Which direction treated Tsvetaeva. The silver age of Russian poetry and acmeism. That they don't know
Gymnasium number 2 of Guryevsk
Department of Russian Language and Literature
SCENARIO
open lesson of literature
in grade 11.
"The silver age of Russian poetry.
Marina Tsvetaeva "
Amounted to
russian language and literature teacher
Lomko T. K.
Guryevsk
Silver century poets. Marina Tsvetaeva.
- The introductory word of the teacher. The main thought: "Why didn't Tsvetaeva joined the modernist literary trends?"
Buntar by nature, strong personality, Tsvetaeva difficult to converge with people. But it was able to distinguish true, genuine from false, artificial. Staying inimitable, studied at the geniuses of the past, bowed to the talents of contemporaries. But despite the fact that Tsvetaeva leaned over the work of Akhmatova, Pasternak, Blok, Mandelstam, she never joined any of the directions. Throughout the lesson, we will try to answer the question: why?
Each poetry has its own origins. And the first who entered her life from childhood was her Genius Pushkin Teacher, who she took a special role, devoted the cycle of poems.
- Tsvetaeva and Pushkin.
- The poem "Poet and King" sounds performed by the student.
- Message of a student on Essay M.TSvetaeva "My Pushkin".
Questions on the essay:
3) Listening to the individual homework. On the eve of the group of students (4 people) received a task to analyze the poems of Pushkin ("burned letter", "Madonna", "I remember a wonderful moment," "Recognition") and the poems of Tsvetaeva ("bitterness, bitterness, eternal taste!", " Plush Plalt "," How do you live with another? "" Yesterday I looked in my eyes ... "," You will throw your head ... ") according to the following plan:
* What is the attitude of the lyrical hero to his beloved person?
* If the feelings have cooled, as the lyrical hero continues to treat his beloved (beloved)?
* What human qualities perform the first plan in these relationships?
"The poems of the Tsvetaeva remained the only magging lonely pier. There, she allowed himself to be a timid and gentle, defiantly bold and unprofitable, always seeking to frankly and fully reflect herself. " (I.I. Babenko "Great Lowness of Love").
- Working with class (in pairs). On the desks lie open the poems of Pushkina "I loved you" and the Tsvetaeva "I like that you are sick with me." The task. The influence of Pushkin on the creativity of the color is undoubtedly. Your task to prove that in the poem of C. The influence of P.
3. Tsvetaeva and symbolists.
Pushkin traditions are brighter than just in the young lyrics of Tsvetaeva. But in the era of the heyday of the modernist currents, it was impossible to return to the classical tradition. Remember, in the manifest of futurists sounded: "Down with Pushkin!" Student in the gymnasium, C. Publishes its first collection of verses "Evening Album" and gets the praise of Brysov - theorist of symbolism. Voloshin comes to the house to Tsvetaeva, wanting to get acquainted with the young poetess. He introduces C. in the circle of his friends of poets - symbolists. She is friendly with Mandelshtam, and, like all the symbolists, bowing over the block.
The poem "Your name" dedicated to the block sounds.
Task class. Find images, characters inherent in poetry symbolists in verses "in the huge city of my night" and "gentle ghost."
4. Tsvetaeva and acmeyers.
Let's look at the names of the poems and the cycles of the Tsvetaeva "I'm with the challenge I wear his ring", "Grandma", "Verse for Son", "Ariadna". They have a biography in verses, confession of the soul, earthly human feelings. With poets of which literary direction it brings it closer? (With acmeism).
With this modernist destination, Rodnit Tsveyev's passionateness of the poetry of Akhmatova, which she devoted the cycle of poems. (Reading the poem "Zlatoist Anna").
Individual work. Homework. Work with critical articles.
Comparative analysis of the poems of Tsvetaeva and Akhmatova. What kind of poetry Ts. And A.?
1 Powerful brevity, compression. Selling saturation, deep subtext.
Akhmatova. Poem Mandelstam.
Oh, like spicy breath of carnations,
I once dreamed there -
Where Euridic was circling,
Bull Europe is lucky on the waves;
Where our shadows rush
Over the Neva, over the Neva, over the Neva;
Where the neck is splashing about the steps -
This is a pass to your immortality.
The images of the first quatrain are associatively associated with antique motifs in the work of Mandelstam. In the second quatrain - Images of St. Petersburg with the last line, which encloses the main meaning of the poem.
And under slow snow standing
Omitted knees in the snow,
And in the name of your holy
Kiss evening snow.
In these verses to Alexander block, the repetition of the word snow turns it into a multi-valued symbol. It includes the symbolism of the block itself, and the cold in his appearance and in the appearance of its city, and the cold distance, and even the weather of St. Petersburg. Armor of cold hiding "Mystery Area" - this is the deep meaning of this symbol. The "secret heat" internally binds the C. with the block.
- The accuracy of the details of the Akhmatova. Brightness, laconicity of comparisons, epithets in color.
I put on my right hand
Glove with left hand -
She gives all the female and all lyrical confusion.
Another detail paid attention to M. Tsvetaeva in the poem A.A. Akhmatova 1917:
On solid ridge of a snowdrift
In your white mysterious house
Such escaped both
In silence gentle go.
And sweeter of all songs are under
I have this performed dream,
Swim branches
And spurs your lonely ringing.
"And the spurs of your lonely ringing" is a gentful thing that says about love "(from the letter to Akhmatova).
Tsvetaeva "Detubitz on the court stands, a non-free, fierce ...".
"How do you live with another? Is it easier? Lubrier Lyuba? Shame Zevezova Into the foreheads of the forehead? "
5. Tsvetaeva and futurists.
Tsvetaeva had a thin poetic taste. It was able to distinguish genuine talent, and therefore learning a lot from his idols, was able to create his own world of poetry. Another page in her life was the passion for the style of futurism. Being in emigration, poetess meets Mayakovsky. She is conquered by the strength and novelty of his verse. It is such a male, explosive verse becomes the main thing in her style. "I do not believe poems that are pouring! Robed - yes! "
Reading the poem "Chelyuskintsy". The task. Analyze the art techniques used under the impression of Futurist's poetry. (Incomplete assumptions. Turning of thoughts, pulsating rhythm. Telegraph conciseness, neologisms).
6. Conclusion.
We analyzed the impact on the creativity of the color Pushkin, symbols, aqmeists, futurists and conducted a study: What did Tsvetaeva drawn from this poetry? But the question is: why did not Tsvetaeva entered any of the modernist flows? - remained. At home you need to answer this question in the form of an essay, deployed plan, miniatures. And Bolsov's words may help you find an answer to the question.
Reiteration. Lesson on the section "Lexik and phraseology".
- Introduction.
We will work today in groups. Each of you can show yourself individually, collaborating with members of the group or during the Competition Group.
- Section 1. "Frase units".
Task 1. Find phraseological units used in the book style.
- stay with the nose;
- fold the head;
- brazdes of the Board;
- stumbling block;
- palm of championship;
- beat eggs;
- overflow from empty to empty;
- do not wash away.
The task is performed for a while. The band is defeated correctly to the questions.
Task 2. Replace the phraseologism by the word-synonym.
1 group. S group.
- from flies to make an elephant; * drop anchor;
- pull the rope; * fall in spirit;
- squeeze * Do not bother;
- short over the belt. * Diva is given.
2 group. 4 group.
* to write; * Do not hit the dirt face;
* In the hell on cakes; * Like snow on your head;
* walk the trump card; * put roots;
* Purify bones. * hastily.
1 group. 2 group.
Neither to the city and nor to the village - my child ...
Drive, my son, in my country - mine? Her -
To the edge - all the edges on the contrary. Child! The very best
M. Tsvetaeva. Which is striking.
M. Tsvetaeva.
3 group. 4 group.
There was a quiet evening. Us
In the air smelled. lyrics
Solovy sang in the whole Ivanovo. in bayonets
A. P. Chekhov. Repeatedly attacked.
We are looking for a speech
Accurate and naked.
But poetry -
Preparencable thing:
Exists -
And nor into the tooth leg.
V. Mayakovsky.
Task 4. What do these phraseological combinations mean? The task is performed on a rumor.
Throw beads before pigs 1) try to please anyone;
Who can't understand or does not want
Understand it.
3) to do something outlessly.
Stay with nose
- do not get what was counting on
- to be deceived.
Do something through stump a deck
- rarely, with interruptions;
- bad, carelessly;
- with big breaks.
- confuse, make an ambiguity;
- create a false impression on yourself in whose eyes;
- exaggerate.
Seven Fridays in the week
- someone has a lot of free time;
- anyone works very little;
- someone often change plans, solutions, moods.
Section 2. Synonyms, antonyms, homonyms, paronyms.
Task 1. Place the synonyms for the noun "shame" according to the degree of recognition. Write an essay of the miniature of any genre, using these synonyms. Everyone writes, read the best by decision of the group ..
- embarrassment;
- embarrassment;
- confuez;
- confusion
Task 2. Find Antonyms. The one who is faster and more correctly addresses Antonyms in the notebook.
- Work 5. Wet.
- case 1) Dry
- fun 2) raw
- activity 3) Wet
- Storm 6. Fit
- hurricane 1) Pour
- calm 2) run
- whirlwind 3) go
- Neat 7. Cool
- tidy 1) heat
- svarish 2) Fresh
- pure 3) windy
- Scold
- to scold
- argue
- to praise
Task 3. Make a phrase with paronims. You can change it.
Group 1.
Military - militant;
Earthy - earthy;
Water - water;
Gorny - Mountains.
Group 2.
Ice - ice;
Intolerable - unbearable;
Clay - clay;
Pride - pride.
Group 3.
Give birth to neighing;
Nevezhi - ignorance;
Executive - executive;
Skilled - artificial.
Group 4.
Friendly - friendly.
Incomprehensible - incomprehensible.
Oil - oil;
Understand - master.
Summarizing.
As a result of studying this chapter, the student must:
know
- Creative biographies of large poets of the "Silver Century" who were standing outside of existing poetic directions;
- the originality of philosophical and aesthetic views of poets out of currents;
- creative evolution M. Tsvetaeva, M. Voloshina, V. Khodasevich; Themes, genre peculiarity, poetics of their poetic works;
be able to
- Explaining the main cultural and historical and religious philosophical trends that influenced the creativity of poets outside the flows;
- explain the literary and civil positions of M. Tsvetaeva, M. Voloshina, V. Khodasevich;
- Show novelty and originality of the creativity of poets outside of currents;
own
- skills to analyze poets poems out of currents in the unity of content and form;
- Concepts mythopoetics, anthroposophy, historosophy, existential motifs.
For creative independence, in the midst of the poets of the beginning of the 20th century, they kept, it seems stronger than in the Prosaiki environment, as for personal. Outside the directions, many who received the poets received, Sasha Black, Tafffi, I. Ehrenburg, were created. In this row there are a lot of large artists of the words deserve a separate conversation, for example, M. Tsveyev, M. Voloshin, V. Khodasevich.
Marina Ivanovna Tsvetaeva (1892-1941)
Poet, Prosecascript, playwright, Translator Marina Tsvevaeva was born in Moscow in the family of the Son of the Rural Priest, who became a famous art historian scientist, Professor of Moscow University, founder of the Museum of Fine Arts (now - State Museum of Fine Arts (Gmin). A. S. Pushkin) . Mother's family had German-Polish roots. The parental is a talented pianist, a student A. Rubinstein - hoped that the daughter would achieve success in the field of music, but Marina had an opportunity to play it with forms, shades of values, hidden consuits. She wrote poems from six years old, and in three languages \u200b\u200b- in Russian, in French, in German.
The family lived in peace and harmony, but it cannot be said that in the atmosphere of love. Father probably could not forget his first wife, after the death of which he stayed with two children. He was completely given to work, his children had a little time. The mother was twice as younger than the spouse, and her attitude towards him was built on respect. Trust, sincerity, mutual understanding was associated with Marina with her sister Anastasia. Later, Marina Ivanovna will tell about his family in autobiographical prose "Museum of Alexander III", "House of Old Pimen" (1933), "Mother and Music" (1934), "Father and his Museum" (1936). The truth of the facts in this prose is, but the poetic imagination of the author has greatly influenced their interpretation. Often, no matter how recalling certain events, cases, M. Tsveyev described not how they occurred, but how they could happen. The "artistic transformation" has undergone most people around M. Tsvetaeva people, including the closest. Yes, she talked about parents, but in her books they are not only as they were, and also such as the poet should be.
The formation of M. Tsveyev received in a prestigious gymnasium at home and abroad - in the guests of Italy, Switzerland, France, Germany, - where he left with her mother, sometimes with the whole family. The parent was sick and accepted foreign resort treatment recommended to it. The efforts of the doctors did not help, she died when Marina was 14 years old. Single life, the drama of life without mother was the books asked. Girl a lot, though you are impossible, read. There was a relatively permanent passion for neoromantism, the work of E. Rostan - the literary heir and the successor of the traditions of V. Hugo. The first book of her poems, the "evening album," came out when the author was 18 years old, then followed the "magic lamp" (1912), "from two books" (1913), "versts" (1916). Mastery has fastened from the book to the book.
In 1910, M. Tsveyev came at the cottage M. Voloshina in Koktebel, and there, on the Black Sea coast, there was a romantic and rock meeting with a beautiful erudite young men, S. Efron. Soon they married. S. Efron was a passionary personality. During the years of the Civil War, he participated in white movement. This movement Marina Ivanovna fired in the sublime cycle of poems "Swan Stan" (1917-1921). In emigration, in France, S. Efron believed in the truth of Soviet power. Officer of "guilt" before the advice, he entered the union of return to his homeland, collaborated with foreign agents of the GPU - NKVD, which, of course, made him and his wife and his wife in an emigrant environment. Need has always been their constant companion. Family relations M. Tsvetaeva and S. Efron NS were ideal, obviously, it was impossible in view of a gusty, fondant, romantic character of Marina, but she followed her husband to emigration, then, in the late 30s, in Red Moscow. The result of the return was arrest and shooting her husband, the prison conclusion of the daughter of Ariadna. For Marina Ivanovna daughter then the nearest friend as once sister. The son of George died at the front at the beginning of the war. In Soviet Russia, the books of ex-emigrants were not printed, as explained in the publishers, "due to the outdatedness" of her lyrics. M. Tsveyeva finished the life of suicide in evacuation in Elabuga, without having taught the trace and just hunger. The poet was refused to disadvantages in the dining room where evacuated writers were eager. The place of its burial is unknown.
On the one hand, the features of poetics M. Tsvetaeva is not closed with the existing literary areas, but on the other hand, the formal search for all major literary directions of the beginning of the XX century. She was not alien. In the Tsvethevsky work, a classic and novelty was intelligible. By the way, in relation to M. Tsvetaeva, the question of its belonging to some, even the most respected, creative or other, the community seems inappropriate to the community. Such a person who went on her recognition, always "against everyone," can belong only to himself or something large, whole, for example, art.
Feature to look at everything and all through deeply personal poetic optics has arose at M. Tsvetaeva very early and preserved for life. M. Tsvevaeva realized the exclusivity of its aesthetic significance and the need for a desire for creative originality. It also required the most serious attitude to business, readiness to work at the limit of possibilities. This is a relationship, this readiness sounds in an oath line from a diary written in the oldest period of life: "I know that bad poems will not give." The exact formula of the exclusivity of M. Tsvetaeva was removed by it in the poem "Poet" (1923):
Well, I do, singer and firstborn,
In the world where the most hidden is gray!
Where the inspiration store, as in the thermos!
With this immeasibility
In the world of measures?!
What are the favorite themes of M. Tsvetaeva? It is probably easier to call what she wrote about the NA. The huge variety of reality and abstractions has been reflected in sectation. Female house, homeland, close, cities, countries, desk, flora, fauna, favorite poets, historical personality, evil, good, politics, youth, old age, life, death, god and - love in all its manifestations. This is a far incomplete list of Tsvetaevsky theme.
I say a little that M. Tsvetaeva was given a rich creative imagination, a taking imagination lived in it, which was her grace and, probably, in some sense, punishment. Numerous lines of twenty-year-old prosperous beauty about death, the inevitability of falling into the abyss, "expired in Dali", epic, harmonious and tragic. Tsvetaevsky humility with the inevitability of disappearance "from the surface of the earth" imaginary. In the subtext of these lines raging the passionate love of the poet to life and the rejection of the inevitability of the decline. This, in connection with his poems about life and death, she spoke to her loved ones and acquaintances, reflected in letters, for example, writer-philosopher V. Rozanov.
The importance of personal relationship to any phenomenon M. Tsvetaeva claimed the challenge. Call manifests itself, for example, already in the name of its famous essay "My Pushkin" (1937). And this is so "her" Pushkin, that retelling the content of this essay is almost impossible. Historical and half-phth identities, the events of the current and long-lasting - S. Razin, Prince S. Volkonsky, A. Pushkin, reforms, unions, war, - in the field of Tsvethevsky artistic attention, were transformed, received the most unexpected interpretations. On the legendary Spaniard, who lived in the XIV century, a libertine and lawlessness, about a hundred fifty works are written in world literature, but Tsvetaevsky Don Juan (poech cycle "Don Juan", 1917) not to confuse with any other. Her Don Juan in a dramatic break with himself, he is deeply unhappy: it was not "Don-Zhuana who didn't have - Donna Anna!".
To many poems of M. Tsvetaeva, where it directly or indirectly describes himself, its attitude to contemporaries, whether M. Voloshin, B. Pasternak, O. Mandelshtam, A. Akhmatova, can not be treated as the poems of autobiographical reflecting her actual attitude to named or other person famous for her. Empirical reality for her has always been secondary, has always been only a help to create the most important and primary - poetic reality. In this reality, she believed and was angry with extremely angry when the surrounding did not agree with it. Even in passionate love hobbies, as noted by researchers of her creativity, the objects of hobbies themselves were secondary, the worn was the experienced passion from which the poems grow. In this sense, probably, the poet's closest poet was V. Mayakovsky, who refracted the mosaic of the world in the prism of his poetic consciousness and forced her audience to learn it.
The personality of M. Tsvetaeva is informative, rich, as every creative personality, the difference - in a kind of exacerbation of her personal faces, and this has determined in Tsvetaevsky poems. In short, immenseness is the most accurate definition for this poet. If art is built on various combinations of harmonious Apollonian and aucting Dionysian principles, then M. Tsvetaeva, of course, were closer than the beginning of the Dionysian. This combination is reflected in the content, and each content requires its form of incarnation.
Tsvetaevskaya Intimate Lyrics does not know forbidden, individual poems, for example, addressed to his daughter, may surprise or even scare away with their frankness, someone may say to frivolism. But at the same time no one will find them vulgar:
After a sleepless night weakens the body,
Mile becomes not my own, - a pop.
In slow veins, arrows are still started -
And smile to people like Seraphim ...
(As first. Page. 1916)
Here again the window,
Where again do not sleep.
Maybe they drink wine,
Maybe - so sit.
Or just hands
Do not disclose two.
In every home, friend
There is a window.
Pray, friend, for a sleepless house,
Outside the window with fire!
(As first. P., 1916)
Littleness! - Cute sin,
Cute satellite and enemy my cute!
You in my eyes glared laughter,
and I splashed the Mazurka in the veins ...
(As first. P., 1915)
Love Lyrics is almost always dramatic parting, painful separation. In the "Silver Age", the love lyrics enriched such large artists of the word as A. Block, A. Akhmatova, B. Pasternak ... And yet, for the story of the suffering abandoned Soul, M. Tsvetaeva finds his word, his poetic figure, his own Metaphor, but most importantly - its intonation. Ancient, like peace and art itself, the topic sounds not at all trivial:
I like that you are not sick ...
(As first. P., 1916)
B. Pasternaku
Ras - standing: the versts, miles ...
Ras - Sadili races,
To quietly led
On two different ends of the earth ...
(As first. P., 1925)
If M. Tsveyev put in verse hatred, then this is a frantic hate. It is impregnated by poems about grimaces of the bourgeois medium and the socialist environment, nor the other corresponded to its criteria of spirituality. It must be said that with all its enthusiasm issues of art and literature, M. Tsvetaeva was not a man torn off from problems of socio-historical life. This is evidenced by her letters and writings of the lyrol-epic genre - "Poem of the end" (1924), "Poem Mountain" (1924). The sword of his mouth she opened fascism, as few people broke up to her. Here is the poetic reaction of M. Tsvetaeva on the news about the occupation of Czechoslovakia by the vermhtak troops, with a multiple reinforcing tragic pathos reference to F. Dostoevsky:
Oh, drawing mountain,
The eclipsed - all the world!
It's time - it's time
Creator to return the ticket.
I refuse to be.
In Bedlama Nerludde
I refuse to live.
With wolves of space
I refuse to leave.
("ABOUT, tears in the eyes! .. ", 1939)
The same scale measured the expression of its reception:
Akhmatova! - This name is a huge sigh,
And deep into it falls, which is unnamed.
- And I give you my bell hail,
Akhmatova! - And the heart is in addition.
("Ahmatova. ", 1916)
Somehow naturally looks that the natural-space scale of M. Tsvetaeva measures its phenomenon into the world. Rowan - CE tree, blood color is its color.
Red brush rowan lit.
Fallen leaves.
I was born.
(As first. Page., 1916)
Rowan -
Sudin
Rowan -
Descent ...
Sudin
(As first. P., 1934)
Any house I am alien to me, everyone is empty for me,
And everything is equal, and everything is one.
By if on the road bush
Rises, especially - Rowan ...
(As first. Page: "Motherland! Long ago ...", 1934)
My youth! My Feroka -
Youth! My losquets are idol.
("Youth", 1921)
It seems that there are no such lexical reservoirs, there are no such forms of word formation, to which M. Tsveyev would not appeal: vulgarizms, tanks, neologisms, even jargonisms, - everything looks very harmonious in her disharmonious poetry. She applies to a silibotonic, to tonic, to white verse, to a variable system, to different sizes, rhymes, rhythms. It is difficult to name another poet that would be so virtuosically played Angenbemans, which would have relied on lowercase signs, on the author's punctuation. Favorite signs M. Tsvetaeva, of course, exclamation and dash, introducing a meaningful pause. Often meets a lot: a poet or lyrical hero will not be enough words to express the feeling. There are few poetic figures, techniques to which she would not resort. A significant source of image form M. Tsveyev opened in folklore. In the depths of her stanza, there are also epic tale, and a fairy tale, legend, and a lubok, and a conspiracy, and crying, and a chastushka. But all this is not enough for her. In Russian melodies of her verse, melodies of other nations are woven. Here is an example of the appeal of the artist's words to the Gypsy palette:
Soon of the swallows - in the sorcerer!
Youth! Forgive the day before.
Harves with raspberry skirt,
My youth! My dove is dark! Razor my soul!
My youth! Comfort, walkers!
Lane with Lazorovo shawl,
Share my! Sentured
You can easily with you! - Split, Oshpar!
Golden mine - Goodbye Amber!
(As first. Page., 1921)
Poems M. Tsvetaeva - these are the rhythms of her soul, this is the ripple of her blood, she did not exaggerate when she wrote about his work:
Open the veins: non-stationary,
It is unbelievable with life.
Substitute bowls and plates!
Any plate will be shallow ...
(As first. P., 1934)
Complete the word about M. Tsvetaeva line from the poem written by it somewhere in twenty years, is not new. Not new, but tempting and logical: it was surprisingly true in this poem the final author's assumption:
My poems like precious wines
It will turn out its turn.
(At first. Page: "My poems, written so early ... ", 1913) The turn really came.
- The first serious studies about the work of M. Tsvetaeva appeared in Russia in the late 80s. The past century, for example: Pavlovsky A. Rowan bush. About poetry Marina Tsvetaeva. L., 1989; Sahakyans, A. Marina Tsvetaeva. Life and art. M., 1997. So far, these works have not lost their scientific value. Modern colorland is huge.
The writing
Gentle and irrevocable
No one looked to you after
I kiss you - hundreds
Disconnecting years.
Marina Tsvetaeva is one of the restless stars of poetry of the XX century. In his poem of 1913, she asked: "I am easy to think about me, forget it easy."
Tsvetaevsky talent tried to disclose, approve, tilt, challenge many. Different written about Marina with color writers and critics of Russian abroad. The Russian editor Salonim was confident that "the day will come when her work will be re-opened and evaluated and will take a well-deserved place as one of the most interesting documents of the pre-revolutionary era." The first poems of Marina Tsvetaeva "Evening Album" came out in 1910 and were accepted by readers as verses of this poet. But in the same period, the tragedy of Tsvetaeva began. It was the tragedy of loneliness and unrecognizance, but without any taste of resentment, disadvantaged vanity. Tsvetaeva took the life of the one. Since she at the beginning of her creative path considered himself a consistent romantic, he voluntarily gave himself fate. Even then, when something fell into the field of her vision, immediately wonderfully and festively transformed, I began to shout and tremble with some kind of rated thirst for life.
Gradually, the poetic world of Marina Tsvetaeva became more complicated. Romantic worldview has encouraged with the world of Russian folklore. During emigration, the poetry of Marina Tsvetaeva takes a aesthetics of futurism. In his works from the intonation of annealing and speaking, she moves to oratoria, often disrupting on a cry, cry. Tsvetaeva in futuristically embroidered to the reader with all poetic techniques. Most of the Russian emigration, in particular living in Prague, responded with an unfriendly attitude, although he recognized her talent. But the Czech Republic still remained in the memory of Marina with a color light and happy memories. In the Czech Republic, Tsvetaeva finishes his poem "Well done". This poem was an angel-keeper of poeses, she helped her to hold out the hard time at the starting time of existence at the depth.
In Berlin, Marina Tsvetaeva works a lot. In her verses, the intonation of the stunned thought, excretion and burning feelings, but also appeared new: bitter concentration, inner tears. But through the longing, through the pain of experience, she writes poems performed by the self-denial of love. Here, Tsvetaeva creates Sille. This cycle of muscles in composition and imagery and is philosophical in meaning. It is closely connected with her "Russian" poems. In the emigrant period, the enlargement of its lyrics is observed.
To read, listen, to perceive the Tsvetvsky poems is calmly it is also impossible, as it is impossible to touch the bare wires unpunished. Its poems include a passionate social beginning. According to Tsvetaeva, the poet is almost always opposed to the world: he is a messenger of the Divine, an inspired mediator between people and heaven. It was the poet that is opposed to rich in the Tsvetheev "patch ...".
The poetry of Marina Tsvetaeva was constantly modified, she shifted the usual outline, new landscapes appeared on it, other sounds began to be heard. In the creative development of Tsvetaee, a pattern characteristic of it is invariably manifested. The "Poem Mountain" and "Poem of the End" represent themselves, in essence, one poem - a dilogy, which could be called or "the poem of" love "or" Poom of Parting ". Both poems - the history of love, violent and brief passion, which left the mark In both loving souls for life. Never again, Tsvetaeva did not write poems with such passionate tenderness, feverishness, frenzy and complete lyrical confession.
After the appearance of "rats", Tsvetaeva from lyrics turned to sarcamum and satire. It is in this work that she exposes the bins. In Parisian, the period of Tsvetaee reflects a lot about the time, about the sense of fleeting compared to the eternity of human life. Its lyrics, imbued with motifs and images of eternity, time, rock, is becoming more and more tragic. Not all of her lyrics of this time, including the love, landscape, is dedicated to time. In Paris, she isging, and more and more and more often thinks about death. To understand the poems of Tsvetaeva, as well as some of her poems, it is important to know not only the supporting semantic images and symbols, but also the world in which Marina Tsvetaeva as a poetic person thought and lived.
In the Paris, she writes a little lyrical poems, it works primarily on the poem and prose the memoir and critical. In the 30s, the Tsveyev almost do not print - the poems go with a thin interrupted flowing and, like sand, - in oblivion. True, she has time to send "poems to the Czech Republic" in Prague - they were saved there as the shrine. So there was a transition to prose. Prose for Tsvetaeva, not being verse, nevertheless, the most real Tsvetseevskaya poetry with all other features inherent in it. In her prose, not only the identity of the author, with her character, preferences and manner, well-known poems, but also the philosophy of art, life, history. Tsvetaeva hoped that the prose would cover her from the unfavorable emigrant editions. The last cycle of poems of Marina Tsvetaeva was "poems to the Czech Republic." In them, she quickly responded to the misfortune of the Czech people.
Today, the Tsueev know and love millions of people - not only with us, but in the whole world. Her poetry entered the cultural source, became an integral part of our spiritual life. Other poems seem like long and familiar, as if they always existed - as a Russian landscape, like a rowan on the road, like a full moon, overlooking the spring garden, and as an eternal female voice, intercepted by love and suffering.
(French symbolisme. From Greek symbolon. - sign, symbol).European literary and artistic direction of the late 19th-early 20th centuries. It was formed due to the general crisis of humanitarian culture, as well as in connection with the positivistic comprommentation of the realistic principles of the artistic image in Parnassians, naturalists and in the Belletristic novel of the 20th half of the 19th century. The basics of aesthetics of symbolism were in the late 60s-70s in the works of French poets P. Vellen, Lothemon, A. Rambo, S. Mallarm and other principles of symbolism in one way or another were reflected in the work of A. de Rainier, M . Meterlinka, P. Valerie, G. Gofmanstal, S. George, R.-M. Rilke and others.
The most common features of the doctrine of symbolism: art is an intuitive comprehension of world unity through the symbolic detection of "compliance" and analogies; Music Element - Praosnov of Life and Art; The domination of the lyrical poetic principle, based on faith in the proximity of the inner life of the poet to absolute and in the prerequisite or irrational magical strength of poetic speech; Appeal to the ancient and medium-old art in search of genealogical kinship. Symbolism as a cultural phenomenon as a whole in contact with the Platonic and Christian symbolic concepts of peace and culture. The idealistic doctrine of symbolism belongs to crisis phenomena, NG The creativity of its large artists is carrying universal sense: the rejection of the proprietary forms of society, dewincing man, sorrow on spiritual freedom, confidence in centuries-old cultural values \u200b\u200bas a unique start, premonition of world social fractures.
Russian symbolism Many philosophical and aesthetic attacks took from Western (largely prevented them through the teachings of Vl. Solovyov on the "soul of the world"), but found a national and social originality associated with public shocks and ideological searches of pre-revolutionary decades.
Speeches at the turn of the 80-90s. N. Minsk, D. S. Merezhkovsky, Z.N. Hippius and other reflected common cueadent tendations as a consequence of the crisis of liberal and people ideas. But the arrival in the literature V. Ya. Brysov, K. D. Balmont, F. Sologuba and especially the "third wave" of Russian symbolism in the early 20th century (I. F. Annensky, Vyach. I. Ivanova, A. A. Bloka, A. White, Yu. Baltrushattys and others) brought symbolism into an independent literary and philosophical current and an important factor in Russian cultural and spiritual life, the ideological meaning of which is not coordinated by the Decadacy (organizational centers - Scorpio Publishing Houses, "Grief" and "Musaget" , Logs "Scales", "Golden Fleece", partially "world of art"). Russian poets symbolists with painful tensions are experiencing the problem of personality and history in their "mysterious" connection with "Eternity", with the essence of the Universal "World Process". The inner world of the personality for them is an indicator of the total tragic state of the world, a resonator of natural and subsorative historical elements and a compatible prophetic monitoring of close upgrades. At the same time, symbolism is often thinking as "livestock", which goes beyond the limits of art, as the case of general cultural creation, designed to overcome the historical gap between people, between artists and the people.
The heroic-tragic experience of Russian symbols of social and spiritual collisions of the beginning of the century, as well as their discovery in the poetics (meaning polyphony, vehicle reform, updating the genres of lyrics, including poems, and new principles of vigorous vision), entered the influential heritage in poetry 20 century.
