Once upon a time there was a husband, wife and three children - this phrase can be the beginning of an idyllic family story. Only now ... There were almost no such stories in Russia in the first half of the twentieth century. Mostly tragedy. And they are very similar to each other. It does not matter whether they happened in the family of a peasant or a great poet.

Sergei Efron and Marina Tsvetaeva. 1911

Marina Tsvetaeva and Sergei Efron had just three children. The second daughter, Irina, died quite a baby in hungry and cold Moscow during the Civil War. Sergei Efron was shot by the "organs" in October 1941. Eldest daughter, Ariadne, arrested with her father, after the camp and exile was rehabilitated and was able to return to Moscow only in 1955 - a sick woman.

The younger son Georgy Efron died in 1944 - he was mortally wounded during the battle.

Oh black mountain
Eclipsed - the whole world!
It's time - it's time - it's time
Return the ticket to the creator.

These lines were written in the spring of 1939.

But it was creativity, including the poet's reaction to what began in Europe with the advent of fascism. Tsvetaeva lived - she had to help her relatives, who could not do without her. She wrote.

Before death in the small town of Yelabuga, there were still two years left ...

Before that, there will be a return to their homeland in June 1939. Or rather, to the USSR, to an unfamiliar country with new incomprehensible realities. That Russia, in which she was born, in which her father, Ivan Vladimirovich Tsvetaev organized his museum, did not exist. Here are the lines from 1932:

Search with a flashlight
All the moonlight!
That country - on the map
No, not in space.
(…)
The one where on the coins -
My youth is
That Russia - no.
- Like that me.

Tsvetaeva did not want to return. She followed her husband and daughter. She did not want to, apparently, anticipating what would happen in the future. Premonitions of poets and writers often come true, but no one listens ... And then there was the arrest of her husband - Sergei Efron, the arrest of Ariadne's daughter - young, sunny, just flying into life.

Then - wandering around the apartments with his teenage son, the search for literary earnings (at least some!). The beginning of the Great Patriotic War when it seemed to Tsvetaeva that it was all over. She literally lost her head with fear.

On August 8, Marina Ivanovna, together with her son, went to the evacuation - to Yelabuga. To the place of his death.

There are several versions of the reason why Marina Tsvetaeva passed away.

Moore...

The first was expressed by the sister of Marina Ivanovna - Anastasia Ivanovna Tsvetaeva. She considers her son, sixteen-year-old Georgy Efron, whom the family called Mur, to be guilty of the death of her sister.

Tsvetaeva was so expecting a boy, and finally a son was born. She raised him differently than the eldest, Alya. Spoiled, was less demanding. “Marina passionately loved Moore,” said those who saw her in 1939-1941.

It is clear that after the arrest of her daughter and husband, Tsvetaeva began to patronize her son even more and worry about him. And the son, a spoiled sixteen-year-old boy, did not like it. Sixteen years is a difficult age. Marina Ivanovna and Moore often quarreled (although quarrels between parents and teenage children are the most common thing, I think many parents will agree with this).

Marina Tsvetaeva with her son. 1930s

It can be understood that after living abroad and in Moscow, the teenager did not really like Yelabuga with small wooden houses. And he didn't hide it.

According to Anastasia Ivanovna, the last straw was the phrase thrown by Moore in a fit of irritation: "Some of us will be carried out of here feet first." Tsvetaeva decides to stand between her son and death, decides to leave, giving him the way.

Is it really that simple? Did Tsvetaeva, who raised her daughter (with whom it was also very difficult in adolescence), did not know the complexities of the “transitional period”? How can you blame a sixteen-year-old boy, albeit developed beyond his years, for the death of an adult woman who has already survived so much? And is Moore to be blamed for not coming to see the deceased? “I want to remember her alive,” does this phrase of his say that he was not touched by the death of his mother? In general, inner suffering, invisible to others, is harder.

The accusatory assessment of a teenager, alas, is also found after Anastasia Ivanovna. For example, Victor Sosnora: "The son, a Parisian milk-sucker, considered himself superior to Tsvetaeva as a poet, hated his mother for being sent to Yelabuga, and teased her." It is strange to hear such words from an adult, a very adult person ...

NKVD and "White emigre"

Another version is that Marina Tsvetaeva was offered to cooperate with the NKVD. It was first expressed by Kirill Khenkin, and later developed by Irma Kudrova, first in a newspaper article, and then, more supplemented in the book “The Death of Marina Tsvetaeva”.

Perhaps, immediately upon arrival in Yelabuga, she was summoned by the local authorized representative of the “authorities”. The Chekist, apparently, reasoned as follows: “She was evacuated, she lived in Paris, which means that she will not like it very much in Yelabuga. This means that a circle of dissatisfied people is organized around. It will be possible to identify "enemies" and concoct a "case". Or perhaps the “case” of the Efron family came to Yelabuga with an indication that she was connected with the “organs”.

Yelabuga, 1940s

Moore's diary says that on August 20, Tsvetaeva was in the Yelabuga City Council looking for a job. There was no work for her, except for a translator from German in the NKVD ... An interesting moment. Could the NKVD entrust the recruitment of personnel for itself to another institution? Maybe on that day Tsvetaeva was not in the city executive committee, but in the NKVD? I just didn’t begin to devote my son to everything ...

Why did the "authorities" need Tsvetaeva? What could be helpful? But were all the affairs of the "organization" conducted strictly from a reasonable point of view? Moreover, Tsvetaeva’s biography is very suitable: she herself is a “white émigré”, her relatives are “enemies of the people”. A woman in a strange city with the only close person - her son. Fertile ground for blackmail.

A certain Sizov, who turned up years after Tsvetaeva's death, told interesting fact. In 1941, he taught physical education at the Yelabuga Pedagogical Institute. Once on the street he met Marina Ivanovna and she asked him to help her find a room, explaining that they were “out of tune” with the owner of the current room. The “hostess” - Brodelshchikova - spoke in the same vein: “They don’t have rations, and even these people come from the Embankment (NKVD), they look at the papers when she’s not there, but they ask me who goes to her, and what they talk about.”

Then Tsvetaeva went to Chistopol, thinking of staying there. In the end, the issue of registration was resolved positively. But for some reason Marina Ivanovna did not have any joy from this. She said she couldn't find a room. “And if I find it, they won’t give me a job, I won’t have anything to live on,” she remarked. She could have said, "I won't get a job," but she said, "They won't give me." Who won't? This also leads those who adhere to this version to the idea that the NKVD could not do without it.

Apparently, in Yelabuga, Tsvetaeva did not share her fears (if any) with anyone. And during the trip to Chistopol, she could understand that you could not hide from the all-seeing security officers. Accept the offer, inform - she could not. What happens in cases of refusal - did she not know. Dead end.

as a delusion

Another version cannot even be called a version. Because it is perceived as nonsense. But once it exists, you can't get around it. There were always people who were ready to somehow tear off the glory from the greats, to touch the “fried”. Even if it doesn't exist. The main thing is to express it clearly.

So, according to this version, the cause of Tsvetaeva's death is not at all psychological problems, not the poet's everyday disorder, but her attitude to her son - like Phaedra - to Hippolytus.

One of those who has been expounding it for a long time and adhering to it is Boris Paramonov, a writer, publicist, and author of Radio Liberty.

He "analyzes" the poet's poems under some kind of his own view, from the height of his worldview and looks for in them what other readers and researchers cannot find with all their desire.

Heroism of the soul - to live

Maria Belkina, the author of one of the early books about the last years of the poet's life, adheres to another version.

Tsvetaeva went to death all her life. It doesn't matter that it happened on August 31, 1941. It could have been much earlier. No wonder she wrote after the death of Mayakovsky: "Suicide is not where it is seen, and it lasts not pulling the trigger." In total, on the 31st, no one was at home, and usually the hut is full of people. Suddenly, the case - she was left alone, so she took advantage of it.

Tsvetaeva's first suicide attempt was at the age of 16. But this is both the throwing of adolescence and the era. Who then, at the beginning of the twentieth century, did not shoot himself? Material problems, poverty (remember the same Gorky), unhappy love and - the barrel to the temple. No matter how scary it sounds, but - "in the context of the era." Fortunately, the gun then misfired.

Life, according to Belkina, put pressure on Tsvetaeva constantly, albeit with different strength. In the autumn of 1940, she wrote: “No one sees - does not understand that I have been (approximately) looking for a hook for a year now. I've been trying on death for a year."

But even earlier, back in Paris: "I would like to die, but I have to live for Moore."

The constant disorder of life, the discomfort slowly but surely did their job: “Life, what I saw from it, except for slops and garbage dumps ...”

She had no place in emigration, there was no place in her homeland. In modern times in general.

When the war began, Tsvetaeva said that she would very much like to change places with Mayakovsky. And sailing on a steamer to Yelabuga, standing on board the steamer, she said: “That's it - one step, and it's all over.” That is, she constantly felt on the edge.

Besides, she had to live for something. The most important thing is poetry. But, having returned to the USSR, she practically did not write them. No less important is the family, for which I have always felt responsible, in which I have always been the main “earner”. But there is no family: she can do nothing for her daughter and husband. Back in 1940, she was needed, but now she cannot even earn a piece of bread for Moore.

Once Tsvetaeva said: “The heroism of the soul is to live, the heroism of the body is to die.” The heroism of the soul was exhausted. And what was in store for her in the future? Her "white émigré" who does not recognize any politics? In addition, she would have learned about the death of her husband ...

Creativity and life

The statements of the poet, and even more so his work, is one thing. Special space. And it literally, directly, primitively does not intersect with life, which is often not favorable to poets. But they still live and create. After all, Tsvetaeva lived (and wrote!) In post-revolutionary Moscow, despite hunger and cold, separation from her husband (not even knowing if he was alive), despite death youngest daughter and for fear of losing the elder ...

What happens here, in our dimension, works differently. Yes, everything that was mentioned above in the article (except for conclusions-versions), all the hardships and pains - it accumulated, accumulated, piled up, trying to crush. Especially the events of the last two years. But it was unlikely that this could lead to a calm, what is called a sane and solid memory decision - to commit suicide. The hardships have exhausted nervous system Tsvetaeva (especially poets have a special mental structure).

It is unlikely that she was mentally healthy at the time of her death. And she herself understood this, as can be seen in the suicide note addressed to her son (highlighted by me - Oksana Golovko): “Purrlyga! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. Love you so much. Understand that I could no longer live. Tell dad and Alya - if you see it - that you loved them until the last minute and explain that you got into a dead end.

Poems by Marina Tsvetaeva

Requiem

How many have fallen into this abyss,
I'll open it away!
The day will come when I will disappear
From the surface of the earth.

Everything that sang and fought will freeze,
It shone and burst.
And the green of my eyes, and a gentle voice,
And gold hair.

And there will be life with its daily bread,
With forgetfulness of the day.
And everything will be - as if under the sky
And there was no me!

Changeable, like children, in every mine,
And so not for long evil,
Who loved the hour when the firewood in the fireplace
They become ash.

Cello, and cavalcades in the thicket,
And the bell in the village...
- Me, so alive and real
On sweet earth!

To all of you - to me, who did not know the measure in anything,
Strangers and yours? -
I make a claim of faith
And asking for love.

And day and night, and in writing and orally:
For the truth yes and no
For the fact that I am so often - too sad
And only twenty years

For the fact that I am a direct inevitability -
Forgiveness of insults
For all my unbridled tenderness
And too proud

For the speed of swift events,
For the truth, for the game...
- Listen! - Still love me
For me to die.

Evening smoke over the city arose,
Somewhere in the distance, wagons dutifully walked,
Suddenly flashed, more transparent than anemones,
In one of the windows there is a half-childish face.

Shadow for centuries. like a crown
There were curls ... I held back a cry:
It became clear to me in that brief moment,
That our moans awaken the dead.

With that girl at the dark window
- A vision of paradise in the hustle and bustle of the station -
More than once I met in the valleys of sleep.

But why was she sad?
What was the transparent silhouette looking for?
Perhaps she - and there is no happiness in the sky?

you walking past me
To not mine and dubious charms, -
If you knew how much fire
How much wasted life

And what heroic fervor
To a random shadow and a rustle ...
And how my heart was incinerated
This wasted gunpowder.

Oh, trains flying into the night
Carrying sleep at the station ...
However, I know that even then
You would not know - if you knew -

Why are my speeches harsh
In the eternal smoke of my cigarette, -
How much dark and formidable melancholy
In my blonde head.

I like that you are not sick of me,
I like that I'm not sick of you,
That never a heavy globe of the earth
Won't float under our feet.
I like that you can be funny -
Dissolute - and do not play with words,
And do not blush with a suffocating wave,
Lightly touching sleeves.

I also like that you are with me
Calmly hug another
Don't read to me in hellfire
Burn for the fact that I do not kiss you.
That my tender name, my gentle, not
You mention neither day nor night - in vain ...
What never in church silence
They will not sing over us: hallelujah!

Thank you with heart and hand
Because you me - not knowing yourself! -
So love: for my peace of the night,
For the rarity of meetings at sunset,
For our non-festivities under the moon,
For the sun, not over our heads, -
Because you are sick - alas! - not by me
Because I'm sick - alas! - not by you!

Under the caress of a plush blanket
I call yesterday's dream.
What was it? - Whose victory? -
Who is defeated?

I rethink everything again
I'm messing around with everything again.
In what I don't know the words for
Was there love?

Who was the hunter? - Who is the prey?
Everything is diabolical!
What I understood, purring for a long time,
Siberian cat?

In that duel of willfulness

Marina Ivanovna Tsvetaeva. Born September 26 (October 8), 1892 in Moscow - died August 31, 1941 in Yelabuga. Russian poetess, prose writer, translator, one of the greatest poets of the 20th century.

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

Her father, Ivan Vladimirovich, is a professor at Moscow University, a well-known philologist and art critic, who later became the director of the Rumyantsev Museum and the founder of the Museum fine arts.

Mother, Maria Mein (by origin - from a Russified Polish-German family), was a pianist, a student of Nikolai Rubinstein. The maternal grandmother of M. I. Tsvetaeva is the Polish Maria Lukinichna Bernatskaya.

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

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

After the death of his mother from consumption in 1906, they stayed with their sister Anastasia, half-brother Andrei and sister Valeria in the care of their father, who introduced children to classical domestic and foreign literature and art. Ivan Vladimirovich encouraged the study of European languages, made sure that all children received a thorough education.

Her work attracted the attention of famous poets - Valery Bryusov, Maximilian Voloshin and. In the same year, Tsvetaeva wrote her first critical article, Magic in Bryusov's Poems. The "Evening Album" was followed two years later by the second collection "Magic Lantern".

Start creative activity Tsvetaeva is associated with the circle of Moscow symbolists. After meeting Bryusov and the poet Ellis (real name Lev Kobylinsky), Tsvetaeva participates in the activities of circles and studios at the Musaget publishing house.

On the early work Tsvetaeva was significantly influenced by Nikolai Nekrasov, Valery Bryusov and Maximilian Voloshin (the poetess visited Voloshin's house in Koktebel in 1911, 1913, 1915 and 1917).

In 1911, Tsvetaeva met her future husband Sergei Efron. In January 1912, she married him. In September of the same year, Marina and Sergey had a daughter, Ariadna (Alya).

In 1913, the third collection, "From Two Books," was published.

In the summer of 1916, Tsvetaeva arrived in the city of Alexandrov, where her sister Anastasia Tsvetaeva lived with civil husband Mauritius Mints and son Andrei. In Alexandrov, Tsvetaeva wrote a cycle of poems (“To Akhmatova”, “Poems about Moscow” and others), and literary critics later called her stay in the city “Marina Tsvetaeva’s Alexandrov summer”.

In 1914, Marina met the poetess and translator Sophia Parnok, their romantic relationship continued until 1916. Tsvetaeva dedicated the cycle of poems “Girlfriend” to Parnok. Tsvetaeva and Parnok broke up in 1916, Marina returned to her husband Sergei Efron. Relations with Parnok Tsvetaeva described as "the first disaster in my life."

In 1921, Tsvetaeva, summing up, writes: "To love only women (a woman) or only men (a man), knowingly excluding the usual opposite - what a horror! But only women (a man) or only men (a woman), knowingly excluding an unusual native - what a bore!".

Sofia Parnok - Marina Tsvetaeva's mistress

In 1917, Tsvetaeva gave birth to a daughter, Irina, who died of starvation in an orphanage in Kuntsevo (then in the Moscow region) at the age of 3 years.

The years of the Civil War turned out to be very difficult for Tsvetaeva. Sergei Efron served in the White Army. Marina lived in Moscow, in Borisoglebsky Lane. During these years, a cycle of poems "The Swan Camp" appeared, imbued with sympathy for the white movement.

In 1918-1919 Tsvetaeva wrote romantic plays; poems "Egorushka", "Tsar Maiden", "On a Red Horse" were created.

In April 1920, Tsvetaeva met Prince Sergei Volkonsky.

In May 1922, Tsvetaeva was allowed to go abroad with her daughter Ariadna - to her husband who, having survived the debacle as a white officer, is now a student at the University of Prague. At first, Tsvetaeva and her daughter lived for a short time in Berlin, then for three years on the outskirts of Prague. The famous "Poem of the Mountain" and "Poem of the End" dedicated to Konstantin Rodzevich were written in the Czech Republic. In 1925, after the birth of their son George, the family moved to Paris. In Paris, Tsvetaeva was strongly influenced by the atmosphere that had developed around her due to her husband's activities. Efron was accused of being recruited by the NKVD and participating in a conspiracy against Lev Sedov, son .

Marina Tsvetaeva and Sergey Efron

In May 1926, on the initiative of Tsvetaeva, she began to correspond with the Austrian poet Rainer Maria Rilke, who was then living in Switzerland. This correspondence ends at the end of the same year with the death of Rilke.

During the entire time spent in exile, Tsvetaeva's correspondence with Boris Pasternak did not stop.

Most of what Tsvetaeva created in exile remained unpublished. In 1928, the last lifetime collection of the poetess, After Russia, was published in Paris, which included poems from 1922-1925. Later, Tsvetaeva writes about it this way: "My failure in emigration is that I am not an emigrant, that I am in spirit, that is, in air and in scope - there, there, from there ...".

In 1930, the poetic cycle “Mayakovsky” was written (on the death of Vladimir Mayakovsky), whose suicide shocked Tsvetaeva.

Unlike poems that did not receive recognition in the émigré environment, her prose enjoyed success, taking the main place in her work of the 1930s (“Emigration makes me a prose writer ...”).

At this time, "My Pushkin" (1937), "Mother and Music" (1935), "The House at the Old Pimen" (1934), "The Tale of Sonechka" (1938), memoirs about Maximilian Voloshin ("Living about the Living" , 1933), Mikhail Kuzmin (“An Otherworldly Evening”, 1936), Andrei Belom (“The Captive Spirit”, 1934) and others.

Since the 1930s, Tsvetaeva and her family have lived almost in poverty. Financially, Salome Andronikova helped her a little.

On March 15, 1937, Ariadne left for Moscow, the first of the family to have the opportunity to return to her homeland. On October 10 of the same year, Efron fled France, becoming involved in a contract political assassination.

In 1939, Tsvetaeva returned to the USSR after her husband and daughter, she lived at the NKVD dacha in Bolshevo (now the Memorial House-Museum of M.I. Tsvetaeva in Bolshevo), the neighbors were the Klepinins.

On August 27, Ariadne's daughter was arrested, on October 10, Efron. On October 16, 1941, Sergei Yakovlevich was shot at the Lubyanka (according to other sources, in the Oryol Central). Ariadne, after fifteen years of imprisonment and exile, was rehabilitated in 1955.

During this period, Tsvetaeva practically did not write poetry, doing translations.

The war found Tsvetaeva translating. The work was interrupted. On August 8, Tsvetaeva and her son left on a steamer for evacuation; On the eighteenth, she arrived with several writers in the town of Yelabuga on the Kama. In Chistopol, where the evacuated writers were mostly located, Tsvetaeva received permission for a residence permit and left a statement: “To the council of the Literary Fund. I ask you to take me to work as a dishwasher in the opening canteen of the Litfond. August 26, 1941". On August 28, she returned to Yelabuga with the intention of moving to Chistopol.

August 31, 1941 committed suicide (hanged herself) in the house of the Brodelshchikovs, where, together with her son, she was determined to stay. left three suicide notes: those who will bury her, "evacuees", Aseev and son. The original note by the “evacuees” was not preserved (it was confiscated as material evidence by the police and lost), its text is known from the list that Georgy Efron was allowed to make.

Note to son: "Purrlyga! Forgive me, but then it would be worse. I'm seriously ill, it's not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Alya - if you see it - that you loved them until the last minute and explain that got stuck".

Aseev's note: "Dear Nikolai Nikolayevich! Dear Sinyakov sisters! I beg you to take Moore to Chistopol with you - just take him as a son - and so that he studies. I can do nothing more for him and only ruin him. I have 450 rubles in my bag and if try to sell all my things. There are several handwritten books of poetry in the chest and a pack of prose prints. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love like a son - he deserves. And forgive me. I couldn’t stand it. MC. Don’t leave never. I would be extremely happy if I lived with you. If you leave, take it with you. Don't leave!".

Note to the "evacuees": "Dear comrades! Don't leave Moore. I beg one of you who can take him to Chistopol to N. N. Aseev. sale of my things. I want Moore to live and study. He will be lost with me. Adr. Aseev on the envelope. Do not bury him alive! Check it carefully".

Marina Tsvetaeva was buried on September 2, 1941 at the Peter and Paul Cemetery in Yelabuga. The exact location of her grave is unknown. On the south side of the cemetery, near the stone wall where her lost last refuge is located, in 1960 the sister of the poetess, Anastasia Tsvetaeva, "between four unknown graves of 1941" set up a cross with the inscription "Marina Ivanovna Tsvetaeva is buried in this side of the cemetery."

In 1970, a granite tombstone was erected on this site. Later, already at the age of 90, Anastasia Tsvetaeva began to assert that the tombstone was located at the exact burial place of her sister and all doubts were just speculation.

Since the beginning of the 2000s, the location of the granite tombstone, framed by tiles and hanging chains, has been called the “official grave of M.I. Tsvetaeva” by the decision of the Union of Writers of Tatarstan. On display memorial complex M. I. Tsvetaeva in Yelabuga also shows a map of the memorial site Peter and Paul cemetery indicating two "version" graves of Tsvetaeva - according to the so-called "churbanovskaya" version and the "Matveevskaya" version. There is still no single evidentiary point of view on this issue among literary critics and local historians.

Collections of poems by Marina Tsvetaeva:

1910 - "Evening Album"
1912 - "Magic Lantern", second book of poems
1913 - "From two books", Ed. "Ole-Lukoye"
1913-15 - "Youth Poems"
1922 - "Poems to Blok" (1916-1921)
1922 - "The End of Casanova"
1920 - "Tsar Maiden"
1921 - "Versts"
1921 - "Swan camp"
1922 - "Separation"
1923 - "Craft"
1923 - “Psyche. Romance"
1924 - "Well done"
1928 - "After Russia"
1940 collection

Poems by Marina Tsvetaeva:

Enchanter (1914)
On the Red Horse (1921)
Mountain Poem (1924, 1939)
Poem of the End (1924)
Pied Piper (1925)
From the Sea (1926)
Room Attempt (1926)
Poem of the Stairs (1926)
New Year's (1927)
Air Poem (1927)
Red Bull (1928)
Perekop (1929)
Siberia (1930)

Fairy-tale poems by Marina Tsvetaeva:

Tsar Maiden (1920)
Alleyways (1922)
Well done (1922)

Marina Tsvetaeva's unfinished poems:

Yegorushka
Unfulfilled poem
Singer
Bus
Poem about the Royal Family.

Dramatic works Marina Tsvetaeva:

Jack of Hearts (1918)
Blizzard (1918)
Fortune (1918)
Adventure (1918-1919)
A Play about Mary (1919, not completed)
Stone Angel (1919)
Phoenix (1919)
Ariadne (1924)
Phaedra (1927).

Prose of Marina Tsvetaeva:

"Living about the living"
"Captive Spirit"
"My Pushkin"
"Pushkin and Pugachev"
"Art in the light of conscience"
"Poet and time"
"Epos and lyrics of modern Russia"
memories of Andrei Bely, Valery Bryusov, Maximilian Voloshin, Boris Pasternak and others.
Memoirs
"Mother and Music"
"Mother's Tale"
"The Story of a Dedication"
"House at the Old Pimen"
"The Tale of Sonechka".



Biography and episodes of life Marina Tsvetaeva. When born and died Marina Tsvetaeva, memorable places and dates important events her life. Quotes of the poetess, Photo and video.

Years of life of Marina Tsvetaeva:

born September 28, 1892, died August 31, 1941

Epitaph

"And loved, and loved,
Frozen over the line
Just didn't stop
At the edge of the river.

Late for the show
And late for the grave
And under the stone at Marina
A dream filled with sadness.

Only birds fly by
Above her head
Only the lines grow
Between flowers and grass.

From a poem by Zoya Yashchenko dedicated to Marina Tsvetaeva

Biography

Marina Tsvetaeva, one of the most prominent Russian poets, was born into the family of a professor at Moscow University, later the founder of the Museum of Fine Arts, a philologist and art critic. Tsvetaeva's mother was a musician, a student of N. Rubinstein, and wanted her daughter to follow in her footsteps. But already at the age of six, Marina began to write poetry, including in French and German. Marina studied at a private women's gymnasium, then continued her studies in Lausanne and Freiburg im Breisgau.

Having released the first collection of poems at her own expense, eighteen-year-old Marina Tsvetaeva attracted the attention of the largest poets of Russia of that time: N. Gumilyov, V. Bryusov. The poetess became her own in a creative environment, participated in literary studios, several times visited M. Voloshin in Koktebel. She writes a lot, meets her future husband; it seems that life favors the poetess.

But then a fateful meeting with the poetess Sofia Parnok takes place, and Tsvetaeva leaves her husband and plunges into a relationship for two years, which she will later call the “first disaster” in her life. And then others will follow, and no longer of a private order: it begins Civil War. Dying of hunger three year old daughter Irina, her husband fights in the White Guard, is defeated along with Denikin and emigrates to Germany. A few years later, Tsvetaeva is allowed to go to him - and a painful life in a foreign land begins.

Marina Tsvetaeva did not "take root" away from her homeland. Her poetry of this period did not find a response in the hearts of emigrants. True, works in prose gained fame: “My Pushkin”, “The Tale of Sonechka”, memoirs of contemporary poets. And only by prose Tsvetaeva actually saves her family from starvation: her husband is sick, her daughter earns a penny by embroidery, her son is still too small.

The daughter and husband of Tsvetaeva return to Russia in 1937, the poetess joins them two years later - and they are arrested by the NKVD. Ariadna Tsvetaeva spent 15 years in the camp and exile, Sergei Efron was shot. Tsvetaeva barely makes a living translating, but begins new war, and they and their son are evacuated to Yelabuga. The shocks and losses of recent years, unemployment and illness turn out to be too heavy a burden, and Marina Tsvetaeva commits suicide by hanging herself.

The exact place where Tsvetaeva is buried is unknown. In 1960, the sister of the poetess Anastasia erected the first monument among the graves of the unknown, and today this place is considered the "official" grave of Marina Tsvetaeva. In 1990, Patriarch Alexy II gave special permission for the funeral of a suicide, and it was held on the fiftieth anniversary of her death.

life line

September 28, 1892 Date of birth of Marina Ivanovna Tsvetaeva.
1910 The first publication of the collection of poems "Evening Album" at his own expense.
1912 Wedding with Sergei Efron and the birth of Ariadne's daughter. Release of the second collection "Magic Lamp".
1913 The third collection of Tsvetaeva's poems - "From two books" - has been released.
1914 Meeting with Sofia Parnok.
1916 Moving to Aleksandrov to my sister Anastasia. Return to husband.
1917 Birth of daughter Irina.
1922 Moving to her husband in Europe. Life in Berlin and Prague.
1925 Birth of son George.
1928 The release in Paris of the last lifetime collection of poems "After Russia".
1939 Return to Russia.
August 31, 1941 Date of death of Marina Tsvetaeva.
September 2, 1941 The funeral of Tsvetaeva in Yelabuga.

Memorable places

1. Moscow house, where Tsvetaeva lived in 1911-1912. (lane Sivtsev Vrazhek, 19).
2. Museum of Tsvetaeva in Moscow, in the house where she settled in 1914 after her marriage and lived until her departure abroad in 1922, at Borisoglebsky per., 6.
3. Pragerplatz square, where in the 1920s. the literary elite of the Russian emigration, including M. Tsvetaeva, gathered in the Pragerdile cafe. Here was the "Prague Boarding House", in which the poetess settled after meeting with her husband in Berlin.
4. The house where Tsvetaeva and her husband rented a room in Prague in 1923-1924 (51 Swedish Street).
5. House in Paris, where Tsvetaeva lived from 1934 to 1938 (street Jean-Baptiste Poten, 65).
6. House Museum of Tsvetaeva in Korolev (Bolshevo), where the poetess lived at the NKVD dacha in 1939.
7. House number 20 on Malaya Pokrovskaya street (then - number 10 on Voroshilov street) in Yelabuga, where Tsvetaeva lived last years and died.

Episodes of life

Two of Russia's greatest poets, Marina Tsvetaeva and Anna Akhmatova, met only once. Tsvetaeva highly appreciated Akhmatova's work since 1912, dedicated a cycle of poems to her, wrote enthusiastic letters. They met only in 1941, when Akhmatova came to Moscow in the hope of helping her arrested son. Tsvetaeva visited her, and the poetesses talked for seven hours in a row, but what remains unknown.

Before her death, Tsvetaeva left three notes in the pockets of her apron, and all of them were about her sixteen-year-old son, Mura. The first was addressed to him, the other two to friends and other evacuees. Tsvetaeva asked to take care of her son and teach him, she wrote that he would disappear with her. Moore survived his mother by only three years - he died at the front.

"Conditional" grave of Tsvetaeva in Yelabuga

Testaments

"Do not be too angry with your parents - remember that they were you, and you will be them."

"Never say that everyone does it: everyone always does it badly - since they are so readily referred to."

“At some second of the way, the target begins to fly at us. The only thought is: don't evade."

“The soul is a sail. Wind is life.


Tamara Gverdtsiteli sings a song based on Tsvetaeva's poems "Prayer"

condolences

"She was kind of God's child in the human world. And this world cut and wounded her with its corners.
Writer and memoirist Roman Gul

“She was protected by the stern pride of the defeated, who has nothing left but pride, and who saves this last guarantee so as not to touch the ground with both shoulder blades.”
Writer Romain Rolland

“The pathos of all the work of Tsvetaeva, first of all, is in defending her high mission to be a poet on earth. In this mission, her path from the very beginning to the end was heroic. It was this heroism that brought her to Yelabuga - where, saving her pride and the right not to curse everyone, she found her tragic end August 31, 1941".
Literary critic Genrikh Gorchakov, author of the book “About Marina Tsvetaeva. Through the Eyes of a Contemporary"

(1892-1941) Russian poet

“One great woman, perhaps the greatest woman who ever lived, sobbed with desperate fury:

Every house is alien to me,

every temple is empty for me...

The name of this woman is Marina Tsvetaeva. This is how another famous poet, Yevgeny Yevtushenko, wrote about this outstanding poet several decades after her death, guessing, perhaps, the main tragedy of her life, the tragedy of loneliness and the feeling of being useless. His own words can also define what Marina Tsvetaeva was for Russian poetry: “Marina Ivanovna Tsvetaeva is an outstanding professional, who, together with Pasternak and Mayakovsky, reformed Russian versification for many years to come. Such a wonderful poet as Akhmatova, who admired Tsvetaeva so much, was only the custodian of traditions, and not their renovator, and in this sense Tsvetaeva is superior to Akhmatova.

Marina was born into the family of the philologist Ivan Vladimirovich Tsvetaev, a professor at Moscow University, who left the greatest memory for himself by founding the Museum fine arts named after Pushkin on Volkhonka. Mother, Maria Alexandrovna Mein, a talented musician, a student of Rubinstein, came from a Russified Polish-German family.

Marina and her sister Asya had a happy, serene childhood, which ended with their mother's illness. She fell ill with consumption, and the doctors prescribed her treatment in mild climate Abroad. Since that time, the Tsvetaev family began a nomadic life. They lived in Italy, Switzerland, France, Germany, and the girls had to study there in various private boarding schools. They spent 1905 in Yalta, and in the summer of 1906 their mother died in their house in Tarusa.

In the fall, Marina enrolled in a boarding school at the Moscow Private Gymnasium. She did this quite deliberately in order to visit their orphaned house as little as possible. The theme of loneliness and death becomes one of the main ones in her work, starting from her early poems. Of course, this does not apply to Marina's very first poems, which she began to write at the age of six. But already at the age of seventeen, Marina Ivanovna Tsvetaeva writes, referring to the Creator: “You gave me childhood better than fairy tales And give me death at seventeen!"

From the poems of Marina Tsvetaeva, you can find out her feelings and moods in a particular period of her life, her interests and hobbies. She read a lot, but this reading was unsystematic: books on history, art, scientific treatises - everything in a row and mixed up. With early childhood Marina knew languages ​​perfectly and read and even wrote poetry with equal ease both in Russian and in French and German. Nature is romantic and impressionable, she loved to invent idols for herself, which changed over the years.

At the age of thirteen, Marina experienced a short-term passion for revolutionary romance, and Lieutenant Schmidt, whose name was on everyone's lips in 1905, became her hero. He was replaced by Napoleon and his unlucky son, the Duke of Reichstadt. Marina Tsvetaeva imagined herself a Bonapartist, hung portraits of her idols in her room, and at the age of 16 she even went to Paris, where she auditioned at the Sorbonne summer course stories old French literature.

There were other heroes in her life - real and invented, who, however, were united by one common quality: they were all passionate, seeking natures - rebels, like herself.

Some of her literary idols changed at different periods of her life, others remained forever. From childhood, she read Pushkin, but she never liked Eugene Onegin. Then she discovered Goethe and the German romantics. Among her contemporaries, she idolized Boris Pasternak, A. Akhmatova, whom she called "Chrysostom Anna of All Russia." Marina Ivanovna Tsvetaeva had a special feeling for A. Blok. She worshiped him as a poet and was in love with him, dedicating several beautiful poems to Blok.

In 1916, Marina had already become a famous poet, and her first book of poems, The Evening Album, was published in 1910. Tsvetaeva's poems were noticed and approved by such famous poets as Valery Bryusov, M. Voloshin, Nikolai Gumilyov. M. Voloshin gave her special support, with whom she became friends, despite big difference aged.

In 1911, Marina Ivanovna Tsvetaeva left the gymnasium and went to Koktebel to Voloshin, whose house was always open to all beginners and venerable writers, poets, artists, and musicians. There Tsvetaeva met with Sergei Efron. His parents were revolutionaries, died, and Sergei grew up an orphan. He was a romantic and trusting person, which he remained until the end of his life.

The next year, 1912, turned out to be full of joyful events for Tsvetaeva. She married Sergei Efron, gave birth to a daughter, Ariadne, and in the same year released her second collection of poems, The Magic Lantern. Despite the sad loss that Marina Tsvetaeva experienced in September 1913, when her father died, she finally found peace of mind, and her life for the next five or six years was incredibly happy. It was "an affair with one's own soul," as she later wrote. During this period, the private publishing house of Sergei Efron published a new collection of her poems - "From Two Books". New, more confident intonations appeared in Marina Tsvetaeva's poems. She felt like a real Russian poet, began to write freely and uninhibitedly. In 1916 she wrote many poems about Moscow.

At this time, the first World War. Tsvetaeva's husband, went to the front as a brother of mercy, rode an ambulance train, used to risk his life.

In the spring of 1917, significant changes took place in Tsvetaeva's life. She was completely uninterested in politics and February Revolution met with indifference. In April, she and Efron had a second daughter, whom Tsvetaeva wanted to name Anna in honor of Akhmatova, but changed her mind - after all, “fates do not repeat themselves,” and the girl was named Irina.

In the autumn it became quite difficult to live in Moscow, and in the midst of the October Revolution, Tsvetaeva and Efron, who had recently received the rank of ensign, left for the Crimea to M. Voloshin. When, after some time, Marina Tsvetaeva returned to Moscow for the children, there was no way back to the Crimea. Since that time, she has been separated from her husband for a long time. In January 1918, he secretly stopped by Moscow for a few days to see his family before leaving for Kornilov's army. Her husband, white officer, has now become for Tsvetaeva a beautiful dream, a “white swan”, heroic and doomed.

After his departure, she was left alone with the children amid devastation and deprivation, trying to get a job, get food in order to somehow feed the children. They were starving, sick, and soon the younger Irina died of exhaustion.

Marina Tsvetaeva was in despair, she did not see any way out, but she did not stop writing poetry, as if despair gave her even more inspiration. From 1917 to 1920, she wrote more than 300 poems, a large fairy-tale poem "The Tsar Maiden", six romantic plays, and made many essay notes. Subsequently, all critics unanimously claimed that during this period her talent literally blossomed, despite the circumstances. And then tragic motives again arose in her poetry - they could not help but appear in the conditions in which Tsvetaeva lived, in complete uncertainty about the fate of her husband; however, she did not doubt that he was killed. And another theme constantly arose in her work - this is the theme of separation.

But in the poetry of Marina Ivanovna Tsvetaeva there was something else: it was saturated with true folk motives, themes and images. Once, when asked by her daughter where all these folk intonations came from in her work, Marina Tsvetaeva answered: “The Revolution taught me Russia,” and left a half-joking note in her notebook: “The queue is my Kastalsky current! Artisans, grandmas, soldiers. In her poems and poems, the homeland appeared, although hectic and rollicking, but at the same time majestic, which is impossible not to love.

On July 14, 1921, I. Ehrenburg returned from the Czech Republic and brought a letter from Sergei Efron, who went with the White Army all the way from beginning to end, remained alive and ended up in Prague, where he studied at the University of Prague at that time. Tsvetaeva decided to go to him.

Already on next year she and her daughter ended up in Berlin, which at that time was considered the center of Russian emigration. Many writers who left Russia during the revolution gathered there, and Soviet prose writers and poets also came there when diplomatic relations were established between Soviet Russia and Germany. So active in Berlin was in full swing literary life, there were many Russian publishing houses, meetings and literary evenings were held. Tsvetaeva stayed in Berlin for two and a half months, here she finally met her husband, who came from Prague, and managed to write more than twenty poems, in which new force revealed her lyrical talent.

After Berlin, the real emigration of Marina Tsvetaeva to the Czech Republic began, where she and Efron lived for three years and where their son George (Mur) was born. Tsvetaeva always remembered this country with warmth, although they lived there in great poverty. But a beggarly existence could not drown out Tsvetaeva's poetic mood. Now main theme her work becomes the philosophy and psychology of love, and not only the love that connects a man and a woman, but love for everything that is in the world.

In the Czech Republic, Marina Tsvetaeva, in addition to lyrical poems, completed the poem-fairy tale-parable-tragedy-novel in verse, begun in Moscow, as she herself defined this work - “Well done” - about the mighty, all-conquering love of the girl Marusya for a ghoul in the guise of a good young man . At the same time, Tsvetaeva began working on other major works - "The Poem of the Mountain", "The Poem of the End", the tragedy "Theseus" and the poem "The Pied Piper". So she gradually began to move from small genres to large ones.

Life in the Czech Republic was relatively calm, but perhaps this is what she oppressed Tsvetaeva. She felt isolated from the world, from great literature, although she corresponded with her friends. Marina Tsvetaeva was tired of such a long seclusion and increasingly thought about leaving for France.

On November 1, 1925, Marina finally arrived in Paris and settled there with her children, while Efron was finishing his studies in Prague, with his friends in a poor apartment in the same poor, unattractive area. In Paris, the family could not afford to live, so they had to settle in the suburbs or in small villages. Although Marina Ivanovna Tsvetaeva wrote a lot and her works were published, modest fees barely covered the most necessary expenses.

In France, they lived with Efron for thirteen and a half years. She had already become a recognized poet, her literary evenings were held in Parisian clubs, to which Russian people who found themselves in exile came to listen to her poems. In addition, Tsvetaeva got the opportunity to communicate, which she lacked so much in the Czech Republic. However, she never became her own person there and, in fact, did not maintain relations with poets and prose writers of the Russian diaspora. She was frightened by the atmosphere that prevailed in these clubs and meetings. People cut off from their homeland could not come to terms with the fact that no one here needed them and was not interested. They constantly sorted out relations with each other, quarreled, spread gossip. Many of them openly envied Tsvetaeva's success. She developed especially tense relations with Z. Gippius and Dmitry Merezhkovsky only because she was an independent person and did not tolerate when they tried to impose any schemes on her.

While in exile, Marina Tsvetaeva wrote about Russia, constantly thinking about her homeland, but she could not solve the painful problem for herself, whether she should return and whether she would be needed there. However, this issue was decided for her by Sergei Efron. He was very homesick and more and more inclined to the idea of ​​returning to Soviet Union. He even became an active member of the Union of Homecoming, which arose among emigrants.

The first to leave for the USSR in 1937 was the daughter of Ariadna, and soon Sergei Efron. Marina Ivanovna Tsvetaeva was again left alone with her son and did not write anything for more than six months.

June 12, 1939 Marina Tsvetaeva returned to the USSR. Their family was finally reunited again, and they settled down to live in Bolshevo, near Moscow. But this last joy in her life did not last long. In August, the daughter was arrested, and in October, her husband, and for the umpteenth time she was left alone with her son. Sergei Efron, the only love of Marina Tsvetaeva, who was so eager to return to his homeland, was very severely punished for his gullibility. Tsvetaeva never saw him again. AT official document the posthumous rehabilitation of S. Efron indicates the date of his death - 1941.

The Great Patriotic War found her translating F. Garcia Lorca. But now the work has stopped. Having lost all her loved ones, she was madly afraid for her son. In August 1941, they left for evacuation to the city of Yelabuga on the Kama. Finding a job there was even more difficult than in Moscow. The archive of the Union of Writers of Tatarstan preserved a desperate letter from Tsvetaeva, where she offered her translation services from Tatar in exchange for soap and shag. She was not answered, since the Union of Writers of Tatarstan was then arrested in full force and only some supply manager remained there. According to the owners of the house where Tsvetaeva stayed with her son, she was fed by the wife of a local policeman, whom she helped to wash.

New trials turned out to be beyond her strength, her will to live became weaker every day. Last hope work remained in Chistopol, where the evacuated Moscow writers mainly lived. A dining room was soon to open there, and Tsvetaeva wrote a statement asking her to be accepted there as a dishwasher. This statement bears the date 26 August 1941. And on August 31, she committed suicide. Three years later, Tsvetaeva's son Georgy also died in the war.

Such a terrible fate befell Marina Tsvetaeva, one of the most remarkable poets in Russia. She was not going to die early and always said: "I have enough for 150 million lives." However, she did not have to live alone.

Marina Ivanovna Tsvetaeva was born September 26 (October 8), 1892 in Moscow. Daughter of Professor I.V. Tsvetaev, a professor at Moscow University, a well-known philologist and art critic, who later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts (now State Museum fine arts them. A.S. Pushkin). Mother came from a Russified Polish-German family, was a talented pianist. She died in 1906, leaving two daughters in the care of her father.

Winter time the family spent years in Moscow, summers in the city of Tarusa, Kaluga province. The Tsvetaevs also traveled abroad. In 1903 Tsvetaeva studied at the French boarding school in Lausanne (Switzerland), autumn 1904 - spring 1905 studied with her sister in a German boarding school in Freiburg (Germany), summer 1909 one went to Paris, where she attended a course in ancient French literature at the Sorbonne.

She began writing poetry at a young age. Her first collections "Evening Album" ( 1910 ) and "Magic Lantern" ( 1912 ) met with sympathetic responses from V. Bryusov, M. Voloshin, N. Gumilyov. In 1913 published a collection of two books. The book "Youth Poems. 1912-1915" marks the transition to mature romance. In verse 1916 (collection "Verst", 1921 ) are formed key topics creativity Tsvetaeva - love, Russia, poetry.

Winter 1910-1911 M.A. Voloshin invited Marina Tsvetaeva and her sister Anastasia (Asya) to spend the summer of 1911 in Koktebel, where he lived. There Tsvetaeva met Sergei Yakovlevich Efron. In 1912 Tsvetaeva married S. Efron, who became not only her husband, but also her closest friend.

October revolution M. Tsvetaeva did not accept. She idealized the White Guard movement, giving it features of sublimity and holiness. This is partly due to the fact that her husband S.Ya. Efron was an officer in the White Army. At the same time, Tsvetaeva creates a cycle of romantic plays (“Snowstorm”, “Fortune”, “Adventure”, “Stone Angel”, “Phoenix”, etc.) and a fairy tale poem “The Tsar Maiden” ( 1922 ).

Spring 1922 M. Tsvetaeva with her daughter Ariadna went abroad to her husband, at that time a student at the University of Prague. She lived in the Czech Republic for more than three years and at the end of 1925 She moved with her family to Paris. February 1, 1925 M. Tsvetaeva gave birth to a long-awaited son, named George (home name - Mur). In the early 20s. it was widely published in white émigré magazines. Published books: "Poems to Blok", "Separation" (both 1922 ), "Psyche. Romance", "Craft" (both 1923 ), fairy tale poem "Well Done" ( 1924 ). Soon, Tsvetaeva’s relations with emigrant circles escalated, which was facilitated by her growing attraction to Russia (“Poems to the Son”, “Motherland”, “Longing for the Motherland! For a long time ...”, “Chelyuskintsy”, etc.). The last lifetime collection of poems - “After Russia. 1922-1925" came out in Paris in 1928. The beginning of the Second World War met tragically, as evidenced by the last poetic cycle of Tsvetaeva - "Poems to the Czech Republic" ( 1938-1939 ), associated with the occupation of Czechoslovakia and imbued with ardent hatred of fascism.

In 1939 she regained her Soviet citizenship and, following her husband and daughter, returned to the USSR. At home, Tsvetaeva and her family lived for the first time at the state dacha of the NKVD in Bolshevo near Moscow, provided to S. Efron. However, soon both Efron and Ariadna were arrested (S. Efron was later shot). Since that time, she has been constantly visited by thoughts of suicide. After that, Tsvetaeva was forced to wander. was engaged poetic translations(I. Franko, Vazha Pshavela, S. Baudelaire, F. Garcia Lorca and others), prepared a book of poems.

Shortly after the start of World War II, August 8, 1941 Tsvetaeva and her son were evacuated from Moscow and ended up in the small town of Yelabuga. August 31, 1941 Marina Tsvetaeva committed suicide.

The world of themes and images of Tsvetaeva's creativity is extremely rich. She writes about Casanova, about the burghers, recreates with disgust the details of emigre life and glorifies her desk, collides love with the prose of life, mocks vulgarity, recreates Russian fairy tales and Greek myths. The inner meaning of her work is tragic - the poet's collision with the outside world, their incompatibility. Tsvetaeva's poetry, including "The Poem of the Mountain" ( 1926 ) and "The Poem of the End" ( 1926 ), "lyrical satire" "Pied Piper" ( 1925 ) and even tragedies based on ancient subjects "Ariadne" ( 1924 , published under the title "Theseus" in 1927 ) and "Phaedra" ( 1927 , published in 1928 ), is always a confession, a continuous, intense monologue. The poetic style of Tsvetaeva is marked by energy, swiftness. More in 1916-1920. folklore rhythms burst into her poetry (raeshnik, recitative - lamentations, spells - "cruel" romance, ditty, song). Each time is not a stylization, but an original, modern mastery of the rhythm. After 1921 Marina Tsvetaeva appears solemn, "odic" rhythms and vocabulary (cycles "Student", published 1922 ; "Otrok", published 1922 ). By the mid 20s include the most formally complicated poems by Tsvetaeva, often difficult to understand due to the extreme conciseness of speech (“Attempt at the Room”, 1928 ; "A Poem of the Air" 1930 , and etc.). In the 30s Tsvetaeva returned to simple and strict forms (“Poems for the Czech Republic”). However, such features as the predominance of colloquial intonation over melodious, the complex and original instrumentation of the verse, remain common to all of Tsvetaeva's work. Her poetry is built on contrasts, combining seemingly incompatible lexical and stylistic lines: vernacular with high style, everyday prose with biblical vocabulary. One of the main features of Tsvetaeva’s style is the selection of a single word, word formation from one or phonetically close roots, playing around with the root word (“minute - passing: pass away ...”). Highlighting this most important word for herself and rhythmically, Tsvetaeva breaks the lines of the phrase, often omits the verb, achieves special expressiveness with an abundance of questions and exclamations.

Tsvetaeva often turned to prose and created special genre, combining philosophical reflections, touches to a literary portrait with personal memories. She also owns treatises on art and poetry (“The Poet on Criticism”, 1926 ; "Poet and Time" 1932 ; "Art in the light of conscience", 1932-1933 , and etc.). The works of Marina Tsvetaeva have been translated into all European languages.