Like for any woman, for Marina Tsvetaeva love was an important part of life, perhaps the most important. It is impossible to imagine the heroine of Tsvetaeva's lyrics outside of love, which would mean for her - outside of life. The premonition of love, the expectation of it, blossoming, disappointment in a loved one, jealousy, the pain of separation - all this sounds in Tsvetaeva’s lyrics. Her love takes on any form: it can be quiet; trembling, reverent, tender, and maybe reckless, spontaneous, frantic. In any case, she is always internally dramatic.
The young heroine Tsvetaeva looks at the world with wide open eyes, absorbing life at all pores, opening up to it. It's the same in love. Prudence and prudence are incompatible with sincere, deep feeling. To give everything, to sacrifice everything - this is the only law of love that Tsvetaeva accepts. She does not even strive to win her beloved; it is enough for her to be “just a verse in your album.”
Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of her feelings makes her love all-encompassing, permeating everything. the world. Therefore even natural phenomena often associated with the image of a loved one:
Your brain is moving like poetry...
The movement of one human heart to another is an immutable law of life, a natural part of existence. And if for other people separation often weakens feelings, then for Tsvetaeva it’s the opposite. Love intensifies a thousandfold when away from the beloved; distance and time have no power over it:
More tender and irrevocable
No one looked after you...
I kiss you through hundreds
Years of separation.
Separation, separation, failed love, unfulfilled dreams are a frequent motif in Tsvetaeva’s love lyrics. Fate separates two people destined for each other. The reason for separation can be many things - circumstances, people, time, inability to understand, lack of sensitivity, mismatch of aspirations. One way or another, Tsvetaeva’s heroine too often has to comprehend the “science of parting.” This tragic worldview is best reflected in just two lines of the famous poem:
O cry of women of all times:
"My dear, what have I done to you??"
Here is the age-old grief of all women in the world - Tsvetaeva’s contemporaries, women who died long before her and those who were not yet born - and their own suffering, and a clear understanding of doom. This poem is about when one of the two leaves, and there is an even more difficult separation - by the will of circumstances: “They broke us - like a deck of cards!” Both separations are difficult, but neither has the power to kill feelings.
Jealousy, the constant companion of love and separation, also did not remain aloof from Tsvetaeva’s lyrics. Lines about jealousy touch no less than lines about tender feelings, but they sound a hundred times more tragic. Most bright that example - "Attempt of jealousy." Along with Tsvetaeva’s characteristic torment from the loss of love, there is so much bile, so much bitter sarcasm that the author of the lines appears in a completely new light. She has a thousand faces, and you never know which one will appear in the next poem.
The image of the lyrical heroine in Tsvetaeva’s work is double. On the one hand, this is a woman full of tenderness, vulnerable, thirsting for understanding (“Unlived tenderness is suffocating”), on the other hand, she is a strong personality, ready to overcome all obstacles and confront the whole world, defending her right to love and happiness. Both appearances are two sides of the same coin, a single whole, appearing in different guises. A heroine with these traits is characterized by a concentrated soul, immersion in love until complete dissolution. At the same time, she is not subject to self-destruction and maintains the integrity of the individual. In all this - Tsvetaeva herself. Images and feelings are not far-fetched, since sincerity is the poetess’s main weapon.
But one should not conclude that in Tsvetaeva’s love lyrics the main place is occupied by failed love, unrequited or rejected feelings. Her poems are like life itself; they are both hopeless and hopeful, both dark and bright. Sometimes the heroine appears full of serene happiness and a sense of celebration, breathing in life itself with all her breasts:
Darling, darling, we are like gods:
The whole world is for us!
And it is no longer an embittered woman, tormented by jealousy, who looks at us, but a young girl, reveling in love, full of unspent tenderness.
Love never dies, it simply reincarnates, takes on different guises and is forever reborn. This constant renewal for Tsvetaeva is explained very simply: love is the embodiment of creativity, the beginning of being, which has always been so important to her. Just as she could not live and not write, so she could not live and not love. Tsvetaeva belongs to those few people who managed to perpetuate both themselves and their love.
Young Tsvetaevskaya poetry generously and masterfully, in all voices, glorifies earthly love. We hear the voice of a warlike Amazon: “I will conquer you from all lands, from all heavens...” and next to it is the voice of a woman, most tenderly dissolved in her beloved: “I am a village, a black earth. / You are a ray and rain moisture to me. / You are Lord and Master, and I am / Black soil and white paper.” And we also hear the voice of joy and the voice of suffering, inviting coquetry and desperate complaint, assurance of devotion and declaration of freedom... All the many faces of love feelings find expression in the lyrics of the young Tsvetaeva.
During these years, she not only glorifies love, but in her poetry it is ecstatic love that is ecstatically glorified.
Who is made of stone, who is made of clay,
And I am silver and sparkling.
My business is treason, my name is Marina,
I am the mortal foam of the sea...
And if loyalty is declared in Tsvetaeva’s young poems, then this is a special loyalty - to one’s own heart:
Nobody, rummaging through our letters,
I didn’t understand deeply
How treacherous we are - that is
How true to ourselves.
The voice of a young creature, trying on the masks of the daring Mariula, the “dancer and piper,” the seductive Carmen and even the submissive Manon—this voice rings with challenge, mischief, and flirtatious teasing in the young Tsvetaeva. And it would be absurd to interpret these elegantly cheerful poems with ponderous seriousness.
Even in the difficult years for her - the first years of the revolution - she would write many recklessly cheerful poems in the spirit of Omar Khayyam:
Champagne is treacherous
But still pour and drink!
No pink no chains
You'll sleep in a black grave.
You are not my fiancé, not my husband,
My head is in a fog.
And forever the same
Let the hero in the novel love!
The theme of love in Tsvetaeva's lyrics.Like for any woman, for Marina Tsvetaeva love was an important part of life, perhaps the most important. It is impossible to imagine the heroine of Tsvetaeva's lyrics outside of love, which would mean for her - outside of life. The premonition of love, the expectation of it, blossoming, disappointment in a loved one, jealousy, the pain of separation - all this sounds in Tsvetaeva’s lyrics. Her love takes on any form: it can be quiet; trembling, reverent, tender, and maybe reckless, spontaneous, frantic. In any case, she is always internally dramatic.
The young heroine Tsvetaeva looks at the world with wide open eyes, absorbing life at all pores, opening up to it. It's the same in love. Prudence and prudence are incompatible with sincere, deep feeling. To give everything, to sacrifice everything - this is the only law of love that Tsvetaeva accepts. She does not even strive to win her beloved; it is enough for her to be “just a verse in your album.”
Tsvetaevskaya's heroine is unthinkable without admiration and admiration for her beloved. The recklessness of her feelings makes her love comprehensive, permeating the entire world around her. Therefore, even natural phenomena are often associated with the image of a loved one:
You are a fraction of stream voices
Your brain is moving like poetry...
The movement of one human heart to another is an immutable law of life, a natural part of existence. And if for other people separation often weakens feelings, then for Tsvetaeva it’s the opposite. Love intensifies a thousandfold when away from the beloved; distance and time have no power over it:
More tender and irrevocable
No one looked after you...
I kiss you through hundreds
Years of separation.
Separation, separation, failed love, unfulfilled dreams are a frequent motif in Tsvetaeva’s love lyrics. Fate separates two people destined for each other. The reason for separation can be many things - circumstances, people, time, inability to understand, lack of sensitivity, mismatch of aspirations. One way or another, Tsvetaeva’s heroine too often has to comprehend the “science of parting.” This tragic worldview is best reflected in just two lines of the famous poem:
O cry of women of all times:
“My dear, what have I done to you?”
Here is the age-old grief of all women in the world - Tsvetaeva’s contemporaries, women who died long before her and those who were not yet born - and their own suffering, and a clear understanding of doom. This poem is about when one of the two leaves, and there is an even more difficult separation - by the will of circumstances: “They broke us - like a deck of cards!” Both separations are difficult, but neither has the power to kill feelings.
Jealousy, the constant companion of love and separation, also did not remain aloof from Tsvetaeva’s lyrics. Lines about jealousy touch no less than lines about tender feelings, but they sound a hundred times more tragic. The most striking example of this is “Attempt of Jealousy.” Along with Tsvetaeva’s characteristic torment from the loss of love, there is so much bile, so much bitter sarcasm that the author of the lines appears in a completely new light. She has a thousand faces, and you never know which one will appear in the next poem.
The image of the lyrical heroine in Tsvetaeva’s work is double. On the one hand, this is a woman full of tenderness, vulnerable, thirsting for understanding (“Unlived tenderness is suffocating”), on the other hand, she is a strong personality, ready to overcome all obstacles and confront the whole world, defending her right to love and happiness. Both appearances are two sides of the same coin, a single whole, appearing in different guises. A heroine with these traits is characterized by a concentrated soul, immersion in love until complete dissolution. At the same time, she is not subject to self-destruction and maintains the integrity of the individual. In all this - Tsvetaeva herself. Images and feelings are not far-fetched, since sincerity is the poetess’s main weapon.
But one should not conclude that in Tsvetaeva’s love lyrics the main place is occupied by failed love, unrequited or rejected feelings. Her poems are like life itself; they are both hopeless and hopeful, both dark and bright. Sometimes the heroine appears full of serene happiness and a sense of celebration, breathing in life itself with all her breasts:
Darling, darling, we are like gods:
The whole world is for us!
And it is no longer an embittered woman, tormented by jealousy, who looks at us, but a young girl, reveling in love, full of unspent tenderness.
Love never dies, it simply reincarnates, takes on different guises and is forever reborn. This constant renewal for Tsvetaeva is explained very simply: love is the embodiment of creativity, the beginning of being, which has always been so important to her. Just as she could not live and not write, so she could not live and not love. Tsvetaeva belongs to those few people who managed to perpetuate both themselves and their love.
With her work, Marina Tsvetaeva gave Russian poetry a new direction in the self-disclosure of the female soul with its tragic contradictions.
Osip Mandelstam once attacked Tsvetaeva’s work with sharp criticism. He spoke about the untimeliness of subjective lyrical poetry in a difficult and decisive era for Russia. But it is precisely with their subtle lyricism and subjectivity that Tsvetaeva’s poems are dear to the reader today.
The distinctive features of Tsvetaeva's romantic lyrics are attention to the inner world of man, the cult of the subjective, and an unprecedented craving for the emotional.
Tsvetaeva’s lyrics are distinguished by a special intimacy. The poet reflects on childhood, home, motherhood, soul, love. Love in Tsvetaeva’s poems appears as a crafty game, a tender and heartfelt feeling, a frantic passion, and a deep tragedy.
Marina Tsvetaeva saw her collection “The Magic Lantern” when she was very young. In it, for the first time, the poet appears the theme of love, which occupies a huge place in her lyrics and meant a lot in Tsvetaeva’s life in general. Love, according to Tsvetaeva, is “a fire in the chest,” “the only news that is always new.” The defining motif in Tsvetaeva’s poems about love is the motif of separation, the distance of kindred spirits.
The poet speaks about enormous, previously unexperienced tenderness in the poem “Where does such tenderness come from?” The lyrical heroine appears as an experienced lover:
Not the first - these curls
I smooth out my lips
I knew - darker than yours.
The heroine’s fiery feeling “rose and went out” more than once, but now she experiences genuine tenderness, deep, all-encompassing. How to deal with this tenderness, what to do with it, is the main question of the poem. He calls the reader to romantic thoughts.
Marina Tsvetaeva’s love for Sergei Efron became love at first sight and for the rest of her life:
And finally - so that everyone knows! -
What do you love! love! love! - we love you! Tsvetaeva addressed more than twenty poems to Efron. His image in them is romantic. ...he likes the mound,
Will, field, distance without measure...
He was born in the rays of Venus,
Blue gypsy star...
A true masterpiece of Tsvetaeva’s love poetry is the bitterness-filled famous poem “Yesterday I looked into your eyes...”.
Speaking about the romantic motives of Tsvetaeva’s lyrics, one cannot help but mention the poem “I like that you are not sick with me...” It is illuminated with quiet sadness, light sadness. Extraordinary musicality and lyricism determined the fate of the poem - it was set to music and has long been one of my favorite songs.
The theme of love is raised to tragic heights in the poem “An Attempt of Jealousy.” His first line sounds with anguish:
How do you live with someone else? - It’s easier, isn’t it?
“I believe that Tsvetaeva is the first poet of the 20th century. Of course, Tsvetaeva,” said I. Brodsky, and one cannot but agree with this. In her poems, Marina Tsvetaeva speaks about the eternal, about what will always be dear to the human heart - regardless of the era and the reigning ideology.
The poet Georgy Adamovich argued that Tsvetaeva’s poems “radiate love and are permeated with love, they strive for peace and, as it were, try to embrace the whole world in their arms. This is their main charm. The poems were written from spiritual generosity, from heartfelt extravagance... one can really imagine that from Tsvetaeva’s poems a person will become better, kinder, more selfless, more noble.”
N. I. Kopylova
About love in the lyrics of M. Tsvetaeva and A. Akhmatova:
comparative analysis
Anna Akhmatova and Marina Tsvetaeva - these names in the minds of readers mutually, like a magnet, attract each other, and especially in love lyrics. And this is understandable, since in this topic poets often talk about the same thing, although in different ways. So, for the lyrical heroines of the lyrics A. Akhmatova and M. Tsvetaeva, love is first of all pain:
From your mysterious love,For both, one of the main things in love lyrics is the state of an abandoned woman who has fallen out of love. That’s why it’s so natural for Tsvetaeva’s and Akhmatova’s (in that order) lines to merge, as it were, into one poem, united in the development of its meaning:
As if in pain, I scream...
(433)The pain is as familiar to the eyes as a palm,
Like lips -
Own child's name.
Yesterday I looked you in the eye.
And now everything is looking sideways!
Yesterday I was sitting before the birds -
All larks these days are crows!
(152)Oh, life without tomorrow!
I catch betrayal in every word,
And waning love
A star is rising for me.
(158)
In this experiment, as we see, there is not even rhythmic dissonance, despite all the differences in the artistic manners of the poets’ lyrics in general.
A common theme in the lyrics of A. Akhmatova and M. Tsvetaeva is the attitude of both lyrical heroines towards their rival: indifference, a sense of proud female superiority, but not envy or jealousy towards her - a “simple woman”, “market dust” (M. Tsvetaeva ), “fool” (A. Akhmatova).
But how often do two voices of female poets merge into one on the theme of love? No. And this is evidenced by the general reader’s perception of their love lyrics. There are interesting features in this perception. When asked whose love lyrics - A. Akhmatova or M. Tsvetaeva - do you like better, men answer much more often than women: “Of course, A. Akhmatova.”
More than once I had to hear from men’s lips addressed to the lyrical heroine M. Tsvetaeva: “So she’s hysterical!” Of course, this is not a literary assessment. And this is not an absolute, but a definite trend in perception, resulting from our reader survey. It is not only a fact of real everyday psychology, but, reflecting it, has penetrated into modern poetry. Let us quote A. Korolev’s poem, written as a response to M. Tsvetaeva:
with a woman without sixthsLet's be fair: this is not the whole meaning of the poem, it is more complex. But still, this is part of the point.
feelings live without hysterics,
without convulsions or grimaces
convulsions and confusion,
exposed,
written on gesso...
Ungenerous gesture
but I live, my word is true,
with a woman without deities
like in the bosom of Christ.
Another feature of the perception of M. Tsvetaeva’s lyrics is that she is credited with a masculine, strong beginning. But the paradox is that when asked whose love lyrics - A. Akhmatova or M. Tsvetaeva - do you like better, women answer much more often: “Of course, M. Tsvetaeva!”
So what is deeply feminine in M. Tsvetaeva’s lyrics? And what is different in the feeling of love between M. Tsvetaeva and A. Akhmatova? Answering these questions is the goal of our further discussions.
So, the first “but” between the lyrical heroines A. Akhmatova and M. Tsvetaeva. Here are a few quotes from A. Akhmatova’s lyrics from different years:
I know how to love,You have to be a psychologically brilliant woman in order to put a great feeling (and not just coquetry) into the form needed by your loved one: “choose” a look, a smile, a pose, deceptive modesty.
I know how to be submissive and gentle.
I can look into your eyes with a smile
Alluring, inviting and unsteady.
(303)I know how to love. I'm deceptively shy.
I am so timidly tender and always silent.
Only my eyes speak.
(303)* * *
I have one smile:
So, the movement of the lips is slightly visible.
I'm saving it for you -
After all, she was given to me by love.
(56)She sat down like a porcelain idol,
In the pose she had chosen long ago.
(98)
What is similar to this to quote from the lyrics of M. Tsvetaeva? Nothing. Nothing at all. There is no love-game in her lyrics, there is never a vision of oneself from the outside. Instead of play, there is an uncontrollable avalanche of feeling in all its overflowing strength and openness. In all his activity, if I may say so:
I will conquer you from all lands, from all heavens.Unfeminine? Like a man? Against. A deeply feminine nature is expressed here, only different than in A. Akhmatova’s lyrics. I'll turn to the authorities. So, even G. Flaubert, an expert on the female soul, said that when a man truly loves, he becomes timid; When a woman truly loves, she acts. And here are the reflections on the male and female philosopher of the Akhmatov-Tsvetaev era N. Berdyaev. They have direct relation to our analysis: "...female nature is so prone to...obsession. Female hysteria has a connection with this feature of female nature, and its roots are metaphysical. Everything that is high in a woman and low in her, her terrible alienness is connected with this male nature... A woman is often a genius in love, her attitude towards love is universal, she puts the fullness of her nature into love... A man is more talented than a genius in love, his attitude towards love is not universal... he is not puts all of herself into love... And in the element of female love there is something terribly terrible for a man, something menacing and absorbing, like an ocean. The claims of female love are so immense that they can never be fulfilled by a man. On this soil it grows hopeless tragedy of love." Hence the repulsion by the male soul of the essentially feminine principle in the love lyrics of M. Tsvetaeva. By the way, it’s rare that a woman in her life hasn’t heard at least once: “You’re hysterical!”
Because the forest is my cradle and the forest is my grave.
Because I stand on the ground with only one foot.
Because I will sing about you like no one else.
I will win you back from all times, from all nights,
All the golden banners, all the swords,
I'll throw in the keys and chase the dogs off the porch -
Because in the earthly night I am more faithful than a dog.
I will win you back from all the others - from that one,
You will not be anyone's groom, I will not be anyone's wife.
And in the last argument I will take you - shut up! -
The one with whom Jacob stood in the night.
(56)
So, love is unbridled, immeasurable, open in recognition to the beloved - a deeply feminine feeling. In its literary origins, it is akin to Tatyana Larina’s love, which results in an act - a letter to E. Onegin. But it is impossible to put an equal sign here, since the expression of love of the lyrical heroine M. Tsvetaeva is exaggerated by another time, century, character!
However, let us go further in groping for the next “buts” in the love lyrics of A. Akhmatova and M. Tsvetaeva. The second difference is this. The lyrical heroine of A. Akhmatova is wise: she is endowed with knowledge of the limit of closeness of souls - male and female (a motif that has literary roots in the love lyrics of F. Tyutchev). For the lyrical heroine, this knowledge is bitter, acquired through the experience of feeling and life. The knowledge is bitter, but understood by the lyrical heroine as a psychological law:
There is a cherished quality in the closeness of people,The lyrical heroine M. Tsvetaeva does not seem to understand this law. Or doesn't want to understand:
She cannot be overcome by love and passion, -
Let the lips merge in eerie silence
And the heart is torn to pieces by love,
And friendship is powerless here, and the years
High and fiery happiness...Those who strive for her are mad, and her
Those who have achieved it are struck with melancholy...
(83)
Like right and left handThe important thing is that the “whirlwind” between lovers in M. Tsvetaeva’s lyrics is not psychological, not from within their relationship, as in the lyrics of A. Akhmatova (and earlier in the lyrics of F. Tyutchev), but from the outside: interstitial space, space, something like:
Your soul is close to my soul.
We are united blissfully and warmly,
Like the right and left wing.
But the whirlwind rises - and the abyss lies
From right to left wing.
(144)
Distance: versts, miles...The desire of the lyrical heroine M. Tsvetaeva to erase the line between her soul and the soul of her beloved is also very feminine. Let's turn to the science of psychology. In the recently released scientific work in psychology human relations we read: “... a man prefers to communicate with a woman on long waves, and a woman on short waves,” “a woman would like to be frank, open and understood; a man would like to see mystery and enigma in a woman.” And if you rediscover N. Berdyaev, then you cannot help but pay attention to his thoughts about the connection between men and women by gender and spirit. Love, according to N. Berdyaev, is not “carrying the burden and burden of the “world” and “sex”, but “creative boldness”, love is always “not of this world”, it expresses world harmony and spiritually gravitates towards the merging of souls, to "androgyny"... In this sense, the love lyrics of M. Tsvetaeva and A. Akhmatova are at opposite poles.
We were arranged, seated,
To behave quietly,
At two different ends of the earth.
(287)
According to N. Berdyaev, enmity, jealousy, and ancestral origins exist in the field, but not in love. We will not judge whether this judgment is completely fair; we will only note that these feelings are fully expressed in the love lyrics of A. Akhmatova. In it, at the feet of the lyrical heroine - male jealousy:
Whispers: "I won't regret itShe also has such a gift as male fidelity, which is not needed by the lyrical heroine:
Even what I love so much -
Or be completely mine
Or I'll kill you."
It buzzes above me like a gadfly,
Continuously for so many days.
This is the most boring argument
Your black jealousy.
(143)
I chose my shareIn A. Akhmatova’s lyrics, the suffering role very often belongs to a man. He is a “tortured owlet”, “a toy boy”, “a restless one”. The Trouble of Love may happen to him:
To the friend of my heart:
I let you go free
On his Annunciation.
Yes, the gray dove has returned,
Beats its wings against the glass...
(111)
So that's when trouble happened to you.The lyrical heroine of M. Tsvetaeva says: “... not a single lover brought me out of the house.” For the lyrics of M. Tsvetaeva, the law is that the torment of love, suffering is only a woman’s lot. Here is a figurative expression of this thought:
Trouble happened - you knew it.
Now you know that with nothing in the world
It cannot be compared and satisfied.
That thirst that comes once in a century,
Or maybe less often, poor friend.
Nor the winds of free oceans,
Not the smell of tropical forests,
Neither gold nor tavern vodka,
Not Skipper's strongest cognac,
Not music when it's heavenly
It becomes and carries us upward...
Not even that blessed memory
About first and unconscious love,
Not what people call fame,
Why would anyone agree to die...
(379)
Two trees want each other.Fun in love, mischief, smile... We will find all this in the lyrics of A. Akhmatova, but not M. Tsvetaeva. The very words “cheerful” and “mischievous” appear quite often in Akhmatov’s lines:
Two trees. Opposite is my house.The smaller one stretches out its arms,
Like a woman from the last veins
Stretched out - it’s cruel to look at,
How it reaches out - to this, to the other,
What is older, more resilient and - who knows?
Even more unfortunate, perhaps.
(327)
I'm drunk with you funny -But in the lyrics of A. Akhmatova, and again not M. Tsvetaeva, there are also many cruel jokes, evil, curses, disgust, betrayal that invade love relationships:
There is no point in your stories.
(31)I love your green eyes
OS cheerful drive away
(59)I won't drink wine with you,
Because you're a boy mischievous.
(69)
You hate me. And the torture lastedThis is not the case in M. Tsvetaeva’s love lyrics, it is simply unthinkable, impossible. All these shades of feeling of the lyrical heroine A. Akhmatova come from the understanding of love as passion, love as a struggle, a duel of souls ( literary origins motives again go into the lyrics of F. Tyutchev). In the love lyrics of M. Tsvetaeva, there is no “equivalent” to the soul of the lyrical heroine, there is no struggle, no duel, there is only dedication of oneself to a loved one. He is “desired”, “stinged”, “sick”!
And how the criminal languished
Love full of evil.
(158)* * *
Is that why I kissed you?
Is that why I suffered, loving,
So that now it’s calm and tired
I remember you with disgust.
(142)* * *
You ask what I did to you
Entrusted to me forever by love and fate
I betrayed you...
The next difference between the love lyrics of poets is that the lyrical heroine of A. Akhmatova always carries in her soul the memory of love, be it memory-heaviness or memory-gratitude: “Heavy are you, love memory!", "But memory about you, like that burning bush, Lights up my path for all seven terrible years.”
M. Tsvetaeva has nothing like this. Her lyrical heroine is extremely memoryless, the feeling of love never lives in the past for her, she does not reach out to him with memories:
I already need you No need,Instead of memory in M. Tsvetaeva’s love lyrics there is indifference, like an instant and forever disappointment in a loved one. In the poems of A. Akhmatova we will find everything: the premonition of love, and its origin, and development, and the memory of it. In the poems of M. Tsvetaeva, love is expressed at first sight and until the first disappointment. And in life M. Tsvetaeva said: “I always start with love and end with acquaintance.”
Darling - and not because
I didn’t write with the first mail.
And not because these
Lines written with sadness
You'll figure it out laughing.No, buddy! - It is easier,
This is worse than annoyance:
I already need you No need -
Because - because
I already need you No need.
In Akhmatova's work, the theme of love is often intertwined with a civic theme - the theme of a country that she did not abandon. Akhmatova’s lyrical heroine can throw to her beloved:
We don't have a meeting. We are in different countries,Once A. Akhmatova said about B. Anrep and herself: “It’s good that you didn’t take me with you: I would have returned... an aged Parisian.” In the lyrics of M. Tsvetaeva, and in her destiny, there are simply no such boundaries for love. “And there is no such pit, and no such abyss,” where she would not want to be next to her beloved:
Is that where you call me, you impudent one?
Where the brother drooped in bloody wounds,
Having received an angelic crown?
(156)
On an ice floe - Beloved, On a mine - Beloved,We will not judge which love is higher: the “happiest” (and at the same time bitter) love for the Motherland of A. Akhmatova or the female supranational love of the lyrical heroine M. Tsvetaeva, since both of them are equally beyond the jurisdiction. We'd better let you down brief summary the comparison carried out. They are like that. A. Akhmatova's love lyrics are infinitely varied and psychologically bottomless. In the love lyrics of M. Tsvetaeva there is more “high illness”, the element of feeling, female dedication. We can say that in A. Akhmatova’s love lyrics, in general, there is more psychological maturity and experience; in the love lyrics of M. Tsvetaeva there is more eternal youth. Maybe even this: in the love lyrics of A. Akhmatova there is more of the feminine, attracting the masculine, and in the love lyrics of M. Tsvetaeva there is more of the eternally feminine, calling to spiritual heights in love. In their love lyrics there is consonance and dissonance, since it exists in the souls of different women: those who love their lyrics; and those who, perhaps, are not even familiar with her.
On an ice floe, in Guiana, in Gehenna - my favorite!
(340)
Composition
The life of Marina Ivanovna Tsvetaeva was composed and decorated by two passions - poetry and love. She lived by them, they were her air, which she reveled in, they, in fact, were her. The poetess’s work is inseparable from the pages of her biography. Her poetry is the poetry of the living life of the human soul, and not of invented “extraordinary ideas”, not rational constructions. The lyrical heroine of her poems is herself, her loving heart, her restless soul.
Tsvetaeva, in my opinion, is one of the few who trampled our mortal earth, who understood Love in the true sense of the word. To love, in spite of everything, to love, giving oneself and not demanding anything in return, to love sincerely and beautifully, tenderly, to love with your strange, crazy, all-consuming love.
I consider her poems about love to be the most subtle, most accurate, sincere, truthful, in which her huge loving soul was exposed, cried and experienced. Every word in her poems is an experienced feeling, tremblingly transferred to paper:
From the chest mercilessly
Gods - let it be thrown off!
Love got to me
Any: big!
To the chest...
Don't rule!
Without words and in words -
To love… Spread out
In the world - a swallow!
In 1940, Tsvetaeva wrote in her diary: “I owe all my poems to the people I loved—who loved me—or didn’t.” Tsvetaeva considered “Unrequited. Hopeless. Without interference from the receiving hand. “It’s like an abyss” of love, as she spoke about in a letter to Pasternak:
Love! Love! And in convulsions and in the coffin
I’ll be wary - I’ll be seduced - I’ll be embarrassed - I’ll rush.
Oh honey! Not in a grave snowdrift,
I won’t say goodbye to you in the clouds.
Young Marina longed for love, and she accepted the invitation into her soul, becoming a companion for life. And as a result, in Tsvetaeva’s legacy we have been left with a lot of intimate evidence, almost every outburst of feelings, every heartbreak is recorded, highlighted and enlarged a hundredfold by the strongest spotlight - poetry.
The poetess dedicated more than a dozen poems filled with warm, deep feeling to her passionately and dearly beloved husband:
I wrote on a slate board,
And on the leaves of faded fans,
Both on river and sea sand,
Skates on the ice and a ring on the glass, -
And on trunks that have survived hundreds of winters...
And finally - just so you know! -
What do you love! love! love! -
She signed it with a heavenly rainbow.
Love was the meaning of her life; she equated “to love” and “to be.” This feeling was everything for her: inspiration, passion, “all gifts” at once, tragedy, and art. In “The Poem of the End,” Tsvetaeva brilliantly and simply stated: “Love means life,” “Love is all gifts / Into the fire and always for free!”
Marina Tsvetaeva’s poems “shock with electricity”, make the soul “turn over”, suffer and cry along with her lyrical heroine, becoming purer and better. They teach to love with the most sincere, bottomless and bright love.
