POEMS TO THE BLOCK
Your name- bird in hand
Your name is ice on the tongue.
One single movement of the lips.
Your name is five letters.
Ball caught on the fly
Silver bell in the mouth.
A stone thrown into a quiet pond
Sigh like your name is.
In the light clicking of night hooves
Your loud name thunders.
And call him to our temple
A loud clicking trigger.
Your name - oh, you can't! -
Your name is a kiss in the eyes
In the gentle cold of motionless eyelids,
Your name is a kiss in the snow.
Key, icy, blue sip.
With your name - sleep is deep.
(M.A. Tsvetaeva, April 15, 1916)
1. Indicate the traditional lyrical genre that M.I. Tsvetaeva "Poems to Blok".
2. What stylistic device does M.I. Tsvetaeva in the line "In the gentle cold of motionless eyelids"?
3. What is the name of the repetition of a word or group of words at the beginning of adjacent lines of a poem:
Your name is a bird in your hand, / Your name is an icicle on your tongue...?
4. What is the inner image of the poet to whom the poem “Poems to Blok” is addressed to?
5. What feelings prevail in the lyrical statement of the heroine of M.I. Tsvetaeva "Poems to Blok"
6. What term denotes figurative definitions that give a lyrical statement a special expressiveness (“key, icy, blue sip”)?
7. Indicate a technique based on likening some phenomena to others and forming a figurative-associative series in M.I. Tsvetaeva.
8. Which of the Russian poets, like M.I. Tsvetaeva, addressed in his lyrics to friends or fellow writers, and what unites works of this kind? ()
* * *
Who is made of stone, who is made of clay,
And I'm silver and sparkle!
My business is treason, my name is Marina,
I am the mortal foam of the sea.
Who is made of clay, who is made of flesh -
The coffin and tombstones...
- She was baptized in the sea font - and in flight
His - incessantly broken!
Through every heart, through every net
My willfulness will break through.
Me - do you see these dissolute curls? -
You can't make earthly salt.
Crushing on your granite knees,
I am resurrected with every wave!
Long live foam - fun foam -
High sea foam!
(M.I. Tsvetaeva, 1920)
1. What is the name of the consonance of the ends of poetic lines (flesh - in flight; plates - broken, etc.)?
2. Determine the size in which M.I.'s poem is written. Tsvetaeva "Who is created from stone, who is created from clay ..." (give your answer in the nominative case without indicating the number of feet).
3. What artistic technique used in the following lines: "Who is made of stone, who is made of clay"; "Through every heart, through every net"?
4. Indicate the name of the stylistic device based on the repetition of the same consonant sounds in the line ("And I'm silver and sparkle!").
5. What is the name of a vivid definition that gives the expression figurativeness and emotionality (“funny foam”, “high foam”, “mortal foam”)?
6. In what works of Russian poets does the theme of inner freedom sound and in what way they are consonant with the poem by M.I. Tsvetaeva?
7. How does it appear inner world lyrical heroine of the poem by M.I. Tsvetaeva? (Justify your answer.)
***
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 bristle captive
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.
I will not delude myself with my tongue
Native, his milky call.
I don't care what
Incomprehensible to be met!
(Reader, newspaper tons
Swallower, milker of gossip...)
Twentieth century - he
And I - until every century!
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!
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 ...
May 3, 1934 (: A. B. Freindlikh reads the poem)
1. In the lines “Stunned, like a log left from the alley”, a technique is used in which one phenomenon is clarified by correlating it with another phenomenon. Name this trick.
2. Name the means of artistic representation that conveys the emotional attitude of the author to various life phenomena (“captive”, “sharp-sighted”).
3. What is the name of the consonance of poetic lines (for example, in the first stanza: “for a long time - equal”, “haze - lonely”)?
4. In the phrases “native language”, “milky call”, the word being defined is in front of the definition, which helps to highlight the image, enhance its emotional impact. What technique is used in these cases?
5. What symbolizes in Tsvetaeva's poem “Longing for the Motherland! For a long time ... "a rowan bush and which of the Russian poets Silver Age sound nostalgic?
Lyrical hero in the work of Tsvetaeva
Later, a hero will appear in Tsvetaeva's poetry, who will pass through the years of her work, changing in the secondary and remaining unchanged in the main: in her weakness, tenderness, unsteadiness in feelings. The lyric heroine is endowed with the features of a meek, devout woman.
Russia as a national element is revealed in Tsvetaeva's lyrics in various perspectives and aspects - historical and everyday, but above all its figurative incarnations there is, as it were, a single sign: Russia is an expression of the spirit of rebellion, rebelliousness, self-will.
Your follower is inexperienced,
Your whirlwind is a tangler.
Creak under the hoof
Gap yes crybaby.
untraveled path,
Wicked fire. -
Oh, Motherland-Rus,
Unshoeed horse!
At the center of this multicolored and polyphonic poetic world stands the image of a lyrical heroine, equally sharply revealed in its national features - a woman with a “proud look” and a “wandering disposition”, the bearer of a “passionate fate”, who “doesn’t care about anything”. This image serves as a pivot around which dramatized lyrical stories Tsvetaeva. The heroine puts on different torches and tries on different costumes. She is a Moscow archer, and the indomitable noblewoman Morozova, and the arrogant panna Marina, and a gypsy in the camp, and the quietest "homeless black woman", a witch-warlock, and most often - a miserable, cautious beauty, the "tavern queen":
Kissed a beggar, a thief, a hunchback,
Walked with all hard labor - nothing!
I don't bother with my scarlet lips.
Leper come - I will not refuse!
Lyric poems were rare guests in Tsvetaeva's notebooks, but nevertheless, caused by internal necessity, they appeared there. Thus, a kind of ode to the inseparable true friend of the poet - the desk - was created - the cycle "Table", without which not one Tsvetaeva collection can do.
My writing desk!
Thank you for walking
With me in all ways.
Protected me - like a scar ...
………………………………
My writing desk!
Thank you for being trunk
Giving me to become - a table,
Remained - a living trunk! ...
In "Poems to the Orphans" Tsvetaeva with the greatest passion expressed the idea that a person is kept on earth by his need for another. "What for the eye is a rainbow, For the Grass - black earth, For a Man - the need of a Man - in it." This "need", according to Tsvetaeva, is love. - So she returned to her cherished theme ...
Bibliography
Marina Tsvetaeva. Favorites. M., "Enlightenment", 1989, p. 26.
Marina Tsvetaeva. Poems. Poems. M., Pravda publishing house, 1991, p. 319.
Lyrical hero in the work of Tsvetaeva
Later, a hero will appear in Tsvetaeva's poetry, who will pass through the years of her work, changing in the secondary and remaining unchanged in the main: in her weakness, tenderness, unsteadiness in feelings. The lyric heroine is endowed with the features of a meek, devout woman.
Russia as a national element is revealed in Tsvetaeva's lyrics in various perspectives and aspects - historical and everyday, but above all its figurative incarnations there is, as it were, a single sign: Russia is an expression of the spirit of rebellion, rebelliousness, self-will.
Your follower is inexperienced,
Your whirlwind is a tangler.
Creak under the hoof
Gap yes crybaby.
untraveled path,
Wicked fire. -
Oh, Motherland-Rus,
Unshoeed horse!
At the center of this multi-colored and polyphonic poetic world is the image of a lyrical heroine, equally sharply revealed in its national features - a woman with a "proud look" and a "wandering disposition", the bearer of a "passionate fate", who "doesn't care about anything". This image serves as a core around which Tsvetaeva's dramatized lyrical plots are formed and unfold. The heroine puts on different torches and tries on different costumes. She is a Moscow archer, and the indomitable noblewoman Morozova, and the arrogant panna Marina, and a gypsy in the camp, and the quietest "homeless black woman", a witch-warlock, and most often - a miserable, cautious beauty, the "tavern queen":
Kissed a beggar, a thief, a hunchback,
Walked with all hard labor - nothing!
I don't bother with my scarlet lips.
Leper come - I will not refuse!
Lyrical poems were rare guests in Tsvetaeva's notebooks, but nevertheless, caused by internal necessity, they appeared there. Thus, a kind of ode to the inseparable true friend of the poet - the desk - was created - the cycle "Table", without which not one Tsvetaeva collection can do.
My writing desk!
Thank you for walking
With me in all ways.
Protected me - like a scar ...
………………………………
My writing desk!
Thank you for being trunk
Giving me to become - a table,
Remained - a living trunk! ...
In "Poems to the Orphans" Tsvetaeva with the greatest passion expressed the idea that a person is kept on earth by his need for another. "What for the eye is a rainbow, For the Grass - black earth, For a Man - the need of a Man - in it." This "need", according to Tsvetaeva, is love. - So she returned to her cherished theme ...
Bibliography
Marina Tsvetaeva. Favorites. M., "Enlightenment", 1989, p. 26.
Marina Tsvetaeva. Poems. Poems. M., Pravda publishing house, 1991, p. 319.
We are crowned to be one with you
We trample the earth, that the sky above us - too!
M. Tsvetaeva. Poems for Akhmatova. 1916
Two main themes - love and Russia - permeate the work of two great poets: Akhmatova and Tsvetaeva. This is natural: time was reflected in their poetry and the female soul spilled out, in which everything is: love, suffering, experiences, memory of meetings ...
The lyrical heroine of Akhmatova does not immediately reveal her inner world. Closure, unwillingness to complain, fear of seeming weak and unnecessary - these features distinguish the lyrical heroine of Anna Akhmatova:
Today I am silent in the morning
And the heart is cut in half.
These are lines from the poem "I pray to the window beam." At first glance, it seems bright, carefree: "beam plays", "fun to look at", "consolation to me." But, having read the simple lines, we understand how deep the inner tragedy of the heroine is - “heart - in half” - and how important it is for her not to burst into tears, not to betray her feelings.
It is not for nothing that critics, when analyzing Akhmatova's lyrics, usually notice that her love dramas take place as if in silence: nothing is explained, nothing is commented on, there are so few words that each of them carries a huge psychological burden. But there is a feature that brings together the two lyrical heroines - Akhmatova and Tsvetaeva - this is that the secret drama, the hidden plot of the poems relate to many, many people.
Anna Akhmatova's poem "Song last meeting was written in 1911 and became extraordinarily famous. All the features of the author's poetics appear in it: the inexpressibility of the tragedy, associativity, internal dialogism ... The heroine's excitement, it would seem, is not shown, but it manifests itself in the confusion of movements, in violation of the usual gesture:
I put on my right hand
Left hand glove...
It is no coincidence that the lyrical heroine seems to have a lot of steps now. When a person suffers, time drags on slowly, there seem to be a lot of steps... When the heroine was happy in this house, time flowed quickly, pleasantly... The number three in the Russian linguistic consciousness is associated with something benevolent, righteous; a lot - with chaos, ambiguity, anxiety. So in the lyrics of Akhmatova, the poetics of associativity characteristic of her is manifested.
The lyrical heroine Tsvetaeva manifests herself in a fundamentally different way. It is extremely emotional, love justifies everything for the author, passion is above hypocritical ethics and petty-bourgeois morality. It is no coincidence that the abundance of dashes and dots in Tsvetaeva's poetry. They convey the utmost emotional intensity, emotional excitement, sometimes - despair, sometimes - delight. Love is often associated with flight, sky, fire...
Feelings here are expressed extremely openly, frankly. The lyrical heroine Tsvetaeva is characterized by a direct - without intermediaries and without hints - an appeal to her lover, an attempt at dialogue, more precisely, an internal monologue addressed to the mental listener:
I'm stupid and you're smart
Alive and I'm dumbfounded.
O cry of women of all times:
"My dear, what have I done to you?"
A feature of the lyrical heroine Tsvetaeva is that she often speaks not only on her own behalf, but on behalf of “women of all times”, “the whole earth”.
Extremely openly, the lyrical heroine of Tsvetaeva is revealed in the poem "Who is created from stone ...".
Here the meaning and internal form of the name are revealed - Marina, which in Greek means "sea". The essence of personality is not betrayal of one's ideals, principles, close people. The quintessence of personality - in constant renewal:
Crushing on your granite knees,
I am resurrected with every wave!
The essence of renewal is in immortality, in the fact that the soul does not freeze, is in constant motion, in development. That is why the lyrical heroine Tsvetaeva is so characterized by proximity to the natural elements: water, sea foam, wind, fire. Emotional intensity causes not only the extreme expression of feelings, the most powerful surge, but also the extreme, ultimate filling of each element: if water - then the sea, if fire - then the flame, and if the wind - a draft!
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 theme of Russia unites the work of two poets. It seems to me that, expressing their thoughts in different ways, they agree on one thing: in boundless love for the Motherland.
In "Poems about Moscow" by Marina Tsvetaeva, the old, medieval capital with domes and church domes is resurrected. This image is the “miraculous city” that Tsvetaeva gave to her friend, Osip Mandelstam. Russia in Tsvetaeva's poetry is associated with mountain ash, this tree is a kind of symbol of the Motherland: “Rowan! Russian fate.
“Longing for the Motherland” by Tsvetaeva is the desire to escape from herself, to prove to herself that there is no longing, that the soul is alive far from Russia, that there is some meaning to life. But at the end of the poem, everything turns out differently:
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 ...
Akhmatova's patriotic lyrics are associated with categorical rejection the fate of an emigrant, an exile: "The bread of a stranger smells of wormwood" ... No matter what happens in the Motherland, no matter how hard the fate is, the poet must stay with his people. In this position, the two lyrical heroines diverge. Tsvetaeva did not accept the revolution and left Russia, but she could not live without it and subsequently returned. The return only exacerbated the terrible internal breakdown ...
Akhmatova also did not accept the revolution, which in her poems was always associated with fire, blood and misfortune, but she could not leave. This question was not discussed or even raised in her poems, but was, as it were, decided in advance, a priori:
And we know that in the assessment of late
Every hour will be justified...
But there are no more tearless people in the world,
Haughtier and simpler than us.
Two poets, two destinies... What the two lyrical heroines have in common is an extraordinary involvement in the tragedy of a generation, in the spiritual tragedy of a woman's personality, and the ultimate expression of the deepest inner world of a person.
Almost in every poem by Marina there is an image of a lyrical hero. Revealing this image, the reader discovers the lyrical "I" of the poetess herself and is already able to look into spiritual world Marina as a person and appreciate all the diversity of her experiences and the strength of emotional tension from the very moment when some truth is revealed to the lyrical hero, taking possession of all his consciousness, when he comprehends this or that event. Such tension itself cannot last long, and therefore one of the fundamental laws lyrical works Marina is their brevity and conciseness. The skill of Tsvetaeva lies in the fact that her lyrical hero, within the rather narrow framework of the poem, can convey and express thoughts and feelings of a universal nature, reflecting the real, real world of feelings and aspirations and at the same time revealing the attitude and understanding of this phenomenon or experience from the point of view of Marina herself. Tsvetaeva. If, after reading Marina's poem, you understand her lyrical hero, then you will recognize the poetess herself in him.
In order to reveal the multifaceted and at the same time harmonious image of the lyrical hero in Tsvetaeva's works, it is necessary, of course, to characterize their meaning and content, to determine the motives and moods underlying her lyrics; reveal their flows and thus follow the evolution of the lyrical hero, which runs in parallel with the evolution of Tsvetaeva the artist from early romanticism to deeply realistic ideas in her lyrics.
For the first time, a lyrical hero (or, rather, a heroine) appeared in Tsvetaeva in her early works. A non-existent friend who spends all her time with Marina appears before us as a naive little minx girl, introducing herself good fairy:
We are both fairies, good neighbors, Our possessions are divided by a dark forest, We lie in the grass and watch how a cloud turns white through the branches in the heights of heaven.
Since Tsvetaeva feels like the complete mistress of the world she invented, she endows her heroine with all the blessings of life:
Our possessions are royally rich, Their beauty cannot be told in a verse: They have streams, trees, rocks ...
Marina's ability to enjoy is also manifested in her friend. She openly sings: “We feel good!”, Apart from the two of them, they don’t need anyone else, because people don’t understand them and “they only see two wild girls in us.” But Tsvetaeva, with her inherent sincerity, forgives the adults who surround the two little fairies, because "what is clear to us is completely foggy for them." Marina considers herself spiritually superior to others, she only smiles in response to reproaches, saying: "Like everything else, a fairy needs an eye." But Tsvetaeva’s prudence is present in everything, no matter how sad it is to part with the happy reincarnation of a fairy, but nothing lasts forever on earth, and Marina mournfully says:
But the day has passed, and again the fairy children, Who are waiting, and whose step is quiet. copying prohibited © 2005
Liveliness, attentiveness, the ability to get carried away and captivate, a warm heart that always yearns for love and friendship, the ability to become attached to a person with all the forces of the soul, a burning temperament - that's character traits the lyrical heroine of Tsvetaeva, and at the same time her own: something that helped to preserve the taste of life, despite disappointments and difficulties creative way the poetess herself. Already in the poems that were written later, the image of a lyrical hero appears. After her stay in Berlin, Tsvetaeva devoted a whole cycle to this time, in which there is an image of a hero. She managed to write more than twenty poems, completely different from the previous ones and opening up new features of her lyrical talent. These verses seem to have gone underground of secret intimate experiences, expressed in sophisticated-ciphered:
When, O Lord, will the calmness of gray hairs, the calmness of heights come upon my life...
In the poems of the period from 1920 to 1923, the lyrical hero appears to readers no longer as a “contrived friend in life”, but as a meaningful one, fully ripe for a solution. serious problems In my life:
So, in the meager toil of days. So, in a difficult spasm towards her, You will forget the friendly trochee of your courageous Friend.
The lyrical hero is especially close to the lyrical "I" of Marina, expressing the subjective experiences of the poetess in intimate lyrics: friendly and loving. Tsvetaeva tried to compensate for the lack of social connections with personal, intimate ones. Harmony in the feelings of the lyrical hero is created thanks to her communication with friends, with her beloved. Hence the verification of the hero as a person, the creation of a kind of cult in love and friendship, which is the source of Tsvetaeva's poetic inspiration:
How this incident ended, Do not know either love or friendship. Every day you answer more muffled, Every day you disappear deeper.
The image of the lyrical hero in Marina is always deeper and wider than just the expression of the personality of the poetess. Therefore, such seemingly subjective feelings and emotions underlying lyrical works (this is especially true for love lyrics), resonate in the hearts of all people, and Tsvetaeva's works of a lyrical nature have a universal meaning; their humanity and humanity become close and understandable to everyone.
Waterfalls curtain, like foam - Needles - flames - woke up. There is no secret at the curtain - from the stage. (The stage is you, the curtain is me).
The lyrical hero conveys to us the full depth of thoughts and experiences of the poetess-artist, and thereby reveals her own spiritual world. Therefore, no matter how lofty feelings possess lyrical hero, no matter what philosophical thoughts illuminate his mind, one can always find their real, vital human basis:
Came: be strong
In case - like a black man in prison
The whole wound - brush!
God for such
Following the hero into the world of Tsvetaeva's poems, we recognize the poetess in poetic images, learn to compare her and her heroes, learn the life of such a person as the bright and wild Marina was
