Folklore traditions in the poetry of M. Tsvetaeva. The body code in Marina Tsvetaeva's poem “The day will come - sad, they say! Tsvetaeva, a sad day will come, they say analysis

Iosif Brodsky defined one of the features of Marina Tsvetaeva's lyrical intonation as "the desire of the voice in the only possible direction for it: up." Thus, the poet conveyed his feeling from what he himself called "a kind of a priori tragic note, hidden - in verse - sobbing." Brodsky saw the reason for this phenomenon in Tsvetaeva's work with language, her experiments with folklore. Indeed, many of Tsvetaeva's poems can be perceived as folklore stylizations. At the same time, the question inevitably arises - what does Tsvetaeva bring to the language of her folk poetry, in what ways are her texts similar to songs performed by the people, and in what ways are they not similar, and why. For now, we will keep this question in mind and talk only about some features of Tsvetaeva's poetics, which bring her poetry closer to the genres of oral folk art (mainly lyrical). Separately, we will say that we will mainly talk about poems of the second half of the 1910s (the collections Versta I, Poems about Moscow, Poems to Blok, Poems to Akhmatova, and some others).

In many of Tsvetaeva's poems, language formulas characteristic of folklore genres attract attention. Her lyrical heroine often uses vernacular and dialectisms in her speech:

That is not the wind
Drives me through the city
Oh, it's the third
I can smell the evening in my horns.

(“Gentle Ghost…”)

In addition to the syntactic construction typical of folk songs with negation and the word “that” (recall the beginning of the famous song “Oh, it’s not evening ...”) and the colloquial, intonation-creating lament “oh, really”, Tsvetaeva also uses a rare form of the word in this stanza “enemy” - “in? horn”, which in Ushakov’s dictionary is marked “region, nar.-poet.”. Thus, an ordinary, widespread word acquires an unusual, alien sound for our ear.

The abundance of traditional poetic vocabulary, including numerous epithets, also refers to folklore in Tsvetaeva’s poems (cf. “with his keen eye - a lad”, “dense eyes”, “a golden-eyed bird will wake up”, “lovable - I will lead - speeches”, “cool coast” , “gray waters”, “wonderful hail”, “crimson clouds”, etc.).

Even Tsvetaeva's descriptions of everyday, everyday situations include language formulas characteristic of folklore genres. So, in the poem “Gathering loved ones on the road ...”, which deals with ordinary farewells on the road, the lyrical heroine conjures natural elements so that they do not harm her loved ones. It must be said that appeals to external forces, on which a lot depended in a person’s life, is quite natural for folk culture. Based on them, a special genre of conspiracy developed, which involved pronouncing the right words in a strictly defined order. Tsvetaeva in her plot uses a form of address typical of this genre - the phenomena of inanimate nature act in her as living beings that can be influenced:

You tirelessly, wind, sing,
You, dear, do not be hard on them!

Gray cloud, do not shed tears, -
As for the holiday they are shod!
Pinch your sting, snake,
Throw, robber, your fierce knife ...

Let us pay attention to the fact that the epithets in these lines are after the word being defined (“gray cloud”, “your fierce knife”). A similar type of linguistic inversion is found in many of Tsvetaeva’s poems (“gray day”, “radiant peace”, “dark night”, “about a young swan”, “Silver, confused, evening pigeons ...”, etc.), it is characteristic and the genre of folk song - as V.N. Barakov, “Russian song is characterized by post-positive (after defined words) use of epithets” (cf. “How will I go, young, / How will I go, cheerful ...”, “They throw off a colored dress from a girl, / Put a black dress on a girl”, “Mother Volga is flowing, / Dear friend, iris bears”).

V. Kandinsky. Composition VIII. Fragment

The world of objects, into which Tsvetaeva immerses her reader, is also connected with traditional culture - it seems to have “migrated” into her poetry from folk tale, legends and other folklore genres. Here are silver, pearls, rings, divination, canopy, porch; here are wanderers, pilgrims, nuns, holy fools, healers, etc.

Tsvetaeva also has many references to animals and birds often found in folk poetry. Moreover, as in folklore, the poet speaks of animals, but he means people. In this one can see, on the one hand, the image traditional for folklore of the miraculous wrapping of a person into an animal or bird, and on the other hand, a poetic device, a hidden comparison. As in folk art, Tsvetaeva most often has images of a dove, a swan, an eagle: “I baptize you for a terrible flight: / Fly, young eagle!”, “My fosterling! Swan! / Is it good for you to fly?”, “My mother’s blessing / Above you, my plaintive / Little crow”, “Snow swan / Feathers spread on my feet”, etc. (Compare in folk songs: “You are my little blue, my little white dove, / Why are you flying early from the warmth of the nest, / Who are you leaving me, my dear?”, “I will tell my dear about my misfortune: / - you are a Falcon my clear, fine fellow, beautiful, / Where are you leaving, are you leaving me? ..”.)

Various masks are put on not only by Tsvetaeva's characters, but also by the lyrical heroine herself. She tries on the role of a “humble wanderer”:

And I think: someday I<…>
I will put a silver cross on my chest,
I will cross myself and quietly set off on my way
On the old road along the Kaluga.

(“Above the blue groves near Moscow…”)

Turns into a fortuneteller:

I go out onto the porch - I listen,
I tell fortunes on lead - I cry.

(“I go out onto the porch - I listen ...”)

Calls herself a "warlock":

So that she doesn’t come out like me - a predator,
Warlock.

(“Eve of the Annunciation…”)

Takes the form of a Moscow noblewoman:

And nothing is needed from now on
To the newly deceased boyar Marina.

(“The day will come - sad, they say!”)

Including because of this endless game of dressing M.L. Gasparov defined Tsvetaeva's mature poetry as "role-playing" or "playing" lyrics. It must be said that in this feature of Tsvetaeva's poetics one can see a kinship with folk culture, with its centuries-old carnival tradition. As M.M. Bakhtin, “one of the obligatory moments of the people’s festive fun was dressing up, that is, updating clothes and one’s social image.” In all these cases, we can talk not just about comparison - Tsvetaeva's characters get used to various images, while the line between a person and his role turns out to be extremely unsteady.

Tsvetaeva uses another type of comparison, in which the object being defined is as close as possible to the object with which it is compared - we are talking about a comparison expressed by a noun in the instrumental case:

The cat crept onto the porch,
exposed the face to the wind...

If particles “like”, “as if”, “as if” indicate the separation of the compared objects in comparative turnover, then this distance leaves the comparison in the form of instrumental case. In the genres of oral folk art, when compared in the instrumental case, the object of comparison, as a rule, is a person who is compared with an animal or plant, that is, with a phenomenon of the world of nature surrounding a person:

And I'm a street - a gray duck,
Through the black mud - quail,
I'll go under the collar - a white swallow,
I’ll go into a wide courtyard - an ermine,
I will fly up on the wing - a clear falcon,
I will ascend into a high tower - a good fellow.

This form of comparison presupposes the non-dismemberment of the world of people and the world of nature; this is not just a grammatical device - it reflected the traditional folk culture idea of ​​the unity of these two worlds, according to which what happens in people's lives is similar to what happens in the natural world.

These views laid the foundation for compositional features many folklore works, which A.N. Veselovsky called parallelism, and its most common type - two-term parallelism. General formula his is this: “a picture of nature, next to it is the same from human life; they echo each other with a difference in objective content, there are consonances between them, clarifying what they have in common. For example:

A branch broke off
From the garden from the apple tree,
The apple rolled back;
The son leaves the mother
To the far side.

Not a white birch bends down,
Not a staggering aspen made a noise,
A good fellow is killed with a twist.

The same technique is already consciously used by Marina Tsvetaeva. To verify this, let's read one of the poems of the first issue of "Milestones":

Planted an apple tree
Little fun
Old - youth
The gardener is happy.

Lured into the upper room
White dove:
Thief - annoyance,
The hostess is a delight.

She gave birth to a daughter
very blue,
Gorlinka - voice,
The sun is hair.
On top of the girls
On top of the good guys.

This poem consists of three stanzas. The first two stanzas describe the actions of the unnamed heroine of the poem, aimed at the phenomena of the natural world around her (“I planted an apple tree ...”, “I lured me into the upper room / White turtledove ...”), and also talks about the result of these actions for third parties (“ Small - fun, / Old - youth, / Gardener - joy ”; “The thief - annoyance, / Mistress - delight”). However, it is clear to the reader that the main and most important action is described in the third stanza (it is also the largest). Let us note in parentheses that in folklore texts there is always “the preponderance on the side of that<мотива>, which is filled with human content”.

The third stanza describes an action directed at a person, in this case, a daughter. This stanza is also built on the model of the previous ones: first it talks about the action itself (“She gave birth to a daughter - / Blue very women”), and then about how this action will affect others (“On the woe to the girls, / On the woe to the good fellows”). It is interesting that the phenomena of the natural world do not leave even the third stanza: “daughter” is compared with a turtledove and the sun (“A turtledove with a voice, / The sun with a hair”).

Finally, the main thing that brings many of M. Tsvetaeva's poems closer to the works of oral folk art is the numerous repetitions, in connection with which M.L. Gasparov wrote about the "refrain" of her poetry. It is no coincidence that composers were so eager to set Tsvetaeva's poems to music.

As S.G. Lazutin, “... the principle of repetition is the most important in the composition of a traditional folk lyrical song. This principle is entirely and quite consistent with the peculiarities of its syntax and melodic structure. The compositional principle of repetition is most clearly manifested in round dance songs, where it is supported by the repetition of certain actions, round dance movements. As an example, Lazutin cites the song “The street is narrow, the round dance is big”, it begins with the following stanza:

The street is narrow, the round dance is big,
Move apart when I, young, played out!
I amuse my father,
Angry father-in-law fierce.

Then this stanza is repeated four more times, and in the place of the father and father-in-law from the first stanza are “dear mother” and “fierce mother-in-law”, “brother” and “fierce brother-in-law”, “dear sister” and “fierce sister-in-law” and, finally , “dear friend” and “hateful husband”.

However, the repetition of linguistic formulas and situations is also characteristic of other genres of folklore, for example, for lyrical songs. Here are just some examples:

... The neighbor will have my dear, good,
My dear, handsome, white, curly,
White, curly, single, unmarried...

... As they said about the dear,
As if lifeless, unhealthy,
As if lifeless, unhealthy,
Seemed to be missing.
How are you today my dear
Walked along the street
Walked down the street...

With Tsvetaeva, this kind of repetition becomes perhaps the main compositional device in so many poems. And there can be a lot of examples here, here are just a few:

Do not love, rich, - poor,
Do not love, scientist, - stupid,
Do not love, ruddy, - pale,
Do not love, good, - harmful:
Golden - copper half!

(“Don’t love, rich, poor…”)

The boys are hot
Youths - blush,
Young men shave their beards.

(“Young men are hot…”)

Accustomed to the steppes - eyes,
Accustomed to tears - eyes,
Green - salty -
Peasant eyes!

("Eyes")

All subsequent stanzas of the poem “Eyes” end with the same word, which is placed in the title - in this way, the content of the main image for the poem is gradually revealed. At the same time, as in the song chorus, Tsvetaeva offers the reader different variants: her eyes are either “green” or “peasant”. In the third stanza, there is no definition at all - it ends with the phrase "downcast eyes."

The repetition of the same groups of words in similar metric conditions is one of the fundamental features of oral folk art. These repetitions ensure the stability of folklore genres, thanks to them the text remains itself, regardless of who is in it. this moment performs it. Different narrators can change the order of the narration (rearrange lines, etc.), make additions or clarifications. Moreover, these changes are inevitable, so one of the most important qualities of folklore is its variability. However, as B.N. Putilov, “the category of variability is connected with the category of stability: something that has stable characteristics can vary; variation is unthinkable without stability.” As mentioned above, this stability is created, among other things, due to the formulaic nature of the poetic language.

Meanwhile, repetitions in Tsvetaeva perform a completely different function than in the texts of folk poetry. They give the impression of the instability of the poetic word, its variability, the constant, incessant search for the right word to express this or that image. As M.L. Gasparov, “... in Tsvetaeva ... the central image or thought of the poem is the repeating formula of the refrain, the stanzas preceding the refrains lead to it each time from a new side and thereby comprehend and deepen it more and more. It turns out trampling in one place, thanks to which the thought does not go forward, but deeper - the same as in later verses with stringing words that clarify the image. In this case, the meaning of the central concept can be clarified:

Sleep, calm down
Sleep, honored
Sleep, crowned
Woman.

(“She circled my eyes with a ring ...”)

To my hand, which I will not withdraw,
To my hand, from which the ban is lifted,
To my hand that is no more...

(“The day will come - sad, they say ...”)

Or the idea of ​​the central concept deepens due to the refinement of its sound:

But my river - yes with your river,
But my hand is yes with your hand
They will not converge, my joy, until
Dawn will not catch up - dawn.

(“In Moscow, the domes are on fire…”)

I. Brodsky writes about the same feature of Tsvetaeva's poetics, which implies a constant search for the right, more accurate word. Analyzing the dedicated R.M. Rilke's poem "New Year", Brodsky especially highlights the following lines:

First letter to you on a new
- Misunderstanding that cereal -
(Green - ruminant) loud place, sonorous place,
Like Aeolian empty tower.

Brodsky calls this passage "a wonderful illustration, characteristic of Tsvetaev's work of multifaceted thinking and the desire to take into account everything." According to him, Tsvetaeva is a poet who "does not allow herself or the reader to take anything on faith." She "has nothing poetically a priori, nothing questioned ... Tsvetaeva all the time, as it were, struggles with the notorious authority of poetic speech."

Thus, we see that following the tradition of folk poetry in this case turns out to be purely formal for Tsvetaeva. The appearance of repetitions is due to the peculiarities of her poetic thinking, meets her own creative tasks, and is not at all only a consequence of external copying. It must be said that the stylization of other methods of folk poetry does not prevent the manifestation of a bright author's individuality in Tsvetaeva's poetry, which is basically impossible in folklore. We will never confuse her poems with the works of oral folk art. Rhythmic, thematic, lexical and other distinctive features of folk poetry Tsvetaeva skillfully combines with what distinguishes her poetic language (numerous caesuras, transfers, etc.). And the themes of Tsvetaeva's poetry stylized as folk verses are not at all characteristic of folklore, their appearance is due to the interests of Tsvetaeva herself, her deeply personal attitude to her own and other people's work, to the world around her, etc.

LITERATURE

1. Barakov V.N. Fatherland and will. A book about the poetry of Nikolai Rubtsov. Vologda: "Book heritage", 2005.

2. Bakhtin M.M. Creativity of Francois Rabelais and folk culture of the Middle Ages and Renaissance. M.: Fiction, 1990. S. 94.

3. Brodsky I. "About one poem". // Works of Joseph Brodsky in 4 vols. St. Petersburg: Pushkin Fund Publishing House, 1995. Vol. 4. P. 88; 89; 90.

4.Veselovsky A.N. Psychological parallelism and its forms in reflections poetic style. // Veselovsky A.N. Historical poetics. M.: graduate School, 1989, p. 107; 113.

5. Gasparov M.L. Marina Tsvetaeva: from the poetics of everyday life to the poetics of the word. // About Russian poetry: Analyzes: Interpretations. Characteristics. SPb., 2001, pp. 136–149.

6. Lazutin S. G. Poetics of Russian folklore. Moscow: Higher school, 1981.

7. Putilov B.N.. Folklore and folk culture. St. Petersburg: Nauka, 1994.

8. Russian folklore / Comp. and note. V. Anikina. M.: Artist. lit., 1986, p. 113; 115–116.

E. LEENSON,
Moscow

The body code in Marina Tsvetaeva's poem "The day will come - sad, they say!"

The day will come - sad, they say!

They will reign, they will pay, they will burn out,

- Cooled by other people's pennies -

My eyes, moving like a flame.

And - a double groping double -

A face will appear through a light face.

Oh, I finally get you

Goodness beautiful belt!

And from a distance - do I envy you? -

Will stretch, bewilderedly baptized,

Pilgrimage along the black path

To my hand, which I will not withdraw,

To my hand, from which the ban is lifted,

To my hand that is no more.

To your kisses, O living ones,

I don't mind - for the first time.

Wrapped me from head to toe

Goodness wonderful boards.

Nothing will make me blush anymore

Holy Easter today.

Through the streets of abandoned Moscow

I will go, and you will wander.

And not one will fall behind the road,

And the first lump on the lid of the coffin will burst, -

And finally it will be allowed

Selfish, lonely dream.

And nothing is needed from now on

To the newly deceased boyar Marina.

The body and the bodily are a significant sphere of culture and, accordingly, a special element of poetics artistic text: corporeal can denote various meanings, it is not asemantic, not equal to itself. The body and its organs play an exceptionally important role in the poetics of the so-called "historical avant-garde", to which M. Tsvetaeva's work also belongs. At first glance, the semantics of the body in the analyzed poem by Tsvetaeva is traditional for Christian tradition; it can be described in the same words that E. Faryno described the interpretation of the body in Tsvetaeva’s poetic cycle “Insomnia”: “<…>“I” gradually loses its corporeality and approaches the status of an angel-like incorporeal being (“like a seraph”, “I am a heavenly guest”)”. Individually Tsvetaeva's invariant motifs are not such an alienation from own body, but the absorption of the world into oneself (“shell nature” of the “I”) and the interpretation of the sensual principle as an integral property inherent in the mythological nature of the “I”.

Indeed, in the poem “The day will come - sad, they say!” the former state of passion, indicated by the "flame" of hot (now "cooled”) and the “belt” (“belt” is associated with impregnability, chastity or virginity - cf. the symbolism of untying the belt in ancient poetry), the current impassivity, “beauty” achieved in death are contrasted. The dispassion-benevolence acquired by the heroine can be interpreted as a variant of "the most essential semantics in Tsvetaeva's poetic system of the rejection of sex." hand giving lyrical heroine a sign of non-existence (“to my hand that no longer exists”) – a means to designate just such an alienation of the “I” from its own body, which has become insensible and therefore unreal, at least in comparison with the previous, pre-death state. The body, transformed by death, acquires signs of holiness. First of all, this property is expressed in the opposition “face – face”: Church Slavonic “face” in this context, in the description of the burial and next to the mention of Easter, is endowed with sacred connotations; “face” is an image, an icon, and this is the face of a saint enlightened by the divine spirit. The synonym of the word "icon" - "image" - is encoded in the lexeme "beauty", perceived as an occasional derivative of the image-icon: "Oh, finally I will be honored with you, / Beautiful belt of goodness!"; “I was enveloped from head to toe / A beautiful cloth wrapped around me.” The use of the word "face" in Tsvetaeva's poetry and in other cases is associated with the semantics of transformation, "thinning" of the flesh, renunciation of earthly world and his passions: “The lips gently lighten, and the shadow is golden / Near the sunken eyes. This night lit up / This brightest face, - and from the dark night / Only one thing darkens with us - the eyes "(" After a sleepless night, the body weakens ... "from the cycle" Insomnia "). Kissing the hand of the deceased, obviously, is endowed with signs of application to the relics of the saint: it is no coincidence that those who saw off the deceased lyrical heroine are named pilgrims: "Pilgrimage along the black path."

This semantics of the body code may seem trivial; not trivial in it is only the self-determination of the lyrical heroine herself as a saint. However, in fact, the mechanism of meaning generation in a poem is much more complex, and the meanings transmitted using the body code are internally contradictory and ambivalent.

First of all, new holy) the body acquired by the lyrical heroine is not fully hers, does not belong to her: the hand “is no more”, which means that in an existential sense now her body is no more. The icon-painting face of a saint is conceived as an expression in him of the unchanging, eternal, divine, that is, the essential. And in Tsvetaev's text, the "face" is called the "double" of the "face" of the living heroine - duality does not mean an essential identity, but only a repetition of something similar or the same, associated with usurpation and substitution. M. Tsvetaeva endows the “face” with the epithet “light”, which has undoubted positive connotations, associated with freedom from matter, from carnal heaviness; the traditional expectation would rather require such a feature to be inherent in the "face". Deprived of the epithet “light”, in relation to the “face”, the “face” is perceived as its antonym, as something heavy. The heavy face evokes associations with a mask, including a posthumous one. The mask is foreign in relation to the face and to the "I". However, the text also contains indications of the possibility of a traditional interpretation of the relationship between earthly flesh and transfigured flesh. "Light" can also have pejorative connotations, as lightweight. A showing through The “face” through the “face” allows us to interpret the mortal flesh of the “I” only as a shell for the true essence. The “light face” is the flesh thinning in death, through which the unchanging, eternal face appears. However, it seems somewhat unexpected that the flesh / face serves as a shell for another flesh / face, and not for the soul, as it would be in the traditional case. Tsvetaeva's heroine seems to be endowed with a double body - before and after death.

The lexeme “groped” when applied to “face” also feels unexpected. This word for tactile sensations is associated with blindness: the blind, the one who is deprived of sight, gropes for something. And indeed, the “face” in Tsvetaeva’s poem is blind: after all, he does not have eyes that are “burned out”; they are replaced by cold and "foreign" nickels. The transformation of the body of the saint, his incorruption in the Christian tradition is associated with enlightenment. Meanwhile, in the poem "The day will come - sad, they say!" The "face" is darker rather than lighter. The semantics of darkness, no-light, and pejorative connotations associated with the death and burial of the heroine are evident in the epithet “black” from the following stanza: “Stretching, crossing himself in confusion, / Pilgrimage along the black path.”

Light, which in M. Tsvetaeva's poetry has a high value meaning, is sacred in its own way, is presented as an attribute of the lyrical "I", which has a luminous look; example: I am the eye of light in the poem "Room Attempt". According to the observations of E. Faryno, M. Tsvetaeva is characterized by the oppositions “eye-eye” and “eye-ghost”, in which the first element receives the connotation of “sacred”, and the second - “demonic”.

However, in Tsvetaeva’s poetry, blindness, blindness can also acquire a positive meaning of detachment from the external, superficial, vain, it expresses the look of the “I” inside oneself: “On a bed of lies / Having laid down a great lie of contemplation, / Seeing inside - a date is a knife” (“ Eurydice to Orpheus" [Tsvetaeva II; 183]; blindness is a metaphorical equivalent of the poet's higher vision: "What am I to do, blind man and stepson, / In a world where everyone is both father and sighted" ("What am I to do, blind man and stepson ... "from the cycle" Poets ").

Death in the poem by M. Tsvetaeva “The day will come - sad, they say!” endowed with dual, ambivalent semantics. It can be interpreted as the liberation of the spiritual principle. The very physical, carnal death is paradoxically associated with the resurrection, it is called Easter: "I have a holy Easter today." The writing of the poem is indeed timed to coincide with Easter 1916, and this event is not a purely biographical circumstance, but a textual factor: the date of writing is deliberately indicated by the author. This metaphorical "Easter" of the lyrical heroine evokes associations with the true Easter - the Resurrection of Christ, and therefore acquires the connotations of defeated, overcome, non-absolute death. “A beautiful board of good looks”, endowed with such shades of meaning as a new, transfigured, passion-free body, in the light of this Christological parallel, correlates with the burial shroud of Christ: this is the fabric in which the body is wrapped (“from head to toe”). In addition, it is probably associated with the cover of the Mother of God, like a belt with the robes of the Ever-Virgin Mary. Plat in the poem "The day will come - sad, they say!" also - a metaphor for the body, as in the poem “I will not torture you about your ways” from the cycle “Magdalene”, the body of the heroine is likened to a shroud in which the body of Jesus Christ taken down from the cross was wrapped: “I was naked, and you waved me / The body - like with a wall / Enclosed "(II; 222). Implicitly, this image also contains a parallel with the symbol of the Mother of God - the Indestructible Wall. (In other contexts, Tsvetaeva’s “veil” can mean the body of a person - rejected, discarded in death: “For those who married the last shreds / Cover (no mouth, no cheeks! ..)” - “Eurydice - Orpheus” .)

In the penultimate stanza of the poem, due to the grammatical construction of the sentence, the funeral procession, in which the dead body is the object, and not the subject of the action, appears as the journey of a living heroine: “Through the streets of abandoned Moscow / I will go, and you will wander.” A neutral, normative construction would be different: I'll be taken. The motif of the heroine's participation in the world of the living, and not the dead, is also created due to the grammatical parallelism of constructions describing the buried heroine and the living people who see her off. The expression “selfish, lonely dream” in the poem “And finally it will be allowed / Selfish, lonely dream” is a variation of the traditional metaphor “life is a dream, death is awakening”, indicating also the relativity of death and its possible perception as some kind of good liberating from the illusory claims of the egoistic earthly "I".

But at the same time, the death referred to in this poem can also be interpreted as the destruction of the “I”. This is indicated not only by the mention of faded eyes ( mirror of the soul), the gap between the “face” of the living and the “face” of the dead heroine and alienation from her own body, metonymically denoted by the “hand that no longer exists”. Eternal rest, impassibility can be interpreted not only as the spiritual state of the saint, but also as the insensitivity of the deceased, the dead body. The posthumous body of the lyrical heroine is hers, her "I" does not belong. It is no coincidence that only the body is spoken of, but not the soul of the deceased: the implied soul is either already outside the body, or has ceased to exist. At the very least, the “I” of the heroine was destroyed – passionate and therefore unthinkable outside the body. If the remaining body is endowed with certain features of holiness, otherworldliness, eternity / incorruptibility, then this is not her body in an existential sense. Death is both the transformation and destruction of the body. Separating the soul and the body, it leads to the destruction, erasure of the "I" and to the emergence incorporeal body, incorporeal flesh. Initially, the heroine seems to be striving for liberation from passions: “Oh, finally I will be honored with you, / A beautiful belt of good looks!” But the state acquired by her turns out to be either unconditional death, or peace and insensibility of a new, different body, to which another “I” corresponds: two different “I” are designated through the duality of bodies.

Such bodily and mental/spiritual duality corresponds to the dual nature of the temporal structure of the text. Death/transformation is then presented as an event of an imaginary future: "The day will come"; "They will reign<…>my eyes"; "the face will come through"; "Stretch<…>pilgrimage"; "I won't mind"; "does not drive into the paint"; "I will go - I"; “And the first lump on the lid of the coffin will burst”; “And at last the selfish, lonely dream will be resolved,” then as an event that took place in the recent past: “I was enveloped from head to toe / A beautiful coat of goodness.” The grammatical forms of the present tense in the lines "To my hand, from which the prohibition is lifted, / To my hand, which is no more" have a perfect meaning, indicating death as having recently occurred. The perception of one's death as having happened in the past seems to reflect the point of view of the "I" that has passed into eternity; the earthly "I" conceives this death as belonging to the future. In the present tense of the final verses "And nothing is needed from now on / The newly-departed boyar Marina" the opposition "past - future" is removed, respectively, the earthly and otherworldly, posthumous "I" acquire here a kind of conditional unity, being designated by the proper name of the heroine and the author. It is significant that the semantically highlighted part of the poem - the last stanza, ending with the final pointe - is a description not of the release, not of the transformation of the heroine's body, but of her burial: lonely dream. / And nothing is needed from now on / To the newly-departed boyar Marina. Easter lyrical heroine - not resurrection, but insurmountable death. A parallel with Christ, but not resurrected, but led to be crucified, can also be traced in the last line of the poem: just as the disciples turned away from the Savior, so those who see off the heroine on their last journey, not everyone reaches the grave: “And not one will fall behind the road.” In contrast to Christ, Tsvetaeva's heroine does not and will not resurrect: her Easter - this is her death.

Significant is the replacement in the last line of the personal pronoun of the first person "I" and the forms derived from it "my", "mine" by the expression "Bolyaria Marina": this replacement means at the same time the alienation of "I" from myself (a look at myself from the outside) and not - existence, the disappearance of "I".

So, death in the poem by M. Tsvetaeva is presented, on the one hand, as a transformation, on the other, as a transition into non-existence. At the first interpretation of metaphysical or existential irony, signs of death, destruction, which turn out to be false, untenable, are subjected. In the second interpretation, tragic irony envelops the images of the resurrection (Easter), the transfiguration. Such ambivalence is also inherent in Tsvetaev's text in another case: the kissing of hands is endowed with dual semantics. This is an erotic kiss, a kiss on the hand of a fan (“You” as He, the only one, kisses that would embarrass the heroine during her lifetime), and kissing the relics / icons.

The transformation / destruction of the lyrical heroine in death, presented in the poem “The day will come - sad, they say!” as if in a compressed form connects several options for the relationship of "I", soul and body, characteristic of Tsvetaeva's poetry. The interpretation of death as a separation of soul and body, leading to non-existence, to disincarnation, is presented in the first and second poems from the Tombstone cycle. Neither the body (bone) buried in the earth, nor the soul ascended to the heavenly spheres, embody, retain the deceased “I”: “No, none of the two: / The bone is too much - the bone, the spirit is too much - the spirit”; “Not you – not you – not you – not you. / Thu? no matter how the priests sing to us, / That death is life and life is death, - / God is too God, the worm is too worm ”; “The corpse and the ghost are indivisible!” (II; 325-326). M. Tsvetaeva, arguing with Derzhavin’s spiritual ode “God”, where a person is thought at the same time as God(i.e. spirituality) and worm(bodily beginning, weakness, mortality), asserts that "God" and "worm", spirit and dead flesh in their separation are in no way involved in the "I" of man. At the same time, it is rather not about denying the immortality of the soul, but precisely about the fact that it is not the "I" of the deceased.

However, along with the interpretation of death as the transition of "I" into absolute non-existence, Tsvetaeva's lyrics contain an interpretation true life“I” as non-participation in the material, “corporeal” world: death in this case is conceived as liberation: “Or maybe the best victory / Over time and gravity - / Pass so as not to leave a trace, / Pass so as not to leave a shadow // On walls… /<…>/ Disintegrate, leaving no ashes // To the urn…” (“Sneak…”). Non-leaving a trace in the material world, including after death, is conceived not as non-existence, but as true being. Death, then, must be the quintessence of liberation.

A similar interpretation of death as liberation, as a desired disincarnation, is given in the cycle of poems "Jairus's Daughter", which polemically "rewrites" gospel story about the resurrection of the dead girl by Christ. For Tsvetaeva, resurrection is not a blessing, but an evil or a reckless and improper act (cf. a similar transformation in her work of the myth of the arrival of Orpheus in Hades in order to lead Eurydice out of the kingdom of death): . // Girl, you can't hide, / That the bone wanted / Separated from the bone ”(II; 96). Death is conceived here as liberation, the loss of the body, which the flesh aspires to, which the flesh craves ( bone). Death is interpreted and described as the transfiguration of the flesh, its transformation into a thin, permeable matter ("through" here occasionalism, a noun). Dead flesh is endowed with a sign of a special intense vitality - a tan: “It will not move from the road / Steep. - / That of Eternity / Immortal tan" (II; 97). The same image of a deathly-immortal tan is found in the poem “On the girlish, tender fluff ...”, written at the same time as the “Daughter of Jairus”: “On the girlish, tender fluff - / Death with a silver tan” (II; 97). The paradoxical convergence of death and sunburn is motivated by the interpretation of death as burning and self-immolation (cf. in the lyrics of M. Tsvetaeva, the self-identification of the “I” with Joan of Arc, burned at the stake).

The traditional concept of the body as opposed to spirit and soul, apparently going back to the Platonic and Neoplatonic and Gnostic philosophical systems associated with them, is presented in the poem “Alive, not dead ...”: “In the body as in the hold, / In oneself like in prison. // The world is walls. / Exit - an ax. /<…>(Only poets / In bones - as in a lie!) / No, we can’t walk, / Singing brothers, / In the body as in a wadded / Father’s robe. // We're worth the best. / Let's languish in the warmth. / In the body - as in a stall. / In oneself - as in a cauldron. // We don't save the mortal / Splendors. / In the body - as in a swamp, / In the body - as in a crypt, // In the body - as in an extreme / Link. - Wither! / In the body - as in a secret, / In the temples - as in a vise // Iron masks” (II; 254).

Living flesh is endowed with signs of the remains, the skeleton: "Only poets / In the bones - as in a lie!" This is the dungeon of the "I" (at least, the sublime "I" of poets), "I" in this case, apparently, is identical with the soul. The idea of ​​some kind of unity, fusion of body and soul is not just rejected. Such an idea is presented as a commonplace, ordinary (=petty-bourgeois) and, probably, as a false (=actor's) understanding: “(“The world is a stage”, / The actor babbles.) // And he was not cunning, / The jester with shaky legs. / In the body - as in glory, / In the body - as in a toga ”(II: 254). Moreover, such an understanding is interpreted as demonic, diabolical: the actor is referred to as "shaky-legged", lame-footed; and according to mythological ideas, the lame-legged devil. In the medieval folk consciousness, the actor is involved in the diabolical, "shadow" world, and the word "jester" in colloquial speech can still be used as a euphemism that replaces the lexeme "devil". Wed examples from V.I. Dahl: “The jester and the thief, the jester, damn it. Jester take it! Well, to the joke! || any undead, brownie, goblin, water<…>. || Jester, horse paralysis, attributed to an unfriendly brownie, if the horse is not in the court (cf. jester's crooked legs in M. Tsvetaeva's poem. - A.R., A.B.). He had already drunk himself to jokes, to hell. Not a jester (not a devil) popped (planted, pushed, dug), he hit himself! Jester (demon), jester, play and give back again! (sentence, losing something).

A close interpretation of the body and "I" is expressed in the poem "- She sang like arrows and like moraines ...": "- She sang! - and a whole mattress wall / Could not stop / The world me. / For a single pulled out / A gift from the gods ... run! // Sang like arrows. / Body? / I don’t care” (II; 241). Here the opposition "body - soul (I)" is replaced by the oppositions "body - singing (song)" and "body - running", moreover, singing and running are attributes of the "I" in its non-antibodyness. Singing and running are conceived as "overcoming" physicality.

Another variant of the relationship between the body and the soul is contained in the poem “Kvita: I am eaten by you ...”, which completes the cycle “Table”. Body and soul are co-natural, isomorphic to each other. The soul, endowed with a rough vital corporeality, is the soul of a tradesman, an inhabitant. The death of an inhabitant is presented in the traditional cultural code, subjected to individual Tsvetaeva's transformation. This separation of soul and body, however, is illusory. The soul of an inhabitant is “hyper-corporeal”: “A capon instead of a dove / Flutter! – soul at autopsy” (II; 314). The body of a tradesman is a kind of shell in which no less carnal "soul" - a capon is hidden. His body is like a cake from which live birds flew out at a feast at Trimalchio in Petronius' Satyricon. Significant opposition of the concept pigeon endowed with spiritual and sacred connotations (symbol of the Holy Spirit), capon, deprived of them. With the help of the allegedly spiritual (“soul”), the corporeal or, more precisely, the non- and non-spiritual is encoded here. On the contrary, in the event of the death of the lyrical heroine, the "I" - the creator, the poet, the isomorphism of the soul and body is expressed in the fact that the body is endowed with metaphorical attributes of the soul and angel as an incorporeal being ( wings). Similarly, in the poem “Soul”, the soul of the poet is endowed with the attribute of “six-wingedness” inherent in the seraphim (here, the allusion to Pushkin’s poem “The Prophet” is obvious): “Six-winged, glad - stuffy, / Between the imaginary - prostrate! - existing, / Not strangled by your carcasses / Du-sha ”(II; 164). In the poem “Kvita: I am devoured by you ...” the body denotes the soul, bodily nakedness does not indicate itself, but the disclosure, “exposing” of the soul in the body: “And they will put me naked: / Two wings cover” (II; 314) .

The contradiction between the interpretation of death as a transition into non-existence in the Tombstone cycle and its interpretation in a number of other poems by M. Tsvetaeva as liberation is probably imaginary. In the cycle "Tombstone" and above all in the poem "In vain with an eye, like a nail ..." death is seen from an external point of view, in its significance for the one who remains to live. From this point of view, the departure of a person (another) from this world is perceived as complete annihilation. But from the point of view of the internal (of the deceased, the departing), dying is not the complete erasure of the “I”, but its release, the acquisition of higher freedom and peace.

The ambivalent semantics of the body (as an element, a contrasting "I", and as the quintessence of "I") in Tsvetaeva's poetry is connected with the fact that the body can be endowed with both a sign of anti-spirituality and spiritual content. Actually, we can talk about the existence in Tsvetaeva's texts of two different concepts body. A feature of the poem "The day will come - sad, they say!" is the opposition of two tel“I”, while none of them is endowed with unambiguous evaluative meanings. The loss of passion by the heroine in death is also devoid of an unambiguous assessment, in contrast to cases where passion, sensuality is either evaluated positively, as a spiritual principle (for example, in Magdalene), or negatively, as some kind of incompleteness and inferiority (for example, in the cycle “Praise to Aphrodite ” and in the poem “Eurydice - Orpheus”). The semantic conflict in Tsvetaeva's texts, as a rule, occurs between the plane of expression and the plane of content. So, in the poem "Eurydice - Orpheus" "immortality", or after death, is indicated by a metaphor associated with dying: "With immortality, a snake bite / Female passion ends" (II; 183). But for all the paradoxical nature of the life of the dead in their “ghostly home,” this posthumous existence is presented here as an undeniable given, valued superior to earthly existence. In the poem "The day will come - sad, they say!" there is no such unambiguity, and the plane of content is covered by the conflict of meanings.

“My poems… will have their turn” (M. I. Tsvetaeva) Art in the light of conscience The formation of Marina Ivanovna Tsvetaeva (1892-1941) as a poet is associated primarily with the Moscow Symbolists. The first poetry collection "Evening Album" with the subtitle "Childhood - Love -

Contemporary witnesses speak From the huge number of testimonies about the struggle of the Cossacks in civil war, which can be found, for example, on the pages of the Don newspapers and magazines of those years, we have selected only a few. They concern the most important for our research