

Task 13

The value of a writer’s creativity is expressed in (exclude unnecessary):

1. Tearing off any and all masks.

2. Showing the attitude of the progressive part of Russian society to the reform of 1861.

3. Displaying the evolution of Russian liberalism.

4. Exposing state despotism.

5. The use of grotesque fantasticality of the depicted.

Task 14

The main “weapon” of a writer is:

1. Real image of reality.

3. Vivid depiction of characters.

4. Revolutionary spirit.

Grade 10 Answers to the test “M.E. Saltykov-Shchedrin”

^ 10th grade I. A. Goncharov “Oblomov”

Option 1

In Gorokhovaya Street, in one of the large houses, the population of which would be equal to the entire county town, Ilya Ilyich Oblomov was lying in bed in his apartment in the morning.

He was a man about thirty-two or three years old, of average height, pleasant appearance, with dark gray eyes, but with the absence of any definite idea, any concentration in his facial features. The thought walked like a free bird across the face, fluttered in the eyes, sat on half-open lips, hid in the folds of the forehead, then completely disappeared, and then an even light of carelessness glowed throughout the face. From the face, carelessness passed into the poses of the whole body, even into the folds of the dressing gown.

Sometimes his gaze darkened with an expression as if of fatigue or boredom; but neither fatigue nor boredom could for a moment drive away the softness from the face, which was the dominant and fundamental expression not only of the face, but of the whole soul; and the soul shone so openly and clearly in the eyes, in the smile, in every movement of the head and hand. And a superficially observant, cold person, glancing in passing at Oblomov, would say: “He must be a good man, simplicity!” A deeper and prettier man, having peered into his face for a long time, would have walked away in pleasant thought, with a smile.

Ilya Ilyich’s complexion was neither ruddy, nor dark, nor positively pale, but indifferent or seemed so, perhaps because Oblomov was somehow flabby beyond his years: perhaps from lack of exercise or air, or maybe that and another. In general, his body, judging by the matte, too white color of his neck, small plump arms, soft shoulders, seemed too pampered for a man.

His movements, even when he was alarmed, were also restrained by softness and laziness, not without a kind of grace. If a cloud of care came over your face from your soul, your gaze became cloudy, wrinkles appeared on your forehead, and a game of doubt, sadness, and fear began; but rarely did this anxiety congeal in the form of a definite idea, and even more rarely did it turn into an intention. All anxiety was resolved with a sigh and died away in apathy or dormancy.

A1. Determine the genre of the work from which the fragment is taken.

1) story; 3) true story;

2) story; 4) novel.

A2. What place does this fragment occupy in the work?

1) opens the narrative;

2) completes the story;

4) plays the role of an insert episode.

AZ The main topic of this fragment is:

1) description of the house where the main character lived;

2) the beauty of Gorokhovaya Street;

4) Oblomov’s appearance.

A4 What expression was dominant on the face of Ilya Ilyich Oblomov?

1) simplicity; 3) softness;

2) rigor; 4) anger.

A5 For what purpose is this fragment given the idea that Oblomov’s soul shone brightly and openly in all his movements?

2) show the hero’s low mental abilities;

4) describe the hero’s thoughtless attitude towards life.

B1 Indicate the term that in literary studies refers to a means of artistic representation that helps the author describe the hero and express his attitude towards him (“not positively pale”, “indifferent”, “small plump”, “too pampered”).

Q2 Name what is based on the description of his appearance (from the words: “It was a man...”).

Q3 From the paragraph beginning with the words: “It was...”, write down a phrase that explains what was reflected in the face of Ilya Ilyich Oblomov.

AT 4. In the paragraph beginning with the words: “His movements...”, find words that explain the peculiarity of Ilya Ilyich Oblomov’s condition.

C1. How did Oblomov’s character and lifestyle affect the hero’s appearance?

10th grade I.A. Goncharov “Oblomov”

Option 2

Read the text fragment below and complete tasks A1 - A5; B1 - B4; C1.

How well Oblomov’s home suit suited his calm facial features and pampered body! He was wearing a robe made of Persian material, a real oriental robe, without the slightest hint of Europe, without tassels, without velvet, without a waist, very roomy, so that Oblomov could wrap himself in it twice. The sleeves, in constant Asian fashion, went wider and wider from the fingers to the shoulder. Although this robe had lost its original freshness and in places replaced its primitive, natural gloss with another, acquired one, it still retained the brightness of oriental paint; fabric strength.

The robe had in Oblomov’s eyes a darkness of invaluable merits: it is soft, flexible; the body does not feel it on itself; he, like an obedient slave, submits to the slightest movement of the body.

Oblomov always walked around the house without a tie and without a vest, because he loved space and freedom. His shoes were long, soft and wide; when he, without looking, lowered his feet from the bed to the floor, he certainly fell into them immediately.

Lying down for Ilya Ilyich was neither a necessity, like that of a sick person or like a person who wants to sleep, nor an accident, like that of someone who is tired, nor a pleasure, like that of a lazy person: it was his normal state. When he was at home - and he was almost always at home - he kept lying down, and always in the same room where we found him, which served as his bedroom, study and reception room. He had three more rooms, but he rarely looked in there, perhaps in the morning, and then not every day, when a man cleaned his office, which was not done every day. In those rooms, the furniture was covered with covers, the curtains were drawn.

1) story; 3) true story;

2) story; 4) novel.

1) is part of the exposition;

2) completes the story;

1) portrait of Oblomov;

2) description of Oblomov’s robe;

3) city bustle;

4) beauty of nature.

A4. What determines the behavior of the main character in this
fragment?

1) the desire to challenge society;

2) the desire to stand out from the crowd;

3) lying on the sofa;

4) taking care of the estate.

^ A5. For what purpose is this fragment describing Oblomov’s robe?

2) show through the subject the way of life, the characteristics of the hero’s behavior;

3) characterize the psychological state of the hero;

4) explain the exceptional character of the hero.

IN 1. Indicate the term that in literary criticism refers to a means of artistic representation based on the animation and humanization of natural phenomena (“it... is flexible; ... submits to the slightest movement of the body”).

^ AT 2. Name a means of creating a hero’s image based on a description of an object (from the words: “How was it going...”).

AT 3. From the paragraph beginning with the words: “The robe had...”, write down a comparison that characterizes the robe.

AT 4. In the paragraph beginning with the words: “Lying at Ilya Ilyich’s...”, find a phrase that explains what lying was for Ilya Ilyich Oblomov.

Grade 10

Answers to test No. 2 “Creativity of I.A. Goncharov”

Option 1

A1. - 4 B1. -Epithet

A2. – 1 B2. - Portrait

A3. – 4 B3. -...with the absence of any definite idea, any

A4. – 3 concentrations.

A5. – 3 B4. -Apathy or drowsiness

Option 2

A1. - 4 B1. – Personification

A2. – 1 B2. – Artistic detail

A3. – 2 B3. - Like an obedient slave

A4. – 3 B4. - Normal condition.

Grade 10 “Creativity of A.N. Ostrovsky”

1. Remember the title of the writer’s first play.

2. What was the name of the last play by A.N. Ostrovsky?

3. What play is associated with the debut of Ostrovsky the playwright on the theater stage?

4. In which magazines did Ostrovsky collaborate?

5. What prose works did Ostrovsky write?

6. What fairy tale play did Ostrovsky create under the influence of nature on the Shchelykovo estate in Kostroma province, where the playwright came to work in the summer months?

7. Which composer wrote an opera based on the plot of this fairy tale play?

8. Why did Ostrovsky’s contemporaries nickname him “Columbus of Zamoskvorechye”?

9. What three names does Ostrovsky’s comedy have?

10. Why Ostrovsky was forced to resign from civil service, accused of political unreliability and placed under secret police surveillance?

Do you know the characters in the drama "The Thunderstorm"

1. I dreamed of inventing a perpetual motion machine, getting a million for it and providing jobs for poor people.

2. He claimed that there are people with dog heads, that “they began to harness the fiery serpent... for the sake of speed.”

3. At the mention of the fact that he owed someone a debt, he became furious and swore.

4. Sings a song about how the wife prayed to her husband so that he would not ruin her until the evening, but would let the little children sleep.

5. He claimed that Lithuania fell from the sky on us.

6. He had an education, as he studied at a commercial academy, but he unquestioningly obeyed the tyrant.

7. Promises to send Kuligin to the mayor for Derzhavin’s poems “I decay with my body in dust, I command thunder with my mind.”

8. She drove her son to absolute lack of will, her daughter to run away from home, her daughter-in-law to commit suicide.

9. He said that he would take it and drink away his last mind, and then let his mother suffer with him, with the fool.

10. Did you regret that she was not a bird, but “so she would have run away, raised her hands and flown”?

Which of the heroes of "The Thunderstorm" said so?

1. “Here, my brother, for 50 years I’ve been looking at the Volga every day and I can’t get enough of it.”

2. “Cruel morals, sir, in our city, cruel! In the philistinism, sir, you will see nothing but rudeness and naked poverty... And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors.”

3. “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will?

4. “Why are you laughing! Don't be happy! You will all burn unquenchable in fire, you will all boil unquenchable in tar. Look, there’s beauty, that’s where it leads.”

5. “I have a lot of people every year; You must understand: I won’t pay them a penny extra, but this makes up thousands for me.”

6. “But smart people notice that our time is getting shorter. It used to be that summer and winter drag on, you can’t wait for it to end; and now you won’t even see them fly by. The days and hours still seem to remain the same; and the time for our sins is getting shorter and shorter

it’s made shorter.”

7. “But in my opinion: wish whatever you want, as long as it’s sewn and covered.”

8. “I’m not going of my own free will: my uncle sends me, and the horses are ready; I just asked my uncle for a minute...”

9. “How not to scold! He can't breathe without it. Yes, I don’t let you down either: he gives me his word, and I say ten; he will spit and go. No, I won’t slave to him.”

10. “What does youth mean! It’s funny even to look at them!.. ...They don’t know anything, no order... What will happen, how the old people will die, how the light will stay on. I really don’t know. Well, at least it’s good that I won’t see anything.”

Who spoke about whom in the drama “The Thunderstorm”

1. “What a good man! He dreams for himself and is happy.”

2. “Look for another scolder like Savel Prokofich! There’s no way he’ll cut someone off.”

3. “Shrill man.”

4. “But the trouble is, when he is offended by such a person whom he does not dare to scold: then stay at home!”

5. “Prudence, sir! He gives money to the poor, but completely eats up his family.”

6. “She crushed me... I’m sick of her and the house; The walls are even disgusting.”

7. “Yes, of course, tied up! As soon as he comes out, he’ll start drinking. Now he’s listening, and he’s thinking about how he can get out as quickly as possible.”

8. “You are villains! Monsters! Oh, if only there was strength!

9. “Suppose, even though her husband is a fool, her mother-in-law is painfully fierce.”

10. “She’s shaking all over, as if she’s got a fever; so pale, rushing around the house, as if looking for something. Eyes like those of a madwoman! Just this morning I started crying, and I just keep crying.”

for test No. 2. “Creativity of A.N. Ostrovsky”

^ LIFE AND WORK OF A.N. OSTROVSKY

1. “Picture of family happiness.”

2. “Not of this world.”

3. “Don’t sit in your own sleigh.”

4. “Moscowite”, “Contemporary”, “Notes of the Fatherland”

5. “Notes of a Zamoskvoretsky Resident”, “The Tale of How the Quarterly Warden Started to Dance, or One Step from the Great to the Ridiculous.”

6. The play “The Snow Maiden”.

7. Rimsky-Korsakov.

8. Ostrovsky lived in the merchant district of old Moscow, Zamoskvorechye, its inhabitants became the heroes of plays for the first time in Russian literature, for this discovery the writer was nicknamed “Columbus of Zamoskvorechye”.

9. The “Insolvent Debtor” scenes were an excerpt from the comedy “Bankrupt,” which Ostrovsky then called the proverb “We’ll count our own people.”

10. For his first comedy “Bankrupt”.

DO YOU KNOW THE HEROES OF THE DRAMA “THUNDERSTORM” Which of them are.

1. Self-taught mechanic Kuligin.

2. Wanderer Feklusha.

3. Merchant Wild.

4. Clerk of Wild Curly.

5. One of the walkers.

6. Boris, nephew of Dikiy.

7. Merchant Wild.

8. Merchant's wife Kabanova (Kabanikha).

9. Tikhon Kabanov.

Katerina Kabanova, Tikhon's wife.

^ WHICH OF THE HEROES OF THE "THUNDERSTORM" SAID SO

1. Kuligin, self-taught watchmaker.

3. Tikhon Kabanov.

4. Crazy old lady.

5. Merchant Wild.

6. Wanderer Feklusha.

7. Varvara Kabanova.

8. Boris Grigorievich Dikoy.

9. Clerk of Wild Curly.

10. Merchant's wife Kabanova.

^ WHO SAID ABOUT WHOM IN THE DRAMA “THUNDERSTORM”

1. Boris about Kuligin.

2. Shapkin about Dikiy.

3. Kudryash about the Wild.

4. Boris about Dikiy.

5. Kuligin about Kabanikha.

6. Katerina about her mother-in-law.

7. Varvara about Tikhon.

8. Boris about tyrant merchants.

9. Kudryash about Tikhon and his mother.

10. Varvara about Katerina after Tikhon’s return.

^ 9 GRADE TEST 1

Literary theory

Exercise 1

Based on the characteristic features, determine the ideological and aesthetic direction of the artistic method in Russian literature of the 18th-19th centuries:

1. Dissatisfaction with the present, civil-patriotic pathos, preaching the ideas of independence and personal freedom, national identity, rejection of autocracy, critical attitude towards the insane wastefulness of the nobility, depiction of the struggle of “two worlds.”

2. Civic-educational pathos, affirmation of human reason, opposition to religious and aesthetic scholasticism, a critical attitude towards monarchical despotism and the abuses of serfdom, based on the principle of “imitation of nature”, the conflict between feeling and duty.

3. Depiction of the individual, private everyday life of a predominantly “average” person in its inner essence, in its everyday life, the cult of feeling, touching, sensitivity, “religion of the heart,” the search for an ideal image of “life outside of civilizations” (Rousseau). The desire for naturalness in human behavior, the mysterious and terrible, the idealization of the Middle Ages.

4. The desire for a truthful depiction of reality in its inherent contradictions, in its everyday life, to understand its laws. Ideas of social progress, equality, work for the benefit of society, overcoming ignorance with the help of reason.

5. The cult of the chosen personality, the perception of literature as the self-expression of the creator, the depiction of the disharmony of reality. The story is tragic and confessional, lyrical, the hero is a man of violent passions, intellectually standing out above the crowd. Eternally dissatisfied with the situation around him, dreamily looking into the future, into the “world of heavenly ideals” (V.G. Belinsky).

classicism
romanticism
educational realism
sentimentalism
critical realism

Task 2

TO To what ideological and aesthetic direction in the literature of the 18th-19th centuries do the works of Russian writers belong:

1. “Mtsyri” by M. Yu. Lermontov.

2. “Poor Liza” by N. M. Karamzin.

3. “Woe from Wit” by A. S. Griboyedov.

4. “Conversation with Anacreon” by M. V. Lomonosov.

5. “Undergrowth” by D. I. Fonvizin.

classicism
sentimentalism
educational realism

critical realism
romanticism

Task 3

In 1801, liberal-minded sentimentalists united into a literary society. Name it:

1. "Green lamp."

2. "Arzamas".

3. “Free society of lovers of literature, science and art.”

4. "Stray Dog"

Task 4

Critical article “Hero of our time. Op. M.Yu. Lermontov" wrote:

1. V.G. Belinsky.

2. A.I. Herzen.

3. N.A. Dobrolyubov.

4. N.G. Chernyshevsky.

Task 5

The publisher and editor of which periodical was A.S. Pushkin:

1. “Northern Bee” (1825-1864).

2. “Library for reading” (1834-1865).

3. “Northern Archive” (1822).

4. “Contemporary” (1836-1866).

5. “Moscow Telegraph” (1825-1834).

Task 6

Name the genre of a lyrical work written in a sublime style and glorifying someone or some special event:

1. Ballad.

Task 7

Name the lyric-epic genre of poetic narration with a detailed plot and a pronounced assessment of what is being narrated:

1. Ballad.

3. Epic.

4. Epic.

Task 8

The epigraph is:

1. Regarding short text, placed before a work or part of it and intended to briefly express ideological meaning the text following it.

2. A relatively independent part of a literary work, one of the units of artistic reading of the text.

3. Additional element composition, part of a literary work, separated from the main narrative in order to convey additional information.

Answers to test No. 1

"Literary Theory"

9th grade Test No. 2

“Creativity of A. S. Pushkin”

Option 1

Read the text fragment below and complete tasks A1 - A5; B1 - B4; C1.

“My uncle has the most honest rules,

When I seriously fell ill,

He forced himself to respect

And I couldn't think of anything better.

His example to others is science;

But, my God, what a bore

To sit with the patient day and night,

Without leaving a single step!

What low deceit

To amuse the half-dead,

Adjust his pillows

It's sad to bring medicine,

Sigh and think to yourself:

When will the devil take you!”

^ A1. Determine the genre of the work from which the fragment is taken.

1) story; 3) true story;

2) story; 4) novel.

A2. What place does this fragment occupy in the work?

1) plays the role of a lyrical digression;

2) opens the narrative;

3) is the culmination of the plot;

4) is the beginning of the plot action.

^ AZ. The main theme of this fragment is:

1) portrait of Uncle Onegin;

2) thoughts of Onegin;

4) education of Onegin.

^ A4. What feeling, according to Onegin, will take possession of him when he sits at the bedside of his sick uncle?

1) boredom; 3) love;

2) anger: 4) care,

A5. For what purpose is this fragment describing Onegin’s thoughts?

1) identify the hero’s lack of a serious attitude towards life;

2) show inner world the hero, his way of thinking;

3) characterize Onegin’s attitude towards his uncle;

4) show Onegin’s greed.

IN 1. Indicate the term that in literary studies refers to a means of artistic representation that helps the author describe an image and express his attitude towards it (“honest”, “low”),

Answer; _________________________________

^ AT 2. Name a means of creating a hero’s image that is based on a description of his thoughts.

Answer: ________________________________

VZ. In the line: “He forced himself to respect / And couldn’t have come up with a better idea...” a violation of the traditional word order in the sentence is used. Name this syntactic device.

Answer: ____________________________________

^ AT 4. In the fragment, find the phrase with which Onegin characterizes caring for the sick

uncle.

Answer: ___________________________________

C1. Why does A. S. Pushkin’s novel begin with a description of Onegin’s thoughts? Explain your idea.

Answer : _________________________________

^ 9th grade

Answers to test No. 2

A conversation about the poet with literary historian and writer Natalya Gromova

Marina Tsvetaeva is a poet whose creativity and fate leaves no one indifferent. They either love her passionately or simply cannot stand her. Its researchers say that in our society there are many stereotypes in the perception of Marina Tsvetaeva. Some people call her a “lady’s” poet, pulling out individual poems from her vast heritage. Some people are haunted by her stormy personal life and behavior as a mother and wife. Realnoe Vremya talked about all this with literary historian Natalya Gromova on the eve of the 77th anniversary of Tsvetaeva’s passing away in Yelabuga (August 31).

“For Tsvetaeva, Russia has lost a passing race, people with self-esteem”

- 77 years have passed since Tsvetaeva’s passing. Why does her work still remain attractive to us?

Brodsky, despite the fact that he himself was a student of Akhmatova and loved Mandelstam very much, considered Tsvetaeva the main poet of the 20th century. Tsvetaeva is a poet of challenge and rebellion; she said about herself: “One against all.” She reviewed a lot of topics that women had not dared to tackle before. I'm not just talking about her now love lyrics, which has many fans, or about its unusual rhythm. When she appears with her first collections “Evening Album” and “Magic Lantern”, it is clear that her poems came out of the atmosphere of the Trekhprudny House; twilight of Moscow rooms, plush tablecloths and curtains, books with gold edges, smiles of porcelain dolls. But even then, something appeared in her work that had previously amazed the entire reading Russia and Europe in the diaries of the artist Maria Bashkirtseva. Bashkirtseva died early, she wrote in her diaries about creativity, death and immortality. It must be understood that before this, the woman spoke either on behalf of men, like Anna Karenina or Turgenev’s young ladies, or about love or narrow family experiences. Tsvetaeva's first books became a kind of poetic diary. This immediately set her apart from others. And the one who heard her (this was, in particular, Maximilian Voloshin), blessed her and accepted her into the brotherhood of poets. She was 18 years old at the time.

The next stage is very significant. It begins after the breakup with Sofia Parnok, when Tsvetaeva felt like a free and complex person. Her style becomes frank and edgy. And she is already known not only in the Moscow poetic circle, but also in St. Petersburg.

After 1917, she experiences a sharp change in her sense of time and the city, which for her represents this time. In her poems “To Moscow,” written earlier, she sang of this city, its soul. But after the executions of the cadets in November 17, after all the young people they knew, including her husband, fled to White army, she already writes about black domes, red Moscow and turns to the Iveron Mother of God with terrible words that She did not save, did not protect Her sons. A rebel poet is born, challenging time, the universe, and God.

“Tsvetaeva’s first books became a kind of poetic diary. This immediately set her apart from others. It was heard, in particular, by Maximilian Voloshin.”

After Lermontov, perhaps only Mayakovsky dared to do this, but Tsvetaeva, of course, was much more consistent. This Tsvetaevsky renunciation of the revolution, of the bloody new time is a prologue to its future renunciation of the world of “non-humans” who start wars and destroy culture.

Then she comes up with a topic that, in my opinion, is little appreciated - about the death of Russia. She calls the new collection “After Russia” - not only because of her departure, but also because after 1917 Russia no longer existed. For Tsvetaeva, this country has lost a passing race, people with feelings self-esteem. It was not for nothing that she wrote about Sergei Volkonsky and Stakhovich; she immediately recognized them as people with a special bearing, breed and depth. For her, breed was, of course, not something external, but something that is called honor. And today we can see the deficit of what she spoke about - this sense of honor has left Russia.

Her last poetic cycles in the late 30s, dedicated to the war, the Czech Republic, including poems about newspaper readers, the poem “The Pied Piper” - they described that vulgar bourgeois world from the point of view that allowed it to happen that one civilization became destroy another. After all, what kind of world does she respond to with refusal in her famous poem? The one that blew up, destroyed Germany, her beloved Germany, which began to trample her beloved Czech Republic. For Tsvetaeva, this is a civilizational catastrophe. For her, all this became the end of the world, the end of civilization.

I’m not even talking about her “Poem of the End,” which Tsvetaeva read to Akhmatova in 1941, and which Akhmatova did not accept...

Tsvetaeva remains a poet misunderstood and unread to this day. People often react to its sound and rhythm and are fascinated by its shape. But the meanings of Tsvetaeva’s poems remain hidden.

What you say is important, because individual poems are often taken out of Tsvetaeva, making her almost a ladies’ poet...

This is absolutely false. She is a poet of gigantic proportions, speaking a new language. A language born of an unprecedented era. And her contemporaries felt this keenly: Pasternak, Mayakovsky, those people who copied her poems in Moscow in the 20s. But it was precisely because of this language that she was not understood abroad. She came to emigration with “Swan Camp” and a Poem about the Execution royal family, which we have not seen (only a fragment exists, but the whole thing has disappeared). These topics, it seemed to her, were close to emigration. But its rhythm and style were difficult for the public, which was accustomed to Blok, Merezhkovsky, Bunin and others. And even a suspicion creeps in that the transition to nostalgic prose was dictated by the understanding that it would be more understandable and easier to publish than poetry.

Tsvetaeva believed that poetry “is realized” only in a talented reader. One that is capable of active co-creation and is ready for effort, sometimes tedious. Does this fully apply to Tsvetaeva’s poems, especially the later ones?

Both Mandelstam and Pasternak are difficult to read. This is joint work and experience. When you read Tsvetaeva at the age of 18, her “Love me because I will die” or “Passerby” are generally understandable. But the further you go, the more difficult it becomes. She is growing rapidly. She is very different. There is “My domes are burning in Moscow,” Tsvetaeva was famous for these clear verses. And there is “Poem of the End” or “New Year’s Eve”. And with these verses everything is much more complicated.

I also don’t understand a lot in Tsvetaeva’s poems. To do this you need to have experience and go through something. When you see an unexpected combination of words that reveals new meaning, attracting another word to itself, and through which this meaning receives an additional dimension. These are very complex essays. As she herself said: to read a poet, you need to be on his level. A poet, especially one as powerful as Tsvetaeva, has the right not to open up to everyone.

“Maria Belkina’s book “Crossing of Fates” contains a very honest look at time, Tsvetaeva, her son and daughter Ariadne.” Photo gornitsa.ru

“There is a lot of “yellow” literature about Tsvetaeva. Unfortunately, even librarians buy such books."

- What is going on in color studies today?

There are separate philological analyzes of her works, but no serious significant works about her work have been published. Irina Shevelenko is perhaps the author of one of the smartest books about Tsvetaeva as a poet. Of course, there were wonderful biographies - Anna Sahakyants, Irma Kudrova, Victoria Schweitzer, Maria Belkina. Works by Lev Mnukhin and others.

But Tsvetaeva’s prose, notebooks and summary notebooks have not been commented on in detail.

I'm more concerned about the biographical moment. Until the 90s, Tsvetaeva was not studied in institutes. There was a book by Maria Belkina “Crossing of Fates”, in which there is a very honest look at time, Tsvetaeva, her son and daughter Ariadne. Then, bit by bit, the information was collected by all sorts of devotees, people often of related professions - geologists, physicists, mathematicians. Now we have Tsvetaeva’s collected works, Elena Korkina is finishing the chronicle of her life, Ekaterina Lubyannikova is working on a biography and has found a lot of interesting things. But while making the exhibition and commenting on the texts, I found a huge number of blank spots, unclarified biographical subjects. At the same time, a lot of “yellow” literature about Tsvetaeva is published. Unfortunately, even librarians often buy such books and display them, not realizing that they should be thrown away because they are filled with gossip or rumors.

- What blank spots remain in Tsvetaeva’s biography?

There are a lot of them. For example, its origin and the Polish branch. They revealed a little about the Bernadsky family, about her grandmother, whom neither she nor her mother knew, and whose portrait hung in Trekhprudny. Tsvetaeva herself accidentally met two of her grandmother’s sisters, that is, her cousins, in Sainte-Genevieve-des-Bois in a nursing home. She writes about this, mentions a portrait of a woman with “her” eyes. But nothing more is known. There is very little information about her maternal grandfather A.D. Meine, whom she knew until she was nine years old. What happened in his youth, how did he get to Moscow?

There is a lot that is unclear about her life in 1920. There are notebooks, it is known where she worked. But a large circle of people remains unknown: who are these people, what happened for days and weeks? Almost every year of Tsvetaeva’s life is a problem for her biographers. Maria Iosifovna Belkina asked people who communicated with Tsvetaeva in Moscow in 1939-1940, and, as Belkina said later, this was not Tsvetaeva’s entire circle of that time. Some documents stored in RGALI have not yet been published. For example, letters in which she asks for help. I'm not even talking about letters from people who crossed paths with Tsvetaeva and indirectly mentioned her in their correspondence.

“Seryozha, if you are found, I will follow you like a dog.”

It is clear why Tsvetaeva was forced to emigrate to Europe following her White Guard husband. But why did she return to Russia? Do biographers have a common understanding of this?

Yes. At the beginning of 1937, daughter Ariadne, who dreamed of living in the Union, left Paris for the USSR. Both she and her father, Tsvetaeva’s husband Sergei Efron, were members of an organization officially called the Homecoming Union. Unofficially, Sergei Yakovlevich was an NKVD agent. He went to this for seven years, throughout the 30s he wrote to his sisters that he lived only in the hope of returning to Russia.

Tsvetaeva never wanted this. But she was a man of her word. Her ideas of honor primarily related to herself. And in 1921, when her husband went missing during the Civil War, she wrote: “Seryozha, if you are found, I will follow you like a dog.”

“Tsvetaeva was a man of her word. Her ideas of honor primarily related to herself. And in 1921, when her husband went missing during the Civil War, she wrote: “Seryozha, if you are found, I will follow you like a dog.” Photo persons-info.com

It was assumed that people who went through the White Movement could return to their homeland only after atonement for their guilt by working in the NKVD. And for Efron, one of the tasks was to lead a group that was supposed to kill Ignatius Reis, an old Bolshevik and former Soviet agent who wrote a letter about what Stalin was doing to his comrades and enemies. Reis was sentenced to death in the USSR as a traitor, and Efron had to carry it out. The murder of Reis occurs in the fall of 1937, thank God, not at the hands of Sergei Yakovlevich, but with his participation. He managed to escape from the police and board a Soviet ship. So at the end of 1937 he ended up in Moscow.

The next day, a newspaper is published in Paris, in which it is written in black and white that NKVD agent Sergei Efron, the husband of the poet Marina Tsvetaeva, is involved in the murder of Ignatius Reis. Of course, the Russian emigration was very concerned about the fact that there were so many agents walking among them. More than one person has disappeared in Paris before white general, the arrest of the recruited singer Nadezhda Plevitskaya was notorious, the death of Lev Sedov was incomprehensible. People were simply afraid for their lives! How could they treat Marina Tsvetaeva, who was summoned for questioning the next day? She spent several days in the police station and still remained devoted to her husband and said only that her husband was slandered and confused and that he could not do anything like that because he was a man of honor.

But let’s just imagine what her life could have been like after that with her already grown-up 15-year-old son Moore (this is a home nickname, the boy’s name was Georgiy, - approx. ed.) in Paris. Emigration does not communicate with her. She needs to eat and drink somehow. She cannot renounce her husband. For two years, the Soviet embassy called Tsvetaeva from time to time and gave her some money for living expenses. All this time she is not allowed into Soviet Union.

But she was forced - from the point of view of understanding her duty and circumstances - to follow her family to the USSR. Her son was under the influence of his father, as we see from his diaries, he went to all of Sergei Yakovlevich’s meetings with the most different people. He was more aware of events than his mother. And he was eager to go to the Soviet Union. The situation is simple and scary.

Why is this man of sense How did Sergei Yakovlevich Efron, knowing full well what was happening in the Soviet Union in those years, still rush to go there?

Let's start with the fact that he grew up in Paris in a family of emigrant populists. His mother once served time in the Peter and Paul Fortress twice, hid a printing house, they said about her that she was a bomber. His father was also associated with the Narodnaya Volya branch. When Sergei Yakovlevich was 17 years old, his mother committed suicide after his little brother also committed suicide due to an insult caused to him at a Catholic college. The father had already died by that time. Sergei Yakovlevich was left alone (he had three older sisters), he comes to Koktebel after the tragedy he experienced, where he meets Marina Ivanovna. She sees in him the knight she read from books. She was waiting for this man and waited. She was 18 and he was 17 years old.

And then the first act of this drama occurs. She is bigger, stronger and deeper as a person. He is a wonderful young man with beautiful eyes and a great desire to become someone. Not more. And he studies, writes and himself publishes a good book, “Childhood,” where there is a chapter about Marina, but this is a book for a narrow family circle. He becomes a journalist and plays on the stage of the Chamber Theater. But he is not the first or even the tenth anywhere. And after two years of their family life, in 1914, a strong and powerful woman appeared next to Marina - the poet Sofya Parnok, who was seven years older than her.

1914 - the beginning of the First World War. And following the image of a knight without fear and reproach, created by Marina, Sergei Efron rushes to the front. And here he too will fail. They don’t take him because he has a white card, he has tuberculosis. But he still goes there as an orderly, because staying at home is unbearable for him. He doesn't know how to overcome the series of tragedies in his life. He and Marina are children with no adults around.

From among the orderlies, he still ends up in the cadet school, becomes a cadet in 1917, during the terrible autumn months, when the Junkers are the only ones defending Moscow from the Bolsheviks. He finds himself in the thick of things when the Kremlin is shelled and when cadet boys fall in the way of the Bolsheviks and die, unable to defend the city. It was not yet entirely clear to Sergei Yakovlevich which government was fighting which. He is simply doing his military duty. After this, he joins the White movement. For Tsvetaeva, all this was natural. But for him, as it turned out later, it was unnatural. Because, finding himself in Prague, despite everything he experienced in Wrangel’s army, he is close to the Smenovekhites, who gravitated towards the fact that the choice of the people is Bolshevism, that the people chose Lenin and everyone should accept his choice. And Sergei Yakovlevich begins to wonder: how did he, the son of revolutionaries and populists, end up in white emigration? This was his personal drama.

“1914 - the beginning of the First World War. And following the image of a knight without fear and reproach, created by Marina, Sergei Efron rushes to the front. And here too he will fail.” Photo dommuseum.ru

He was not at all where he wanted to be. But Tsvetaeva, on the contrary, believed that this was very correct, that this was evidence of his highest nobility. And when they met first in Berlin and then in Prague, after two years of separation, they were two different people who did not understand each other at all. And he wrote a terrible letter to Voloshin: “We were so eager for this meeting, but we are strangers.” And this was due not only to their love story, but also to the fact that they see the course of events differently.

In Tsvetaeva’s life, the logic of his life prevailed. She always knew that her life was a drama of ancient rock. It would seem that she is stronger, she did so many independent actions, but she follows his life, not her own. Although she has different lovers, her fate will still be determined by her husband, whom she deeply honors throughout her life. She believes that their common children are, first of all, his children, and completely gives him power over them. As a result, Ariadne, their eldest daughter, developed in Paris as a communist absolutely faithful to her father’s ideals. The same thing happened with my son.

And later, Ariadne Efron, who served time in Soviet camps and knew about the execution of her father and her mother driven to suicide, changed her views on communism?

Oddly enough, she was somewhat similar to the old Bolsheviks. She hated Stalin and Beria and believed that all evil came from them. But she never denied the Soviet idea. I talked a lot with people who knew her. They explained this by saying that she simply adored her father, more than her mother, and it was impossible for her to imagine that his life was given for nothing. I think this is just one of the explanations. You need to imagine the conditions in which she spent her youth. The Homecoming Union Society in Paris occupied an entire floor of the building. And this was a place where emigrants, including Ariadne, constantly came, they watched Soviet films, read Soviet newspapers, staged Soviet plays, they lived as if on some kind of reservation from morning to evening. She had a job there. Paris was foreign to her, although she had many friends there.

She desperately wanted everything that happened to her family to be just some kind of mistake. I'll give you one of the most bright examples. Olga Ivinskaya was in prison after Pasternak’s death. Ariadne loved her very much, like her own daughter. And she writes the following phrase to Ivinskaya in prison: “Just make sure she doesn’t communicate with nationalists and anti-Soviet people, so that she doesn’t pick up bad ideas from them.” This is written by a man who spent 18 years in camps and prisons! After the horror experienced with Pasternak! This is impossible and incomprehensible.

“Ariadne was somewhat similar to the old Bolsheviks. She hated Stalin and Beria and believed that all evil came from them. But she never denied the Soviet idea.” persons-info.com

“She walks down the street and if she sees an onion, she grabs it to make soup.”

You talked about biographical clichés regarding Marina Tsvetaeva. One of them is probably that it was a burden to her family life, duties of mother and wife. This is also shown in the only Russian feature film about her, “Mirror,” where she rushes from the table to the washtub and every now and then complains about the inability to write.

We must understand that Tsvetaeva came from a family where there were maids, cooks, and so on. In 1914, she and her husband bought a house on Borisoglebsky Lane. They had a cook there who brought soup to the dining room, Ariadne had a nanny. At the same time, Tsvetaeva loved her daughter and communicated with her. Many always forget that Anna Andreevna Akhmatova quickly handed her son Lev into the arms of her mother-in-law and wrote. Tsvetaeva has a different story. It so happened that her children had neither grandparents, but she never let anyone go from her.

And now a person a little over twenty years old with a fairly organized life finds himself in a situation of war and famine. In October 1917, her second child, daughter Irina, was born. The opportunity to keep servants disappears. She has nothing to eat or live on. They move into one room and cover the walls with whatever they can to keep it cool. She receives herring and frozen potatoes from the House of Writers on Povarskaya. It is a little naive to want this young woman to immediately turn into a strong, powerful person in everyday life. The people who write and talk about this don’t understand anything about life psychologically.

Sergei Yakovlevich joins the White Army. She must solve all problems alone. However, she cannot stop writing. To call her an ideal mother, of course, is a stretch. She even makes a friend out of her eldest daughter. In general, it was customary in their family that they were friends and comrades, addressing each other by name, and not “mother” or “daughter.” Tsvetaeva will become a devoted mother when her son Georgiy is born.

And what about her second daughter, Irina, who is born in 1917 and dies in the 1920s, having been given to an orphanage by Tsvetaeva?

In 1919, the children fell ill. They suffered from constant hunger. In November, Tsvetaeva gave seven-year-old Alya and two-year-old Irina to the Kuntsevo orphanage. She was assured that the children were being given food from American Relief Aid (ARA). However, all the food had already been stolen. Little Irina fell ill in the shelter and died, the eldest Alya survived. Many believed that the death of her daughter left Tsvetaeva indifferent. She herself admitted to many acquaintances, when Irina was still alive, that she loved the smart and talented Alya more than the developmentally delayed (from hunger) Irina. After a while, she wrote down: “It was easy to save Irina from death - then no one turned up. The same will happen to me."

The only thing in this situation that can be seen as Tsvetaeva’s guilt as a mother is that in the summer of 1920 she refused Elizaveta Yakovlevna Efron, her husband’s sister, who asked to give her Irina to the village. But Tsvetaeva never let her children go. She was a very totalitarian mother, she wanted her children to be close to her. Perhaps Elizaveta Yakovlevna, being childless, could have given birth to this girl.

Her difficult motherhood is brilliantly described in “The Crossing of Fates.” Maria Iosifovna writes about Marina Tsvetaeva, who walks down the street and, if she sees an onion, grabs it to cook soup. It happens in Paris and everywhere else. There are tons of photos of her doing laundry. She was very burdened with everyday life. She is not at all a lady with a manicure who sits at a table and puts her hand to her head, composing something. This is not at all in the memories. She looks for food, she cooks it, she knits endless leggings for Alya in prison, writes to her: “Alechka, I’m most afraid that you’ll catch a cold in your kidneys.”

Unlike my beloved, beautiful Anna Andreevna, who always reclined on the bed and wrote poetry, being a person completely unsuited to everyday life, Tsvetaeva bore the burden of everyday responsibilities. Therefore, in my opinion, Tsvetaeva is being treated unfairly. This is a man who has lived for the last two or three years only for the sake of his child. She no longer needed herself.

“Tsvetaeva never let her children go. She was a very totalitarian mother, she wanted the children to be close to her.” Photo izbrannoe.com

“Tsvetaeva and her husband were creatures of a special order. This connected them much more strongly than bed and outside relationships.”

In those same “yellow” books and articles about Tsvetaeva, stories about her countless infidelity to her husband are published time after time - both real and “by correspondence”. This forms the idea of the poet as a person of immoral behavior, which is again shown in the film “Mirror”. What was the real situation, how was Tsvetaeva’s relationship with her husband?

We have already started talking about this a little. Let's always take as a starting point that they got married at a very young age. These are people who lived in the world of literary images - both he and she. Therefore, Tsvetaeva’s father and the poet Voloshin, who introduced them, were very nervous. They didn't want them to get married at such a young age. But there is an important point in this story. Tsvetaeva, despite the fact that she seems changeable and fickle, throughout her life she will carry fidelity to her words spoken at the very beginning about her chosen one - about his knighthood, that for her he is a man of the highest honor. And when at the police station in Paris they asked her about her husband, she replied that he was a man of honor and could not do anything wrong. You read it and don’t believe your eyes. But three years later she will write in a letter to Beria the same words that her husband is in prison, but he is a man of honor, he is the noblest man, he could not do anything bad, because he served his truth and idea. She wasn't lying, she thought so. And Efron knew that she thought so about him. And this connected them much more strongly than, excuse me, any bed or any relationship on the side. They were creatures of a special order for each other.

First, about her affair with Sofia Parnok back in Moscow, before the revolution. Tsvetaeva lost her mother at the age of 11. My father was entirely occupied with the museum. She, like Efron, was an orphaned person, and this pushed them towards each other even more. Both her orphanhood and the absence of an older woman in her life played a key role in her relationship with Parnok. Parnok was stronger. In addition, she was a poet and introduced her to the circle of St. Petersburg poetry. The relationship that arose between them was for Tsvetaeva also an element of the freedom that everyone breathed then. Before talking about morality and immorality, you need to understand that poets, in order to write something, put a lot of pressure on themselves. cruel experiments. All literature Silver Age- it was a path of constant testing precisely on the moral field, on the field of love and breaks. From this arose a dense atmosphere of literature, painting, and theater. There were people of different orientations there. Remember Diaghilev, Nijinsky. But from this solution a completely new art was brewed. It was, of course, both scary and wonderful, as happens in such eras.

The appearance of Parnok became a trauma for Sergei Yakovlevich. And he “ran away” to the war. But in all his letters he fears for Tsvetaeva and respects her freedom and will. It always amazes me that all the complaints in their relationship will appear later, while the initial time of their life is a space in which everyone is free to do and choose what they want, and this does not affect their relationship.

Another point is that it is no coincidence that Tsvetaeva’s poetry has such strong energy. When we receive a blow of great power from it, we must understand that this blow cannot be invented or simulated, it must be experienced. If you do not experience strong feelings of love, falling in love, you cannot write a text of such energy. It doesn't come out of nowhere. That is why serious great poetry must come from somewhere. The loving moment is the key. And if people want to read such poetry, let them calm down about immorality. Because this poetry itself is not immoral, it does not call for debauchery, it is about high love. We must not forget that “I loved you...” Pushkin did not write to his wife, “I remember a wonderful moment” - also not to Goncharova.

I understand that all the complaints against Tsvetaeva stem from the fact that she did all this while being a married woman. But she always said that she loved one Seryozha... And at the same time she loved this, that and the other. This is her world. And you can accept it or not.

In 1924, Sergei Yakovlevich wrote the most cruel letter about this to Maximilian Voloshin. He has already met her, she has already experienced love for Vishniac, an affair with Rodzevich has already begun. Efron's letter is striking in its insight. He writes that Marina is a person who uses people like firewood to fuel her feelings. That he can no longer be this firewood, that he is exhausted by this situation. That he wanted to leave, but when she found out about it, she said that she couldn’t live without him.

“Let us always take as a starting point that they got married at a very young age. These are people who lived in the world of literary images - both he and she.”

Sergei Yakovlevich was the core for her. With all his twists, with all the fact that he was confused by this life, it was important for her that he would forever remain the knight she met in Koktebel. She needed to lean against him. And he played this role for her to the end. And for me, one of the most powerful shocks in the history of their life together was the following fact. The protocols of his interrogations and last days were opened. He was imprisoned with a huge number of other white emigrants. He was made the head of this matter. All of them were declared Japanese, French and other spies. And after three or four days they all signed a paper stating that they were these same spies. Everyone, with the exception of Sergei Yakovlevich Efron, who insisted during all interrogations that he was a Soviet spy. In the end, everyone was shot, but they didn’t know what to do with him. In September 1941, after all the torture, he ends up in one of the Lubyanka psychiatric hospitals, and there is an amazing entry in the case: he, being in a clouded consciousness, asks to be allowed in to see his wife, who stands outside the door and reads her poems to him. But Tsvetaeva had already committed suicide at that time. He always felt her presence. And he was shot on October 16, 1941, when German troops stood near Moscow.

This story, like an ancient drama, has everything in the world. It is absolutely not unambiguous.

“Tsvetaeva said many times that “when the poems end, I will end too.” This happened at the beginning of 1941."

There are several interpretations of the reasons for Tsvetaeva’s suicide. The most common one is that the NKVD tried to recruit her. You studied in detail the last days of Marina Ivanovna in Yelabuga. Where is the truth?

I immediately dismiss the version with the NKVD, although it is the most beloved and often repeated. But it doesn’t seem convincing to me, because it arose from a fairly simple plot: Moore’s diary says that his mother was summoned to the NKVD after they submitted their work forms, where they wrote what they could do and what languages they knew. But she most likely did not go there, because she was very afraid of this word “NKVD”. The women who sailed with her on the ship recalled that Tsvetaeva said about her passport that it seemed to her that it contained watermarks about the arrest of her loved ones. She was afraid of being an emigrant, she was afraid of the NKVD, where she stood in lines for long hours, handing over parcels.

We must understand what Yelabuga was like in September 1941. The first camp of German prisoners appeared there. And it was necessary to communicate with them, translators were needed. Of the small number of educated people evacuated to Yelabuga, only Tsvetaeva knew German. She could have been offered such a job by the NKVD. Therefore, even if she went there, most likely that was the case. Because if the NKVD needed her for other purposes, then during the years that she spent in Moscow, there were plenty of opportunities to arrest and recruit her. Recruiting her in Yelabuga was simply ridiculous. Besides her, there were three other evacuated families, and all these people were of no interest to the authorities. Rather, they could have been recruited to keep an eye on Tsvetaeva.

Tsvetaeva said many times that “when the poems end, I will end too.” This happened at the beginning of 1941. Her last poem dedicated to Tarkovsky. She lived only for her son. And she ended up in Yelabuga because the bombing began in Moscow, her son had to collect “lighters” on the roof of their house on Pokrovsky Boulevard, where they rented a room. Tsvetaeva was terrified that he would die in the labor army. Therefore, she rushes in the first wave of children's unorganized and still unorganized evacuation. All her time and life are occupied only with saving her son.

Her son is beautiful in appearance, tall, handsome, smart, incredibly educated, knows several languages. But he has absolutely, as she herself said, no developed soul. He is cold and selfish. At first he somehow tried to socialize in Soviet schools, in the Soviet world. But very quickly I realized that he was a stranger there. And he began to have a crisis, and he dumped all his problems on the head of his mother, who was already greatly weakened from all the blows of fate. Therefore, her words that “wherever I am, I look for a hook with my eyes,” testified to what she was going to. But until the last moment she lived because she considered herself needed by her son.

“Tsvetaeva said many times that “when the poems end, I will end too.” This happened at the beginning of 1941." Photo newsland.com

They ended up in Yelabuga on August 31. The boy wanted to go to school on September 1 in the city of Chistopol, where she had already gone, but decided that there was no need to live there, because it was not clear what to live on there: in Elabuga they were assigned to something, they were given cards. And there was nothing there. But he didn't want to know anything about it. And Tsvetaeva has the feeling that without her, her son will be settled, that she is burdening the boy, disturbing him.

Everyone builds this story through her. But this story is no longer about her, but about him. She is already part of this young man who wants freedom and self-determination. And after the scandals that happen between them more and more often, Tsvetaeva becomes more and more convinced that she is a burden for her son, an obstacle in his path.

That is, she believed that Soviet authority will treat him more favorably if he does not have an emigrant mother with an incomprehensible fate behind him, who is not published anywhere and who is of no use to anyone. And after her death, he immediately rushed to prove what he was capable of. He immediately went to Chistopol, went to Moscow, ate cakes, walked around the city.

Tsvetaeva withdrew and cleared the way for him. This combined with her deep depression. For Tsvetaeva, both the war and all subsequent events were a harbinger of the coming Apocalypse. Her grave is lost, which is very symbolic, since she opposed the free life of the soul to any corporeality.

- Does Tsvetaeva have students or followers? Is this possible in principle?

It’s difficult for major poets to have followers. They may have many epigones, but this is immediately visible. You can call Bella Akhmadullina a follower, but she has her own history, her own voice, her own time. And thank God that this is so. Because Tsvetaeva’s work cannot be continued in the same way as it is impossible to continue her destiny and live her life.

Has Tsvetaeva already become a brand like Pushkin? After all, some events are already being held under her name. How do you feel about “Tsvetaevsky Bonfires,” for example?

I don't really like it. There is such a comic definition: folk color studies. I'm afraid that my words will be perceived as arrogance and snobbery, but this is a kind of ritual around big man. These bonfires are poems about Tsvetaeva in large quantities. You can love Tsvetaeva, come into contact with her, talk about her. But it's better to be yourself. In general, the problem is that it is difficult to create some kind of action around it that is equivalent to its power.

But the problem is not only Tsvetaeva. The problem is that time itself is poorly understood. What is 1917, what is 1920, what is the First World War? We started talking about this only the day before yesterday. I'm not even talking about her fate with her Chekist husband, all this must be understood deeply, as an ancient tragedy, and not as one of the flat stories.

Therefore, just as Pushkin was understood, Tsvetaeva will be understood for centuries to come. But for now this is all quite naive, these are the first approaches.

“Her life is a very large and complex volume. To convey it, you need to be very deep and smart person. Therefore, everything that exists now is only an approximation.” Photo theoryandpractice.ru

“Tsvetaeva is not some hysterical, broken woman who writes poetry and lives with everyone all the time”

- So Tsvetaeva will remain an object of attention?

She is not just an object of attention, she is unnerving, she is annoying. For example, on Facebook, once every three months people come to me and ask me to explain that she didn’t hate children, didn’t eat them, was a good man. I have already explained all this many times. But they ask me again. And this happens regularly. People from various cultural backgrounds discuss Tsvetaeva. People can't calm down.

But other people, including famous ones, commit acts much worse than those for which Marina Ivanovna is being judged. Why are such high demands placed on Tsvetaeva?

Because these are open people, they lived wide open. It's like Tolstoy's diaries. He was often accused of being this and that. Open ones are easy to take. And then they say: “What can he write to us here if he is as small as we are, as low as we are?”

And also this is a longing for an ideal. But I believe that one should not expect an ideal life from poets. Poets formulate. We must understand that in the high ancient ancient tradition, a poet is a person who catches the sounds of the sky, but at the same time he himself can be blind, like Homer, not only in a literal, but in a figurative sense. So in historical tradition perceived as a poet. In Russia, the poet turned into something more, because in our country at some point literature replaced everything, they began to ask questions from it, like from the Bible.

- How do you feel about songs based on Tsvetaeva’s poems and artistic readings of her poems? Anything interesting?

I'm an old man. I like Ewa Demarczyk, a Polish singer, she sang “Granny” by Tsvetaeva in the 60s. Perhaps also Elena Frolova. Then everything is lower. I even treat Tsvetaeva’s reading with caution. I listened to Natalya Dmitrievna Zhuravleva, she was taught by my dad, who himself listened to Tsvetaeva live. This is interesting. You see, it shouldn’t overwhelm the poems, it should be subtle and smart. Tsvetaeva is not some hysterical, broken woman who writes poetry and lives with everyone all the time. When a piece is taken out of her life, it’s always not about her. Her life is a very large and complex volume. To convey it, you need to be a very deep and intelligent person yourself. Therefore, everything that exists now is only an approximation.

Natalia Fedorova

Reference

Natalya Gromova- literary historian, prose writer, literary critic, playwright, journalist, teacher, museum worker, researcher. Author of research about Marina Tsvetaeva and her circle “Flowers and Pottery. Letters from Marina Tsvetaeva to Natalya Goncharova”, “Distant Chistopol on Kama”, “Marina Tsvetaeva - Boris Bessarabov. Chronicle of 1921 in documents." Senior researcher at the House-Museum of M. I. Tsvetaeva in Moscow until 2015. Leading researcher at the Boris Pasternak House Museum in Peredelkino until 2016. Leading researcher at the State Literary Museum (Ostroukhov House). Prize from the magazine "Znamya" (for the archival novel "Key"), finalist of the Russian Booker Prize, laureate of the Moscow Writers' Union "Crown" award. Her books (“The Knot. Poets: Friendships and Breakups”, “Wanderers of War. Memoirs of Writers’ Children”, “The Tablecloth of Lydia Libedinskaya”, “The Key”, “Olga Berggolts: There Was and Is No Death”) are based on private archives, diaries and live conversations with real people.

Features of creativity
“The intensity of her creativity intensified even more during the difficult four years of 1918-21, when, with the beginning of the Civil War, her husband left for the Don, and Tsvetaeva remained in Moscow alone with two daughters, face to face with hunger and general devastation. It is at this time that she creates, in addition to lyrical works, poems, plays in verse and those very detailed diary entries of events that would later turn out to be the beginning of her prose.” (Kudrova, 1991, p. 6.)
“Paradoxically, happiness took away her singing gift. Apparently, 1927, when the “Poem of the Air” was created, was various reasons a time of severe homesickness. It was from this great grief that choked her entire being that one of the strangest, one of the most difficult and mysterious poems of Tsvetaeva, “The Poem of Air,” arose.” (Pavlovsky, 1989, p. 330.)
“She herself was convinced that misfortune deepens creativity; she generally considered misfortune a necessary component of creativity.” (Losskaya, p. 252.)

". In the twenties, Marina Ivanovna’s creativity reached an unprecedented peak, and hobbies replaced one another. And every time it falls off the mountain, and every time it breaks into pieces. “I was always broken into pieces, and all my poems are those same silver, heartfelt pieces. “And if it had not crashed and if there had been no flights, then perhaps there would have been no poems. "(Belkina, p. 135.)

“Having thought a lot about the correspondence between creation and creator, Tsvetaeva came to the conclusion that biography is a lightning rod for poetry: the scandalousness of personal life is only a purification for poetry.” (Garin, 1999, vol. 3, p. 794.)

[From a letter dated November 24, 1933] “I hardly write poetry, and here’s why: I can’t limit myself to one verse - they are families, cycles, like a funnel and even a whirlpool in which I find myself, hence the question time. And my poems, forgetting that I am a poet, are not taken anywhere, no one takes them. Emigration makes me a prose writer” (Tsvetaeva M.I., 199f, p. 90.)

“My poems, like precious wines, / Will have their turn.” (Tsvetaeva M.I., 1913.)

“Based on the analysis of Tsvetaeva’s poetic and epistolary material, we can come to the conclusion that her death drive could be one of the subconscious sources of the creative process. Thanatos permeates most of Tsvetaeva’s poetic heritage, peculiarly coloring it in depressive tones. Tsvetaeva’s death drive is certainly broader than the nosological definition of endogenous depression; it is not exhausted by it; it has other genetically determined mechanisms of formation and more extensive manifestations. Although Tsvetaeva certainly had clinical manifestations of endogenous depression. (“The strongest feeling in me is melancholy. Maybe I don’t have any other.” - Tsvetaeva M.I., 1995, vol. 6, p. 756.) Other (except suicide) psychological forms of Thanatos are perversions and various methods self-destruction - are also reflected in the personality of the poetess. In any case, it cannot be denied that the content of Tsvetaeva’s poetic work is primarily permeated with an attraction to death. This is not a “motive of death” in creativity, it is clearly something more, and it is possible that the aspects of Tsvetaeva’s poetry and life noted in this article are manifestations of Thanatos.” (Shuvalov, 1998, pp. 102-104.)
“Live (of course, not newer / Death) in spite of the veins. / There are for something - / Ceiling hooks.” (Tsvetaeva M.I., 1926.)

Tsvetaeva Marina Ivanovna, Russian poetess.

Born into a Moscow professorial family: father - I. V. Tsvetaev, mother - M. A. Main (died in 1906), pianist, student of A. G. Rubinstein, grandfather of her half-sister 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, and Germany; breaks in gymnasium education were made up for by studying in boarding schools in Lausanne and Freiburg. Fluent in French and German languages. In 1909 she took a course in French literature at the Sorbonne.

The beginning of Tsvetaeva’s literary activity is associated 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 M. A. Voloshin’s house in 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 Sorcerer” (1914), there is a thorough description of home life (children’s room, “hall”, mirrors and portraits), walks on the boulevard, reading, music lessons, relationships with her mother and sister, the diary of a high school student is imitated (the confessional, diary orientation is accentuated by the dedication of the “Evening Album” to the memory of Maria Bashkirtseva), who in this atmosphere of a “children’s” sentimental fairy tale grows up and joins the poetic. In the poem “On a Red Horse” (1921), the story of the poet’s development takes the form of a romantic fairy-tale ballad.

Poetic world and myth

IN next books“Versts” (1921-22) and “Craft” (1923), revealing Tsvetaeva’s creative maturity, retains the orientation towards a diary and a fairy tale, but now transforming into a part of an individual poetic myth. In the center of the cycles of poems addressed to contemporary poets A. A. Blok, A. A. Akhmatova, S. Parnok, dedicated to historical figures or literary heroes - Marina Mnishek, Don Juan, etc., there is a romantic personality who cannot be understood by contemporaries and descendants, but does not seek primitive understanding or philistine sympathy. Tsvetaeva, to a certain extent, identifying herself with her heroes, gives them the possibility of life outside of real spaces and times, the tragedy of their earthly existence is compensated by belonging to to the higher world soul, love, poetry.

The romantic motifs of rejection, homelessness, and sympathy for the persecuted that are characteristic of Tsvetaeva’s lyrics are reinforced 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 white movement, compiled the cycle “Swan Camp”). In 1922, Tsvetaeva’s emigrant existence began (a short stay in Berlin, three years in Prague, and from 1925 in Paris), marked by a constant lack of money, everyday disorder, difficult relations with the Russian emigration, and growing hostility from criticism. The best poetic works of the emigrant period (the last lifetime collection of poems “After Russia” 1922-1925, 1928; “Poem of the Mountain”, “Poem of the End”, both 1926; 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.) are characterized by philosophical depth, psychological accuracy, and expressiveness of style.

Features of poetic language

The confessionalism, emotional intensity, and energy of feeling characteristic of Tsvetaeva’s poetry determined the specificity of the language, marked by the conciseness of thought and the rapidity of the development of lyrical action. The most striking features of Tsvetaeva’s original poetics were intonation and rhythmic diversity (including the use of raesh verse, the rhythmic pattern of ditties; 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 the elation of high style and biblical imagery), unusual syntax (the dense fabric of the verse is replete with the “dash” sign, often replacing omitted words), breaking traditional metrics (mixing classical feet within one line), experiments with sound (including the constant play on paronymic consonances (see Paronyms), turning the morphological level of language into poetically significant), etc.

Unlike her poems, which did not receive recognition among the emigrants (Tsvetaeva’s innovative poetic technique was seen as an end in itself), her prose enjoyed success, which was readily accepted by publishers and occupied the main place in her work in the 1930s. (“Emigration makes me a prose writer.”). “My Pushkin” (1937), “Mother and Music” (1935), “House at Old Pimen” (1934), “The Tale of Sonechka” (1938), memories of M. A. Voloshin (“Living about Living”, 1933), M. A. Kuzmine (“An Unearthly Wind”, 1936), A. Belom (“Captive Spirit”, 1934), and others, combining the features of artistic memoirs, lyrical prose and philosophical essays, they recreate Tsvetaeva’s spiritual biography. The prose is accompanied by letters from the poetess to B. L. Pasternak (1922-36) and R. M. Rilke (1926) - a kind of epistolary novel.

In 1937, Sergei Efron, who became an NKVD agent abroad in order to return to the USSR, became involved in a contracted political murder, fled from France to Moscow. In the summer of 1939, following her husband and daughter Ariadna (Alya), Tsvetaeva and her son Georgy (Moore) returned to their homeland. In the same year, both daughter and 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. Finding herself evacuated at the beginning of the war, she tried unsuccessfully to get support from writers; committed suicide.

K. M. Polivanov
(From the Big Encyclopedic Dictionary)

Characteristics of Tsvetaeva’s creativity, the originality of M. Tsvetaeva’s creativity, features of M. Tsvetaeva’s creativity, Tsvetaeva’s creativity, characteristics of Marina Tsvetaeva’s creativity, Tsvetaeva’s features of creativity, the originality of Tsvetaeva’s poetry, features of Tsvetaeva’s verse

The theme of Russia in Tsvetaeva’s poetry

Marina Tsvetaeva has an amazing ability to “live backwards”. Living carefree and easy, as if everything makes her happy and there are no worries. In her creative work, she liked to imagine herself as different heroes. Sometimes they were birds, animals, and sometimes people. It is truly known that her most beloved heroine was Marina Mnishek, who ideally suited her in character and disposition. In such images, texts were born to her and she could easily rhyme them.

In addition to understanding the world around her, Tsvetaeva also understood Russia. She really liked this strange

Even the advent of the revolution was accepted by her as a released element of freedom, impatience, passion and rebellion. After the revolution, she wrote such novels as: “Well done”, “On a red horse”, “Egorushka”. And all of them were a reflection of her appearance about Russia. In 1922 she had to

In 1932, the poem “Motherland” was published, in which Tsvetaeva zealously defends her right to the Russia that she took with her. Which she dreams about at night. With that prickly and melodious Russian language. But no matter how long she feels for her native land, she gradually gets used to the place where her emigration sent her. Although he tries not to show it. But all the ardor with which she so zealously wrote about the Motherland gradually passes, ending in two lines.

Ultimately, she returned to her beloved homeland, which turned out to be a tragedy for her. Her husband and daughter were arrested as traitors and she, with her little son in her arms, was left alone, without support. The war has begun. She again had to go into evacuation, to the small town of Elabug, where she met her death. Marina Tsvetateva returned to her homeland and ended up in a grave. She became another face of the proud country, which was so close to her in spirit and disposition.

A performance based on her daughter’s memories of Tsvetaeva will be presented at the House of Music on October 6

Website editorial 360°

On October 6, on the eve of the 124th anniversary of the birth of Marina Tsvetaeva, the literary and musical performance “I was looking for you” will take place on the stage of the Moscow International House of Music. Famous artists will read poems by the Silver Age poetess and sing romances to the accompaniment of the symphony orchestra of the Russian Ministry of Internal Affairs, and will also try for the first time to look at Tsvetaeva through the eyes of her daughter Ariadna Efron. The performance will take place on the stage of the Svetlanov Hall. Starts at 19:00.

Honored Artist of Russia Olga Kabo will read fragments of Ariadne’s letters and diaries. The actress is sure that the memories of Tsvetaeva’s daughter will touch every viewer.

“The performance is very modern, because at all times people talked about the same things - about children, about love, about how to educate and accept the world. The story of mother and daughter is very close to any viewer. No one has ever imagined Marina Ivanovna through the eyes of her daughter. Each of us sees the world through the eyes of our parents when we are children. Then we acquire our own colors, our own sensations. This is exactly what we talk about in our performance,” said Olga Kabo.

Marina Tsvetaeva is a poet, writer and translator, one of the most prominent representatives of the Silver Age. She began writing poetry at the age of six. From her pen came the collections “Evening Album”, “Magic Lantern”, “Girlfriend” - a cycle dedicated to Tsvetaeva’s beloved Sofia Pranok, “Swan Camp”, written after the beginning civil war, “Egorushka”, “On a Red Horse”, “Tsar Maiden” and others. In the 1920s, she and her daughter went into exile following her husband, Sergei Efron, where she lived until 1939. Returning to the USSR, Tsvetaeva’s family suffered a lot of grief. The poetess's daughter Ariadne was arrested soon after returning to her homeland, and two years later, in October 1941, Efron was shot. At the end of August, Marina Tsvetaeva committed suicide, leaving three suicide notes, one of which was addressed to her son. The poetess was buried at the Peter and Paul Cemetery in Yelabuga; the exact location of the grave is unknown.

Why did Marina Tsvetaeva go into exile?

Marina Ivanovna Tsvetaeva - an outstanding Russian Soviet poetess, author of prose works, translator - was born on October 8 (September 26, O.S.), 1892 in Moscow. Her father was a university professor, an authoritative philologist and art critic. The mother, who was of Polish-German origin, was a pianist and dreamed of her daughter following in her footsteps. Being a gifted child, having learned to write at the age of 4, Marina began to compose poetry at the age of 6, including in German and French. The girl’s childhood is connected with Moscow and Tarus. In Moscow, she was a pupil of a private girls' gymnasium, where she received elementary education. The mother was seriously ill, and therefore the family spent a lot of time in Switzerland, Italy, and Germany. Tsvetaeva studied in boarding schools in these countries in 1902-1905.

The debut collection of poetry, “Evening Album,” was published in the fall of 1910. It was published at its own expense and approved by such famous people, like Gumilyov, Bryusov and M. Voloshin; Tsvetaeva was united by friendship with the latter. In the same year, Tsvetaeva’s first literary critical article appeared. The early work of the poetess was noticeably influenced by V. Bryusov, M. Voloshin, N. Nekrasov, but her poetry spoke of growing originality and originality. Subsequently, she did not become a follower of any of the literary movements.

At Voloshin's dacha in Koktebel, Tsvetaeva met her future husband Sergei Efron, whose wife she became in 1912; in the same year they had their eldest daughter, Ariadne. In 1913 and 1915 Regular collections of poetry are being published, testifying to Tsvetaeva’s bright poetic talent. In 1914, in Tsvetaeva’s life, in her own words, the first disaster erupted - a romantic relationship with Sofia Parnok, because of which Tsvetaeva’s relationship with her husband seriously deteriorated. In 1916, their family life finally improved.

The October Revolution of 1917 was perceived by Tsvetaeva as a catastrophe, an uprising of the forces of Satan. The post-revolutionary years and the period of the civil war became extremely difficult in the biography of the poetess. Due to hunger and deprivation, they were forced to give their little daughter to an orphanage, who died there. Sergei Efron joined the White Volunteer Army, and for several years not a single word came from him. Marina Ivanovna and Ariadna lived not only in hunger and cold, but also suffered from loneliness. In the literary environment, Tsvetaeva, as before, was on her own, the status of a wife white officer forced her to live in constant tension, and the situation was aggravated by her directness and harshness of character. She wrote works sympathetic to the white movement (in particular, the cycle “Swan Camp”), and at public evenings she recited them without hiding.

After the defeat of Denikin’s army, Sergei Efron settled in Prague and entered the local university. In May 1922, Tsvetaeva and her daughter Ariadna received permission to go abroad. After living a little in Berlin, the family moved to the Czech Republic, on the outskirts of Prague, for three years. The years of emigration were filled with all sorts of problems, constant need and strong nostalgia. During the entire emigrant period of her biography, her stay in the Czech Republic, despite all the hardships, became the most pleasant for Tsvetaeva. She fell in love with this country forever, it was there that their son George first saw this world. In addition, a rise was observed in creativity; a number of books were published, in particular, “Poems to Blok,” “The Tsar Maiden,” “Psyche,” etc. This was followed by a noticeable decline in the number of publications.

In 1925, Efron and Tsvetaeva moved to Paris, but the poetess experienced discomfort in the French capital, which was associated with the activities of her husband. There were accusations against Efron that he was an agent of the NKVD and took part in a conspiracy against Trotsky’s son, L. Sedov. Despite this, Marina Tsvetaeva continued to write intensively, and it was in emigration that most of her works were written, and not only poems and poems, but also essays (“My Pushkin”, “Art in the Light of Conscience”), memoirs (Tale about Sonechka”, “The House of Old Pimen”), tragedies “Phaedra” and “Ariadne” using plots from ancient tragedians, memories of A. Bely, M. Voloshin, M. Kuzmin. It was prose works that predominated in her work in the 30s, and it was prose that was more popular among emigrants than poetry. Most of the works of the emigrant years were not published. “After Russia”, consisting of poems from 1922-1925. and published in Paris in 1928, became her last collection of poetry during her lifetime.

Tsvetaeva herself attributed the reasons for the failures that haunted her in emigration to the foreignness of the environment, to the fact that she was and remained a Russian person in spirit. Relations with emigrants really did not work out for her: at first she was one of them, but then she found herself alone - largely due to her independence, fanatical passion for poetry, uncompromisingness, and reluctance to join any of the political or poetic movements. Living with her family in extreme need, there was practically no one to support her.

Ariadne returned to Moscow on March 15, 1937 - she was allowed to do so first. On October 10, Tsvetaeva’s husband left France, and the poetess herself arrived in the Soviet Union in 1939. However, the joy of returning to her homeland was short-lived: on August 27 and October 10, 1939, Tsvetaeva’s daughter and husband were arrested, respectively. Sergei Efron was shot on October 16, 1941, and his daughter was exiled to camps for a long time (she was only rehabilitated in 1955). Tsvetaeva was again left completely alone, with her son in her arms. She had neither her own home nor a job, and her source of livelihood was only periodic payments for translations: they became Tsvetaeva’s main occupation. During this period, practically no poems came from her pen.

Translations by M.I. Tsvetaeva was studying and when the Great began Patriotic War. The poetess did not want to go into evacuation, but on August 8, 1941, she and her son were sent on a ship that was heading to the city of Yelabuga. Marina Ivanovna intended to move to Chistopol, where many writers lived, and was going to work as a dishwasher in the canteen of the Literary Fund, and received permission to register. On August 28, she returned to Yelabuga. Complete loneliness, enormous moral and physical fatigue, lack of more or less tolerable living conditions, responsibility for her son, constant surveillance by the NKVD broke the spirit of the outstanding poetess. On August 31, 1941, in the house where she temporarily settled with Georgy, she was found hanged. In three suicide notes, intended for three different recipients, she explained her action by the inability to bear this cross and asked not to leave her son without help.

Elabuga became her last refuge: here on September 2, 1941, she was buried at the Peter and Paul Cemetery, and it is not known for certain where exactly her grave is located. In 1980, Anastasia Tsvetaeva, Marina Ivanovna’s sister, placed a cross with an inscription over one of the four graves that did not have any identification marks. In 1970, the cross was replaced with a granite tombstone. When A. Tsvetaeva was over 90, she claimed that at that time she knew exactly where her sister was buried. Local historians and literary scholars still cannot come to a consensus on where exactly the remains of the poetess, who was one of the largest writers of the 20th century, are buried.

Three years after the revolution, in 1920, Marina Tsvetaeva was left in Moscow without her husband, Sergei Efron, who, along with the White Army, was evacuated to Turkey and went missing. That same year, their youngest daughter, three-year-old Irina, died of hunger in an orphanage, essentially abandoned by her own mother to the mercy of fate. Having received news from the writer Ilya Ehrenburg in 1921 that her husband was alive and in the Czech Republic, Tsvetaeva decided to move to him at any cost. But it took her a year to get permission from the authorities to leave the country.

Wandering around the countries

95 years ago, on May 15, 1922, Tsvetaeva arrived with her eldest (beloved) daughter Ariadna in Berlin, where she lived for only two and a half months. The list of things that Tsvetaeva took with her was very modest: a pencil box, an inkwell, a plate with a lion, a glass holder, a portrait of Ariadne, a sewing box and an amber necklace. The daughter took with her felt boots and felt boots, a coffee pot and a primus stove. That's all they had. The belongings fit into one suitcase.

Tsvetaeva dedicated a poem to rainy Berlin.

Soon they moved from Germany to the Czech Republic, where Efron began to study at Prague University on presidential scholarship. This scholarship, of course, was not enough for three. And then a son was born into the family, who was named George, but everyone always called him Moore.

“Not needed here, impossible there”

Tsvetaeva did not like Prague, and at the end of 1925 it was decided to move to Paris - the center of life of the Russian intelligentsia. There Tsvetaeva began publishing poems in several magazines and doing translations. But there was barely enough money for rent and food. Daughter Ariadne earned money by embroidering, and her husband edited articles.

The poetess believed that she had left Russia forever. But after meeting my husband, it turned out that, on the contrary, he intended to return. Efron began collaborating with the NKVD and joined the Homecoming Union. He believed that emigrants were guilty before their homeland and forgiveness must be earned through cooperation with Soviet authorities. It was because of these husband’s views that Tsvetaeva gradually began to be disowned in literary circles. Circles that received her very warmly at first.

In 1928, Tsvetaeva wrote an open letter to Mayakovsky, which only increased the irritation of the Parisian public towards her. The dual position of the poetess’s family was expressed in her famous poem “Homesickness,” written in 1934. In it, she admits that she doesn’t care where to live in poverty - in Russia or abroad.

The homeland didn't wait

In June 1939, Marina Ivanovna and her son Georgy came to Moscow. By that time, the daughter and husband had already moved to the USSR. But the reunion was short-lived: in August, Ariadne was arrested on charges of anti-Soviet activity, and then Sergei was taken away.

The poetess began wandering around temporary rooms, going through authorities in an attempt to achieve at least some kind of housing and registration, letters to Beria and Stalin asking for help and permission to see her husband and daughter.

Tsvetaeva felt injustice towards herself: her father Ivan Tsvetaev was the founder of the Museum fine arts named after Pushkin, and the family library became the basis of more than one museum. And yet, in Moscow, according to functionaries from the Writers' Union, not a single square meter was found for her and her son.

With the beginning of the war, Tsvetaeva moved to Tatarstan, the city of Elabuga. The Literary Fund evacuated the writers there. Not used to work, Tsvetaeva even tried to get a job as a dishwasher in the dining room, but they never had time to open it.

Largely due to financial despair, Marina Tsvetaeva committed suicide on August 31, 1941. She hanged herself, leaving three notes - for her son, the family of evacuated writers Aseev and those who would bury her. Two months later, her husband was shot, three years later her son Georgiy died in battle. Of the entire family, only Ariadne died of natural causes, she spent 16 years in the camps and died in 1975 in Tarusa.