Biography and work of Tsvetaeva

One of the most difficult comprehensions for readers of biographies of great people is the simple fact that they were just people. Creativity, a brilliant flight of thought is just one of the facets of personality. Yes, the descendants will see it - but still this is only one single facet. The rest may be far from ideal. Many unflattering contemporaries wrote about Pushkin, about Lermontov, about Dostoevsky. Marina Tsvetaeva was no exception. The life and work of this poetess were in constant deep internal contradiction.

Childhood

Tsvetaeva is a native Muscovite. It was here that September 26, 1892 she was born. Midnight from Saturday to Sunday, the feast of St. John the Evangelist. Tsvetaeva, who was always sensitive to coincidences and dates, especially to those who added exotics and drama, often noted this fact, saw in it a hidden sign.

The family was well-off. His father is a professor, philologist and art critic. Mother - a pianist, a creative and enthusiastic woman. She always aspired to discern in children the sprouts of future genius, inculcated love for music and art. Noticing that Marina is constantly rhyming something, her mother wrote with enthusiasm: "Maybe a poet will grow from it!" Admiration, admiration for art - in such an atmosphere M. Tsvetaeva grew up. Creativity, all of her later life, bear the imprint of this upbringing.

Education and training

Tsvetaeva received an excellent education, she knew several languages, she lived with her mother in Germany, Italy and Switzerland, where she treated tuberculosis. At the age of 16, she visited Paris to listen to lectures on classical Old French literature.

When Marina was 14, her mother died. Father paid much attention to children: Marina,
Her two sisters and her brother. But he was engaged in the education of children rather than education. Perhaps, therefore, Tsvetaeva's work bears an imprint of early maturity and obvious emotional infantilism.

Many family friends noted that Marina was always a very amorous and enthusiastic child. Too much emotion, too much passion. Feelings overwhelmed Marina, she could not control them, and she did not want to. No one taught it, on the contrary, it was encouraged, considering it to be a sign of a creative nature. Marina did not fall in love - she idolized the subject of her feelings. And this ability to revel in own feelings, to enjoy them, using as a fuel for creativity, Marina has kept forever. Love in Tsvetaeva's work is always exalted, dramatic, enthusiastic. Not feeling, but admiring them.

The First Poems

Marina started writing poetry early, at six. Already at the age of 18 she published her own collection - with her own money, wrote an enthusiastic critical article dedicated to Bryusov. This was another characteristic feature of her: the ability to genuinely admire literary idols. In combination with an unquestionable epistolary gift, this feature helped Marina to start a close acquaintance with many famous poets of that time. She admired not only poetry, but also authors, and wrote about her feelings so sincerely that the literary tip turned into a declaration of love. Much later, Pasternak's wife, after reading the correspondence of her husband with Tsvetaeva, demanded that the communication be stopped immediately-the poet's words were too intimate and passionate.

Price of enthusiasm

But this was Marina Tsvetaeva. Creativity, emotions, ecstasy and love were her life, not only in poetry, but also in letters. This was her trouble, not as a poet, but as a person. She did not just feel, she was eating emotions.

The subtle mechanism of her talent worked on falling in love, on happiness and despair, like fuel, burning them. But for any feelings, for any relationship you need at least two. Those who came across Tsvetaeva, who fell under the influence of her dazzling sensations, like Bengali fire, always eventually became unhappy, however wonderful at first. Tsvetaeva was also unhappy. Life and creativity in her life intertwined too closely. She wounded people, and she was not aware of this. More precisely, she considered it natural. Just another sacrifice on the altar of Art.

Marriage

At 19, Tsvetaeva met a young handsome brunette. Sergei Efron was smart, effective, enjoyed the attention of the ladies. Soon Marina and Sergei became husband and wife. Many of those who knew poetesses noted that during the first time of marriage she was happy. In 1912, she had a daughter, Ariadne.

But the life and work of M. Tsvetaeva could exist only at the expense of each other. Or life devoured poetry, or poetry - life. The collection of 1913 in many respects consisted of old poems, and for new ones a passion was needed.

Family happiness was not enough for Marina. Spousal love quickly became boring, Tsvetaeva's creativity required new fuel, new experiences and torments - the more, the better.

It is difficult to say whether this led to actual treason. Marina was fond of, flashed from emotions and wrote, wrote, wrote ... Naturally, the unfortunate Sergei Efron could not not see it. Marina did not consider it necessary to hide her hobbies. Moreover, involving one more person in this emotional whirlwind only added drama, increased the intensity of passions. This was the world in which Tsvetaeva lived. The themes of the poet's creativity, its bright, impetuous, passionate sensuality, sounding in verse - these were two parts of one whole.

Safichesky communication

In 1914, Tsvetaeva learned that one can not only love men. Sofia Parnok, a talented poetess and brilliant translator, Russian Sappho, took Marina seriously. She left her husband, inspired and carried away by the sudden kinship of souls, sounded in unison. Two years this strange friendship lasted, full delight of love and gentle adoration. It is possible that the connection was indeed platonic. Emotions are what Marina Tsvetaeva needed. Life and work of this poetess are like an endless pursuit of the subject of love - for love itself. Happy or unhappy, mutual or unrequited, to a man or a woman - is not important. It's just an ecstasy with feelings. Tsvetaeva wrote poems dedicated to Parnok, which later became part of the collection "Girlfriend".

In 1916, the connection ended, Tsvetaeva returned home. The resigned Efron understood everything and forgave.

Peter Efron

The following year, two events occur simultaneously: Sergei Efron goes to the front as part of the White Army, and Marina has a second daughter, Irina.

However, the story with the patriotic impulse of Efron is not so unambiguous. Yes, he was also a noble family, he was a hereditary Narodnaya Volya, his beliefs fully corresponded to the ideals of the White movement.

But there was one more thing. In the same year of 1914, Tsvetaeva wrote poignant poems dedicated to her brother Sergei, Peter. He was sick-consumptive, like Tsvetaeva's mother. And he is seriously ill. He is dying. Tsvetaeva, whose life and work is a flame of feelings, lights up this man. It can hardly be considered a novel in the normal sense of the word - but love is obvious. She watches with painful enthusiasm the rapid dissolution of the young man. Writes to him - the way she can, hotly and sensually, passionately. He goes to the hospital. Humbled by another's extinction, filled with her own lofty pity and tragedy of feelings, Marina gives this person more time and soul than her husband and daughter. After all, emotions, so bright, so dazzling, so dramatic - these are the main themes of Tsvetaeva's work.

Love polygon

What should Sergei Efron have felt? A man who turned from a husband into an annoying hindrance. Wife rushes between a strange friend and a dying brother, writes passionate poems and waves away from Efron.

In 1915, Efron decides to become a nurse and go to the front. He goes to the courses, finds a job on an ambulance train. What was it? A conscious choice dictated by persuasion or a gesture of despair?

Marina suffers and worries, she rushes, finds no place for herself. However, Tsvetaeva's creativity from this only wins. Poems dedicated to her husband during this period, one of the most piercing and eerie. Despair, anguish and love - in these lines the whole world.

Passion, corroding the soul, spills out in verse, in this - the whole of Tsvetaeva. Biography and creativity of this poetess form each other, feelings create poems and events, and events - poems and feelings.

The tragedy of Irina

When in 1917 Efron, having graduated from the school of ensigns, left for the front, Marina remains alone with two children.

What happened then, Tsvetaeva's biographers try to avoid silence. Younger daughter of the poetess, Irina, is dying of hunger. Yes, in those years it was not uncommon. But in this case the situation was extremely strange. Marina herself repeatedly said that she did not like the younger child. Contemporaries say that she beat the girl, called crazy and stupid. Probably, the child really had mental deviations, and maybe, so was the persecution on the part of the mother.

In 1919, when the food became very bad, Tsvetaeva decided to send her children to a sanatorium, to provide state support. The poet never liked to deal with everyday turmoil, they irritated her, provoked resentment and despair. Unable to withstand the fuss with two sick children, she, in fact, gives them to the orphanage. And then, knowing that there is practically no food, only one food is used - the elder, the beloved. The unhappy weakened three-year-old does not stand up to the hardships and dies. In this case, Tsvetaeva herself, obviously, eats if not normally, then tolerably. Forces are enough for creativity, for editing already written earlier. Tsvetaeva herself spoke about the tragedy: there was not enough love for the child. Just did not have enough love.

Life with a genius

This was Marina Tsvetaeva. Creativity, feelings, aspirations of the soul were more important to her than living people who are nearby. Everyone who was too close to the fire of Tsvetaeva's creativity was scorched.

They say that the poet was a victim of harassment and repression, could not stand the test of poverty and deprivation. But in the light of the tragedy of 1920, it is obvious that most of the suffering and suffering that Tsvetaeva suffered is her fault. Free or involuntary, but her. Tsvetaeva never considered it necessary to keep her feelings and desires in check, she was the creator - and that was all it said. The whole world served as a workshop for her. It is difficult to expect people from the people around Marina to take this attitude with delight. Genius is, of course, wonderful. But from the side. Those who believe that close creators should tolerate indifference, cruelty and narcissism only out of respect for talent, simply did not live in such conditions. And they hardly have the right to judge.

Reading a book with genius poems is one thing. To die of hunger when my mother does not consider it necessary to feed you, simply because she does not love you - quite another. Yes, the works of Akhmatova and Tsvetaeva are masterpieces of the poetry of the Silver Age. But this does not mean that the poets were necessarily good people.

Konstantin Rodzevich

Despite all the peculiarities of Tsvetaeva's character, for all her everyday, practical inappropriateness, Efron still loved her. After the war in Europe, he called his wife and daughter there. Tsvetaeva went. For a time they lived in Berlin, then three years - under Prague. There, in the Czech Republic, Tsvetaeva had another novel - with Konstantin Rodzevich. Again the fire of passion, again poems. Creativity Tsvetaeva enriched two new poems.

Biographers justify this fascination with the weariness of the poetess, her despair and depression. Rodzevich saw in Tsvetaeva a woman, and Marina so yearned for love and admiration. It sounds quite convincing. If you do not think that Tsvetaeva lived in a country that was starving. Tsvetaeva, on her own admission, caused the death of her daughter. Marina repeatedly took a great interest in other men, and not only men, forgetting about her husband. And after all this, he did his best to help his wife get out of the starving country. He did not abandon her, although of course he could. He did not divorce upon his arrival. No. He gave her shelter, food and the opportunity to live in peace. Of course, what kind of romance ... It's boring. Ordinary. Whether it's a new fan.

European passions Tsvetaeva

According to some contemporaries, Tsvetaeva's son, George - is not Efron's child at all. It is believed that the father of the boy could be Rodzevich. But there is no exact information on this matter. Those who doubted the fatherhood of Efron, did not like Marina, considered her to be an extremely unpleasant, heavy and unprincipled person. And consequently, from all possible explanations they chose the most unpleasant, discrediting name of the poetess. Did they have reasons for such dislike? Maybe. Should such sources be trusted? No. Prejudice is the enemy of truthfulness.

In addition, not only Rodzevich was the subject of enthusiasm for Tsvetaeva. It was then that she led a scandalous correspondence with Pasternak, which was interrupted by the latter's wife, finding outrageously frank. Since 1926 Marina has written to Rilke, and the communication lasts long enough - until the death of the legendary poet.

Life in emigration Tsvetaeva unpleasant. She misses Russia, wants to return, complains of unsettledness and loneliness. The homeland in Tsvetaeva's works in these years becomes a leading topic. Marina was carried away by prose, she writes about Voloshin, about Pushkin, about Andrei Belom.

The husband at this time was carried away by the ideas of communism, revised his attitude to the Soviet authorities and even decided to take part in underground activities.

1941 - Suicide

Not one Marina is sick of returning home. Daughter, Ariadne, also wants to go home - and she is really allowed to enter the USSR. Then Efron returns to his homeland, already by that time implicated in the murder with political coloring. And in 1939, after 17 years of emigration, Tsvetaeva, finally, also returns. The joy was short-lived. In August of the same year, Ariadne was arrested, in November - by Sergei. Efron was shot in 1941, Ariadna was sentenced to 15 years in camps on charges of espionage. Tsvetaeva could not find out anything about their fate-she simply hoped that her relatives were still alive.

In 1941, the war began, Marina with her sixteen-year-old son left for Yelabuga, for evacuation. She has no money, no work, the inspiration left the poetess. Devastated, disappointed, lonely Tsvetaeva could not stand it and on August 31, 1941 committed suicide - she hanged herself.

She was buried in a local cemetery. The exact place of rest of the poetess is unknown - only roughly the area in which there are several graves. There, many years later, a memorial monument was erected. Tsvetaeva does not have a single point of view about the exact place of burial.