The theme of the Motherland in the lyrics of M.I. Tsvetaeva Teacher of the Russian language and literature MBOU Lyceum No. 88 of Ekaterinburg Tolmacheva M.I.
Marina Ivanovna
TSVETAEVA -
Russian poet
twentieth century,
was born
"Poems about Moscow" (March - August 1916)
"I kiss you on the chest,
Moscow land!
The poetic cycle "Poems about Moscow" was
created after a trip to St. Petersburg in the winter of 1915-16.
The cycle consists of nine poems, united
one theme - love for his native city.
Poetic pictures of the life of old Moscow,
presented to the reader, immerse
to the world of the "wonderful city", "free semi-hills",
"the city rejected by Peter."
The lyrical heroine Tsvetaeva is in love with the soul
great city. For her, Moscow is above all the world.
great ancient spirit, the world of Russian Orthodoxy,
world of faith and love...
Moscow - "wonderful city"
“Clouds are around, domes are around,
Over all of Moscow - how many hands are enough! –»
"Miraculous City" - Moscow From my hands - miraculous city Accept my strange My beautiful brother. In the church - all forty magpies And doves soaring above them; And Spassky - with flowers - gates; Where the hat of the Orthodox is taken off ... "The Five-Cathedral Incomparable Circle..." ... The red ones will gleam the domes, Sleepless bells will ring And at you from crimson clouds The virgin will drop the cover ... March 31, 1916
"Moscow! What a huge
Hospice!"
On hard labor stigmas,
For every pain
Baby Panteleimon
We have a healer.
And behind that door
Where are the people going,
There is the Iberian heart,
Red, on fire.
"Red brush ashberry lit up ..." Hundreds argued with a red brush The rowan lit up. Bells. Leaves were falling, it was a Sabbath day: I was born. John the Theologian. To me to this day I want to gnaw hot rowan Bitter brush. August 16, 1916- Church vocabulary;
- Outdated vocabulary;
- obsolete word forms;
- Numerical symbolism;
- symbolism of color;
- Rhetorical figures;
- Author's punctuation
- Chapel, domes, bells, cover;
- Orthodox, five-cathedral, holy fool, hospitable;
- Mother of God, Panteleimon, John the Theologian;
- To speak, unction;
- Hallelujah
- Burden, hail, face, pilgrimage, boyar, boards;
- Humble, Khlystovsky;
- Gryanet, come out;
- Nonche, sem; accidental, on a red day
- SEMIhill;
- SEVEN hills are like SEVEN bells;
- FORTY FORTY - bell seven hills;
- FORTY FORTY churches
- Red domes;
- Crimson clouds;
- The blue of the groves;
- red day;
- Churches are golden-domed;
- Red heart;
- red brush
Poetic Syntax Rhetorical figures: Appeals: ... My weightless tree! ... …O my first-born!… …Thunder, loud heart!... ... And you, O king, praise! ... Moscow land! Author's punctuation: ..I'll go - I, and wander - you ... ... But above you, kings: bells ... ... Kaluga - song - familiar ... I. Ehrenburg about the lyrics of M. I. Tsvetaeva “... how violently, how loudly she sings about the Moscow land and the Kaluga road, about the joys of Stenka Razin, about her crazy, greedy, uncompromising love. Russian pagan, how much joy is in her ... " "News of the Day", April 13, 1918 Lyrics of the 30s In 1922, M.I. Tsvetaeva leaves her homeland and spends a long seventeen years in exile. In the Czech Republic, she writes the most penetrating poems about Russia"A country"
Search with a flashlight
All moonlight.
That country on the map -
No, not in space.
... The one where on the coins -
My youth
That Russia - no.
Like that me.
1931
"Poems to the son" (Favier, 1932 - summer 1935) The son of M.I. Tsvetaeva Georgy Sergeevich Efron was born on February 1, 1925 in Czechoslovakia. Together with his mother in 1939 he returned to his homeland. After the death of Tsvetaeva, he brought to Moscow that part of her archive, which she took to Yelabuga. He graduated from school in Tashkent, then attended lectures at the Moscow Literary Institute. He read a lot: for his age he was very developed and educated. He was distinguished by literary talent and artistic abilities, as evidenced by the diaries, letters and drawings left after him. M.I. Tsvetaeva and Georgy Efron (Moore) 30s Georgy Efron (1941) The son of Marina Tsvetaeva, Georgy Efron, after the death of his mother, left for Central Asia. At the beginning of 1944 he was called to the front. Killed in July 1944 in a battle near the village of Druika, Braslav district, Vitebsk region."Poems for my son"Neither to the city nor to the village -
Go, my son, to your country, -
To the edge - to all edges on the contrary! -
Where to go BACK - FORWARD ...
Our homeland will not call us!
Go, my son, go home - forward -
In YOUR land, in YOUR century, in YOUR hour, - from us -
To Russia - you, to Russia - the masses,
In OUR hour - the country! At this hour - the country!
To Mars-land! In without-us - a country!
January 1932
"Motherland" O unyielding tongue! Why would it be simple - a man, Understand, he sang before me: - Russia, my homeland! But also from the Kaluga hill She opened up to me - Far away - distant land! Foreign land, my homeland! Distance, born like pain, So homeland and so Rock that is everywhere, through the whole Far away - I carry it all with me! ... May 12, 1932 Features of poetic speech Lexical repetitions
- Pronoun "ta": “that country”, “that Russia”, “that me”;
- Pronoun "own": "one's own land", "one's own age", "one's own hour"
- Back forward;
- Our hour is without us;
- Motherland - foreign land;
- Far - near;
- Motherland - rock
LYRICAL
MOTHERLAND
VERTS
YOUTH
EARTH
DAL
Far Far Away
EARTH
BYLIE
DUST
foreign land
DIFFERENCE OF MY
EARTH
"Longing for the Motherland" (1934) Homesickness! For a long time Exposed haze! I don't care at all - Where all alone Be on what stones home Walk with a market purse To the house, and not knowing that it is mine, Like a hospital or barracks. I don't care which ones Persons - bristling prisoners Lion, from what human environment To be repressed - certainly - In myself, in the unity of feelings. Kamchatka bear without an ice floe Where you can’t get along (and I don’t try!), Where to humiliate is one thing for me. "Homesickness" ... Stunned like a log, Remaining from the alley Everyone is equal to me, everything is equal to me, And perhaps the most equal More familiar than the former - everything. All signs from me, all meta, All dates - as if removed by hand: The soul that was born is somewhere. So the edge did not save me My, that and the most vigilant detective Along the whole soul, the whole - across! Birthmark will not be found! "Homesickness" Every house is alien to me, every temple is empty to me, And everything is the same, and everything is one, But if on the way - a bush It gets up, especially the mountain ash ...Features of poetic speech Lexical repetitions, epithets
- It's all the same, all are equal, all is one
- All signs, all metas, all dates
- Absolutely
- Alien, empty
- captive lion
- milky call
- Birthmark
- House like hospital or barracks
- Bristling…Lion
- Kamchatka bear
- Stunned like a log
- Reader - newspaper tons swallower, milker of gossip
- Doesn't matter -… ... what is mine ... - certainly - (twenty dashes)
- ... (and do not hesitate!) ... (Reader... milker gossip ...) (plug-in designs)
- But if on the way - a bush Gets up, especially - Rowan… (final default is the antithesis of lexical repetition "doesn't matter")
LONELINESS
MOROKA
HUMILIATION
misunderstanding
INDIFFERENCE
STUNNING
CAPTIVITY
CROWDING OUT
ALIENNESS
LOVE
Elabuga, 1941 Prague, 1939
"I'm not needed here.
there I am impossible ... "
(from a letter to Teskova in 1934)
« In the thirties Tsvetaeva
so it will live: forever
returning to the past
to everything and everyone that died, died ...
The poet here is not talking with Eternity,
not with the World, but with your time,
with his age - sick, cruel -
and transient...
Tsvetaeva, ahead of her time,
almost no one understood, looked around
back to the Motherland that has sunk into oblivion…”
A. Saakyants about the lyrics of M. I. Tsvetaeva
30s
Used resources- M. Tsvetaeva. Collected works in seven volumes. Volume one. – M.: Ellis Luck, 1994;
- M. Tsvetaeva. Poems, poems. – M.: Pravda, 1991;
- M. Tsvetaeva. Portrait: www.bing.com/images: 0024-028;
- M. Tsvetaeva. Portrait 1924: www.bing.com/images: 0020-024;
- M. Tsvetaeva. Portrait 1941: www.bing.com/images: thCA1NFHVO;
- M. Tsvetaeva. Portrait 1935: www.bing.com/images: thCA2Z3HUR;
- G. Efron. Portrait 1934: www.bing.com/images: efron georgy 01;
- M. Tsvetaeva with her son: www.bing.com/images: 1930 tsvetaeva;
- G. Efron. Portrait 1941: www.bing.com/images: Mur 2 ;
- Rowan. Images: www.bing.com/images: thCA2V42GI;
- Church of the Intercession of the Holy Mother of God: www.bing.com/images: 302
- Icon of the Iberian Mother of God: www.bing.com/images: thCAGOKATG.
The theme of the motherland in the lyrics of M. I. Tsvetaeva
Marina Tsvetaeva is a poet whose poems are unusual and filled with great power of experience. Just as an artist mixes several colors on a palette, forming a unique shade, so in Tsvetaeva’s work, the main themes: love, a poet and poetry, and homeland merge into a single whole, forming the “poetry of intimate life.”
But in this complex interweaving of feelings and emotions, the character of the poetess is clearly visible, the origins of which are in love for the motherland, for the Russian word, for Russian history, for Russian culture, for Russian nature.
“Forgive me, my mountains!
Forgive me, my rivers!
Forgive me, my fields!
Forgive me, my herbs!”
Russia for Marina Tsvetaeva is an expression of the spirit of rebellion, wild expanse and boundless breadth.
Others stray with all their flesh,
From parched lips - they swallow their breath ...
And I - hands wide open! - froze - tetanus!
To blow my soul out - a Russian draft!
The poetess carried her love for her motherland through her whole life. Her early poems are imbued with tenderness for Moscow, where she was born.
And hallelujah pours
To swarthy fields.
I kiss you on the chest
Moscow land!
She did not forget about Tarusa, where she spent her childhood and adolescence.
But also from the Kaluga hill
She opened up to me
Far away - distant land!
Foreign land, my homeland!
In May 1922, Marina followed her husband abroad. Her poems, written in exile, are homesickness, the bitterness of separation from Russia. Tsvetaeva forever merged with the motherland, with her free and desperate soul.
Distance, born like pain,
So homeland and so
Rock that is everywhere, through the whole
Far — I carry it all with me.
Somewhere far away are native fields that have absorbed the smell of early morning, somewhere far away is the native sky, somewhere far away is the native country. And kilometers of roads indifferently share Marina Tsvetaeva with her.
In a certain lined musical
Stretching like sheets -
railroad tracks,
Rail cutting blue.
Abroad, the poetess follows the events taking place in Russia. She writes poems about the Chelyuskinites, she is proud that they are Russians.
For you with every muscle
I stand and I'm proud
Chelyuskins are Russians!
Marina Tsvetaeva always admired the country in which she was born, she knew that her homeland was mysterious and extraordinary. in it, extremes are sometimes combined without any transitions and rules. What could be warmer than your land, which has nurtured and raised you like a mother, who cannot be dispensed with, who cannot be betrayed? Expanse and space native land, the wind "Russian, through" - that's what Marina absorbed. And it was Russia, immense and harsh, adamant and patient, that she bequeathed to her son.
My child... Mine? Her -
Child! The same past
Which grows true.
The earth, worn down to dust, -
Really a child in the cradle
Carry in shaking handfuls:
“Rus is this dust, honor this dust!”
Every house is alien to me, every temple is empty to me,
And everything is the same, and everything is one.
But if on the way - a bush
It rises, especially the mountain ash ...
M. Tsvetaeva.
The poet has no homeland, the poet belongs primarily to the world. But every Russian poet belongs first of all to Russia. Always. The feeling of patriotism has been brought in Russian poets to some critical point. This is a cup that cannot be filled so that the water overflows. Poets are not enough. M. Tsvetaeva is a Russian poet, in addition, she is an eyewitness to all the turning points of her time. Her lyrics are a chronicle. Chronicle of love experiences and chronicle of Russia, Motherland, XX century.
Sometimes Tsvetaeva does not know how to react to this or that event, to praise or curse him. The pains of creativity give birth to masterpieces. She transfers the events, of which she was a contemporary, into the depths of centuries and analyzes them there. Therefore, "Stenka Razin".
Tsvetaeva loves Russia, she will not exchange it either for Foggy Albion, or for "big and joyful" Paris, which took 14 years of her life:
I'm alone here. To the trunk of a chestnut
Cling so sweetly to the head:
And Rostand's verse cries in the heart,
As there, in abandoned Moscow.
The feminine principle is everywhere in Tsvetaeva's work. Her Russia is a woman. Strong, proud, and... always a victim. The theme of death permeates all feelings, and when it is about Russia, it is especially loudly heard:
You! I will lose this hand of mine,
At least two! I'll sign with my lips
On the chopping block: strife of my land-
Pride, my homeland!
"Motherland", 1932
But these are “late” feelings. There is still childhood on the Oka, in Tarusa, sweet memories and a desire to return there again and again to remember, to take with them Russia of the past century:
Give us back our childhood
All multi-colored beads, -
Small, peaceful Tarusa
Summer days.
In her autobiography, Tsvetaeva writes that she returns to Moscow in 1939 from emigration to give her son, Georgy, a homeland. But, perhaps, in order to return this homeland to herself? .. But there is no longer that old Moscow, about which she selflessly writes in 1911, “glory to languid great-grandmothers / / Houses of old Moscow” died. In the yard is the terrible era of Stalin with boarded up doors and a quiet whisper of gossip. Tsvetaeva is suffocating, again irresistibly drawn to childhood, she wants to run away and hide from all the “dirt” pouring from above. But she is also amazed at the strength of her people, who have withstood the ordeal of incessant upheavals and continue to bear the unbearable burden of dictatorship. She is subdued by him, she is proud, she knows that she is also part of this people:
The people - such as the poet -
Herald of all latitudes, -
Like the poet, with his mouth open,
Worth it - such people!
"People", 1939
The tragedy of the White Guard is also its tragedy. Did she know, when in 1902, in Genoa, she wrote revolutionary poems, which were even printed in Geneva, with which the horror of the revolution and civil war? Most likely not ... That is why such grief later, grief and repentance:
Yes! Don rock has broken!
White Guard - yes! - died.
"Don", 1918
Everything perishes in Tsvetaeva's poems, and she herself perishes.
The theme of the Motherland is, first of all, the theme of the entire Russian people, of Russian history, it is the theme of Derzhavin, Ivan the Terrible, Blok. This is all with Tsvetaeva - one. She herself is a part of this Motherland, her singer and her creator. She cannot live in Russia and cannot be away from it. Her whole fate and creativity is a paradox. But the paradox is far from meaningless! Tsvetaeva is like a mirror - she reflects everything, without distortion, she accepts everything, she simply cannot live with it, with this inescapable feeling of homeland. And all of it, this feeling, in her poems:
Get over me! I am everywhere
I am dawns and ore, bread and sigh,
I am and I will be and I will get
Lips - how God will get the soul.
"Wires", 1923
Sometimes it seems like she's challenging...
The theme of the motherland in the lyrics of Marina Tsvetaeva.
O unyielding tongue!
What would be simply - a man,
Understand, he sang before me:
- Russia, my homeland!
M. Tsvetaeva.
Marina Tsvetaeva is a poet whose poems are unusual and filled with great power of experience. As an artist mixes several colors on a palette, forming a unique shade, so in the work of Tsvetaeva the main themes: love, a poet and poetry and homeland - merge into a single whole, forming \"poetry of intimate life.\"
But in this complex interweaving of feelings and emotions, the character of the poetess is clearly visible, the origins of which are love for the motherland, for the Russian word, for Russian history, for Russian culture, for Russian nature.
\"Forgive me, my mountains!
Forgive me, my rivers!
Forgive me, my fields!
Forgive me, my herbs!\"
Russia for Marina Tsvetaeva is an expression of the spirit of rebellion, wild expanse and boundless breadth.
Others stray with all their flesh,
From parched lips - they swallow their breath ...
And I - hands wide open! - froze - tetanus!
To blow my soul out - a Russian draft!
The poetess carried her love for her motherland through her whole life. Her early poems are imbued with tenderness for Moscow, where she was born.
And hallelujah pours
To swarthy fields.
I kiss you on the chest
Moscow land!
She did not forget about Tarusa, where she spent her childhood and adolescence.
But also from the Kaluga hill
She opened up to me
Far away - distant land!
Foreign land, my homeland!
In May 1922, Marina followed her husband abroad. Her poems, written in exile, are homesickness, the bitterness of separation from Russia. Tsvetaeva forever merged with the motherland, with her free and desperate soul.
Distance, born like pain,
So homeland and so
Rock that is everywhere, through the whole
Dal - I carry it all with me.
Somewhere far away are native fields that have absorbed the smell of early morning, somewhere far away is the native sky, somewhere far away is the native country. And kilometers of roads indifferently share Marina Tsvetaeva with her.
In a certain lined musical
Relaxing like sheets
railroad tracks,
Rail cutting blue.
Abroad, the poetess follows the events taking place in Russia. She writes poems about the Chelyuskinites, she is proud that they are Russians.
For you with every muscle
I stand and I'm proud
Chelyuskins are Russians!
Marina Tsvetaeva always admired the country in which she was born, she knew that her homeland was mysterious and extraordinary. in it, extremes are sometimes combined without any transitions and rules. What could be warmer than your land, which has nurtured and raised you like a mother, who cannot be dispensed with, who cannot be betrayed? The breadth and expanses of the native land, the wind \"Russian, through \" - that's what Marina absorbed. And it was Russia, immense and harsh, adamant and patient, that she bequeathed to her son.
My child... Mine? Her -
Child! The same past
Which grows true.
The earth, worn down to dust, -
Really a child in the cradle
Carry in shaking handfuls:
- \"Rus - this dust, honor - this dust! \"
"A poet in Russia is more than a poet." All of us, perhaps, from childhood are familiar with these lines. But I wonder if anyone is now thinking about the meaning of this common line? Why is the simple ability to put words into rhymes, and rhymes into a coherent narrative ...
1. The tragic fate of the poetess. 2. The main meaning of the poem. 3. Analysis of the content of the work. 4. Speech techniques used by the author. The fate of M. I. Tsvetaeva, a beautiful woman and a brilliant poetess, was very tragic. Almost...
In the hall. - This poem, like six subsequent ones, was first published in Tsvetaeva's first poetry collection "Evening Album", M., 1910. The book was noticed, in particular, by M. Voloshin, V, Bryusov. Voloshin wrote that none of the Russians...
The genius of Marina Tsvetaeva is in her strength and originality. In her work, much went beyond the usual foundations, widely recognized literary tastes. The same can be said about the personality of the poetess, who in her early youth vowed to remain faithful to herself...
The theme of the motherland in the work of writers of the early 20th century occupies a central place. This is most clearly manifested in the works of poets and prose writers who did not accept the revolution and left Russia in order to glorify the long-suffering country far from their home, turning their innermost thoughts and feelings to it. One of these poets was Marina Tsvetaeva.
The fate of the poetess M. Tsvetaeva is complex and diverse. She began to write very early, at the age of sixteen, but even then her inner world impressed with its richness and versatility.
Already at an early
The motives of sadness and hopelessness were noted in the work of M. Tsvetaeva. In the future, they became more and more intensified. poetic style Tsvetaeva was formed under the influence of the richest poetic culture of the last decade of the Silver Age. At the age of thirty, Tsvetaeva and her family were forced to leave Russia. Longing for her is reflected in such works as “Motherland”, “Chelyuskinites”, “Longing for the Motherland”. However, it would be wrong to assume that the theme of the native land became relevant for Tsvetaeva only from the moment she went abroad. The poetess always worried about her country, lived through its victories and falls, but bitterness, strong and painful, was mixed with the feeling of love over the years.
Some contemporaries tried to accuse the poetess of betraying Russia, although she never forgot the dirty and noisy cities, quiet villages and fields of her country. Her love was unchanging. We find confirmation of this in the cycle “Poems about Moscow”, which was written several years before the emigration.
It still does not have that hopeless longing that will arise in the work of the poetess in subsequent years. On the contrary, the poem testifies to the hopes and affection of Tsvetaeva for her homeland, which is personified by the image of the capital.
Moscow! What a huge
Everyone in Rus' is homeless.
We will all come to you.
Tsvetaeva feels like a part of the capital city. Her soul is overwhelmed with love for Moscow, she exalts her: “I lift you up, the best burden.” The capital is associated for the poetess with the concept spiritual world, hence the frequency of using words of religious themes in the description of the city: domes, crown, churches, bell ringing. Moscow is identified with the divine city, which cannot be forgotten.
Seven hills - like seven bells,
On the seven bells of the bell tower.
All count: forty forty, -
Tsvetaeva's attitude towards Moscow suggests her awareness of a significant moral duty towards her beloved city. Just as those who are crowned in front of the altar repeat the oath after the priest, uttering the words: “In sorrow and in joy. “, Tsvetaeva also recognizes her desire to be with Moscow not only during her reign, but also during the period of sorrows. “. Where even the dead will be joyful for me, ”she says, about the inseparability from the ancient Russian capital.
Marina Ivanovna is connected with the “wonderful” and “peaceful” city by inextricable bonds, therefore in the poem she blesses her descendants for an alliance with Moscow. Thus, she makes it clear that the capital is out of time, she is forever young, and there are always and will be people who perceive her as a true friend, mother.
She is ready to pass Moscow on to the next generation with sacred awe in her heart, “with tender bitterness,” as she herself admits, but at the same time she tries to set an example of the attitude that must be present among descendants. Marina Ivanovna herself hopes to stay with Moscow even after her death.
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 noblewoman Marina.
Moscow has always been associated by a Russian person with the concept of the Motherland, and a great many spiritual aspects merged in its name. It seems to me that Marina Tsvetaeva, speaking of the capital, had in mind Russia as a whole, and her attitude to the capital city is an echo of reverent awe of her native fatherland, which has always been for her the sphere of sacred duty.
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