Conversation about the poet with a historian of literature, writer Natalia Gromovoy

Marina Tsvetaeva - the poet, creativity and the fate of which does not leave anyone indifferent. It is either passionately loved, or simply do not tolerate in the spirit. Her researchers say that in our society there was a lot of stereotypes in the perception of Marina Tsvetaeva. Someone calls her the "ladies" by the poet, pulling out separate poems from the extensive heritage. Someone does not give rest to her stormy personal life and behavior in the role of mother and wife. All this on the eve of the 77th anniversary of the leaves of the color in Elabuga (August 31) "real time" was talking to the historian of Literature Natalia Gromovoy.

"For Tsvetaeva, Russia has lost a leaving race, people with self-esteem"

- has passed 77 years from the date of the color of the color. Why is her creativity still remains attractive for us?

Brodsky, despite the fact that he himself was a student of Akhmatova and loved Mandelstam very much, considered Tsvetaeva the main poet of the 20th century. Tsvetaeva - the poet of challenge and rebellion, she spoke about himself: "One against all." She revised a lot of topics that women did not dare before her. I'm not talking now only about her love lyricswhich has a lot of fans, or its unusual rhythm. When it appears with its first collections "Evening Album" and "Magic Lantern", it can be seen that her poems came out of the atmosphere of a threeproof house; Polianok of Moscow rooms, teddy tablecloths and curtains, books with golden cuts, smiles of porcelain dolls. But even then, in her work, it appeared that before that I was struck by all the reading Russia and Europe in the diaries of artist Mary Bashkirtseva. Bashkirtseva died early, she wrote in her diaries about creativity, about death and immortality. It should be understood that before that, the woman spoke either on behalf of men, like Anna Karenina or Turgenev Baryshni, or about love or narrow-seamless experiences. The first books of Tsvetaeva became a kind of poetic diary. It immediately allocated her among others. And the one who heard her (it was, in particular, Maximilian Voloshin), she blessed, took the poets in the Brotherhood. She was then 18 years old.

The next stage is very significant. It begins after a gap with Sofia, when Tsvevaeva felt a man free and difficult. Her style becomes frank and sharp. And it is already known not only in the Moscow poetic circle, but also in St. Petersburg.

After 1917 she had a sharp fracture in the sense of time and the city, which for her it personifies. In her verses "To Moscow", written earlier, she fired this city, his soul. But after the shootings of Junkers in November 17, after all the familiar young people, including her husband, runs to the White Army, she writes about Black Domes, Red Moscow and appeals to the Iverland of God's Mother with terrible words that She did not save, did not save his sons. A poet Buntar is born, challenging time, universe, God.

"The first books of Tsvetaeva became a kind of poetic diary. It immediately allocated her among others. She was heard, in particular, Maximilian Voloshin "

After Lermontov, perhaps, only Mayakovsky dated it, but Tsvetaeva, of course, was much more consistent. This is a Tsvetaevsky renunciation from the revolution, from bloody new time - a prologue to her future abandonment of the world of "nonhumands", unleashing wars destroying culture.

Then she grows the topic, in my opinion, a little appreciated - about the death of Russia. She calls a new collection "After Russia" - not only because of his departure, but also because after 1917 Russia no longer has become. For the Tsvetaeva, this country has lost outgoing races, people with self-esteem. She was no wish she wrote about Sergey Volkonsky, Stakhovich, she immediately identified people in them with a special posture, a breed and depth. For her, the breed was, of course, not something external, and what is called honor. And today we can see the shortage of what she was talking about, - from Russia there was a feeling of honor.

Its latest poems cycles in the late 30s, dedicated to War, Czech Republic, including poems about the readers of newspapers, the poem "Ratsolov" - that vulgar meshchansky world is described in them from the point of view, which has allowed to happen that one civilization began to destroy the other. After all, what world does she answer the refusal in his famous poem? The one who exploded, destroyed Germany, her beloved Germany, which began to trample her beloved Czech Republic. For a color, this is a civilization catastrophe. For her, all this became the end of the world, the final of civilization.

I'm not talking about her "poem of the end", which in 1941 Tsvetaeva read Akhmatova, and which Akhmatova was not accepted ...

Tsvetaeva until now remains the poet incomprehensible and unread. People often react to her sound and rhythm, charm its shape. But the meanings of Tsvetheevsky poems remain hidden.

What you say is important because often out of the Tsvetaeva pull out separate poems, making it almost a ladies in the poet ...

It is absolutely wrong. She is a gigantic poet, talking in a new language. Language born by an unprecedented epoch. And her contemporaries were keenly felt: Pasternak, Mayakovsky, those people who rewrite her poems in Moscow in the 20s. But it was because of this language that she was not understood abroad. In emigration, she came with the "swan mill" and the poem about the execution royal familywhich we have not seen (there is only an excerpt, but it disappeared entirely). These topics, as she seemed to be close to emigration. But her rhythm and syllable were difficult to the public, which is accustomed to the block, Merezhkovsky, Bunin and others. And even the suspicion is imprisoned that the transition to a nostalgic prose was dictated by the understanding that it will be more understandable and it will be easier to print, than poems.

Tsvetaeva believed that the poetry was "carried out" only in the talented reader. In this, which is capable of active making and is ready for efforts, sometimes tedious. Does the same applies to the fully and to the poems of Tsvetaeva, especially late?

And Mandelstam, and Pasternak is difficult to read. This is a joint work and experience. When you read Tsvetaeva at 18, then it "love me for the fact that I die" or "passersorby" is generally understood. But the farther, the harder. It grows rapidly. She is very different. There is "I have a dome in Moscow", with these clear poems, Tsvetaeva was famous. And there is a "poem of the end" or "New Year." And with these verses, everything is much more difficult.

I also do not understand a lot in the poems of Tsvetaeva. For this you need to have experience and survive something. When you see an unexpected combination of words in which a new meaning opens, attracting another word to himself, and through which this meaning receives additional dimension. These are very complex writings. As she herself said: To read the poet, it is necessary to be in a whine. The poet, especially as such strength, as Tsvetaeva, has the right not to open to everyone.

"In the book of Maria, Belkin" Crossing the Fate "there is a very honest look at the time, Tsveyev, her son and the Daughter Ariadna." Photo Gornitsa.ru.

"There is a lot of" yellow "literature about Tsvetaeva. Unfortunately, even librarians buy such books "

- What is generally happening today in the colors?

There are separate philological parsing of its works, but there are no serious significant work on her work. Irina Shevlenko, perhaps, the author of one of the smartest books about Tsvetaeva as a poet. Of course, there were wonderful biographies - Anna Sahakyans, Irma Curious, Victoria Schweitzer, Maria Belkina. The work of Lev Mnukhin and others.

But it is not commented in detail Tsvetaevskaya prose, notebooks and step notebooks.

I'm more concerned about the biographical moment. Until the 90s, Tsvetaeva not studied at the institutes. There was a book of Mary of Belkina "Crossing of the Fate", in which there is a very honest look at the time, Tsvetaeva, her son and the daughter of Ariadna. Then, all kinds of devotees were harvested in the grains, people are often adjacent professions - geologists, physics, mathematics. Now we have the collected works of Tsvetaeva, Elena Korkina commends the chronicle of life, Ekaterina Lubyanikova works on a biography and found a lot of interesting things. But, doing the exhibition, commenting on the texts, I found a huge amount of white spots, not clarified biographical stories. At the same time, there is a lot of "yellow" literature about Tsvetaeva. Unfortunately, even librarians often buy such books and exhibit them, without understanding that they are better to throw them, because they are filled with gossip or rumors.

- What white spots remained in the colors of the biography?

They are quite a few. For example, its origin and the Polish branch. Opened a little about the Bernadsky family, about her grandmother, which neither she, nor her mother, and whose portrait hung in threeprudge. Tsvetaeva itself accidentally met with two sisters of his grandmother, that is, with his cousins, in St. Geneva de-boo in the nursing home. She writes about this, mentions the portrait of a woman with "his" eyes. But nothing more is known. Very little information about her grandfather on the maternal line A.D. Maine, whom she knew before nine years. What was in his youth, how did he get to Moscow?

Many incomprehensible about her life in 1920. There are notebooks, it is known where she worked. But a big circle of people remains unknown: who are these people, what happened for days and weeks? Almost every year of the life of Tsvetaeva for her biographers is a problem. Maria Josephovna Belkin asked people who communicated with Tsvetaeva in Moscow in 1939-1940, and, as Belkin said later, it was not the whole circle of color of this time. Some documents stored in Rgali have not yet been published. For example, letters in which she asks for help. I'm not talking about the letters of people who intersect with Tsvetaeva and indirectly mentioned it in their correspondence.

"Seryozha, if you get, I'll go after you, like a dog"

It is clear why Tsvetaeva was forced to emigrate to Europe after a white guardian husband. But why nevertheless she returned to Russia? Biographers have a single understanding of this?

Yes. In early 1937, the daughter of Ariadne was leaving from Paris to the USSR, which dreamed of living in the Union. And she, and her father, her husband, Tsvetaeva, Sergey Efron, consisted in an organization officially called the "Union of Returning Homeland." Unofficially, Sergey Yakovlevich was an NKVD agent. He walked for this seven years, for all the 30s he wrote his sisters, which lives only in the hope of returning to Russia.

Tsvetaeva never wanted it. But she was a man of words. Her ideas about the honor were primarily related to her. And in 1921, when her husband was missing during Civil WarShe wrote: "Seryozha, if you get, I'll go after you, like a dog."

"Tsvetaeva was a man of a word. Her ideas about the honor were primarily related to her. And in 1921, when her husband was missing during the Civil War, she wrote: "Seryozha, if you get, I will go for you, like a dog." Photo Persons-info.com.

It was assumed that the people who had passed the White Movement could return to their homeland, only atoneing their guilt, working in the NKVD. And for Efron, one of the tasks was headed by a group that should kill the Ignatius of the flight - the old Bolshevik and the former Soviet agent who wrote a letter that Stalin creates with his associates and enemies. The flight to the USSR was sentenced to death as a traitor, and Efron had to implement it. The murder of the flight takes place in the fall of 1937, thank God, not by the hands of Sergei Yakovlevich, but with his participation. He managed to hide from the police and sit on the Soviet steamer. So at the end of 1937, he found himself in Moscow.

The next day, the newspaper comes out in Paris, in which black on white it is written that the NKVD Agent Sergey Efron, the husband of the poet of Marina Tsvetaeva, is involved in the murder of Ignatia Ray. Of course, Russian emigration was very concerned about the fact that there are so many agents among them. Prior to that, in Paris, not one white general disappeared in Paris, the arrest of the recruited singer of Hope of Trevitskaya was not clear, the death of Leo Sedov was not clear. People were just afraid for their lives! How could they treat Marina Tsvetaeva, which the next day caused interrogation? She spent several days at the police station and still remained devoted to her husband and spoke only that her husband was slandered and confused and that he could not do anything like that, because he is a man of honor.

But let's just imagine that after that it could be her life with an adult 15-year-old son Murom (this is a homemade nickname, the boy was called George, - approx. ed.) in Paris. With it does not communicate emigration. She needs somehow and drink. She can not renounce her husband. For two years, the Soviet embassy from time to time caused Tsveyev and gave her some money for accommodation. All this time, she is not allowed to the Soviet Union.

But she was forced - from the point of view of understanding his duty and circumstances - to follow his family in the USSR. Her son was under the influence of his father, as we see on his diaries, he went to all meetings of Sergei Yakovlevich with the most different people. He was aware of events more than his mother. And he rushed into the Soviet Union. Situation is simple and terrible.

Why is such a reasonable person, like Sergey Yakovlevich Efron, knowing perfectly, what happened in the Soviet Union in those years, still rushing there?

Let's start with the fact that he grew up in Paris in the family of emigrants. His mother at one time was held twice the period in the Petropavlovsk fortress, hid with the printing house, they said about her that she was bombing. His father was also associated with the Department of People's Will. When Sergey Yakovlevich was 17 years old, his mother committed suicide after his little brother Also committed suicide from himself because of the resentment caused to him in a Catholic college. Father has been dead by then. Sergey Yakovlevich was left alone (he had three older sisters), he comes after the tragedy in Koktebel, where he meets Marina Ivanovna. She sees a knight in him, who read out of books. She waited for this man and waited. She was 18, and he was 17 years old.

And then the first act of this drama takes place. She as a person is larger, stronger and deeper. He is a wonderful young man with beautiful eyes and a huge desire to become someone. Not more. And he learns, writes and himself publishes a good book "Childhood", where there is the head and about Marina, but this is a book of a narrow family circle. He becomes a journalist, plays on the stage of the chamber theater. But nowhere he is not the first and not even tenth. And two years later of their family life in 1914, a strong and powerful woman appears next to Marina - the poet of Sofia Garnik, who was her older for seven years.

1914 - the beginning of the First World War. And following the image of a knight without fear and reproaches created by Marina, Sergey Efron rushes to the front. And here it is also waiting for him. He does not take it, because he has a white ticket, it is a tuberculosis. But he still goes there to Sanitar, because to stay unbearable at home for him. He does not know how to overcome a number of tragedies in his life. He and Marina are children next to adults.

From Sanitars, he still falls into the UNCER school, becomes a UNCER in 1917, in the terrible autumn months, when Junkers are the only ones who protect Moscow from the Bolsheviks. He falls into the thick of the events when the Kremlin is shelling and when the Juncker boys lay on the path of the Bolsheviks and die, unable to protect the city. Sergey Yakovlevich then was not entirely clear what kind of power struggles with what. He simply performs his military debt. After that, it joins white movement. For Tsvetaeva, all this was natural. And for him, as it turned out, it was unnatural. Because, being in Prague, despite all the experienced in the Army of Wrangel, he is close to Smerechovtsam, who have been to the fact that the choice of people is and there is a Bolshevism that the people chose Lenin and everyone should take his choice. And Sergey Yakovlevich starts throwing: how he, son of revolutionaries and populists, got into white emigration? It was his personal drama.

"1914th - the beginning of the First World War. And following the image of a knight without fear and reproaches created by Marina, Sergey Efron rushes to the front. And here it is also waiting for a failure. " Photo Dommuseum.ru.

He turned out to be at all where he would like to be. And Tsvetaeva, on the contrary, believed that it was very correct that this was the testimony of his highest nobility. And when they met first in Berlin, and then in Prague, after two years of separation, these were two different peoplewho did not understand each other at all. And he wrote a terrible letter to the Voloshin: "We have so craved this meeting, but we are strangers." And it was connected not only with their love plot, but also with the fact that they see the course of events in different ways.

In the life of Tsvetaeva won the logic of his life. She always knew that her life was the drama of an ancient rock. It would seem that she is stronger, she made so many independent actions, but she goes for his life, and not for his own. Although it appears different beloved, I will define her fate anyway, which she is deeply honored in life. She believes that their common children are, first of all, his children, and completely gives him power over them. As a result of Ariadne, their eldest daughter, developed in Paris as an absolutely faithful father's ideal communist. The same was with the son.

And later Ariadna Efron, which was serving the term in soviet camps And knew about the execution of the father and brought to the suicide of the mother, changed his views on communism?

Oddly enough, she was something like the old Bolsheviks. She hated Stalin and Beria, believed that all the evil had happened from them. But she did not deny the Soviet idea. I told a lot with people who knew her. They explained this by the fact that she simply adored her father, more than a mother, and to imagine that his life was given to anything, it was impossible. I think this is just one of the explanations. It is necessary to submit under what conditions it carried out his youth. The Society "Union of Return to Motherland" in Paris took a whole floor in the building. And it was a place where emigrants constantly came, including Ariadne, they watched Soviet films, read Soviet newspapers, put the Soviet plays, they lived both in some reservation from morning to evening. She had a job there. Paris was a stranger for her, although she had a lot of friends.

She wanted wanted everything to have happened to her family, was just some kind of mistake. I will give one of the most vivid examples. Olga Ivinskaya sat in prison after the death of Pasternak. Ariadne loved her very much like a native daughter. And she writes Ivinskaya to jail such a phrase: "You only look there that she does not communicate with nationalists and anti-sakers so that she does not bring bad ideas there." This writes a person who spent 18 years in camps and prisons! After going horror with Pasternak! It is impossible and incomprehensible.

"Ariadne was something like the old Bolsheviks. She hated Stalin and Beria, believed that all the evil had happened from them. But she never denied the Soviet idea. " persons-info.com.

"She walks down the street and, if he sees a bowl, grabs her to cook soup."

You talked about biographical clichés against Marina Tsvetaeva. One of them, probably, such that she was in the family life, the duties of his mother and wife. This is also shown in the only artistic Russian film about her "Mirror", where she is moving away from the table to the trough with the linen and then complains about the inability to write.

We need to understand that Tsvetaeva came from the family, where there were maids, cooks and so on. In 1914, they bought a house in Borisoglebsky Lane and her husband. They had a cook there, which brought to the dining room, the Ariadna had a nanny. Tsvetaeva, at the same time, loved her daughter and communicated with her. Many always forget that Anna Andreevna Akhmatova quickly passed her son of Lion on the hands of mother-in-law and wrote. The color has another story. It so happened that neither grandmothers nor grandfathers had her children, but she never looked away from himself.

And the person is a little more than twenty years with a fairly arranged life in the situation of war and hunger. In October 1917, her second child is born, Irina's daughter. The ability to keep the servant disappears. She has nothing to live on. They move into one room and rush the walls than it is possible that it was not cold in it. She gets herring and frozen potatoes in the Writers' House on the Cook. Wish that this young woman immediately turned into a strong, powerful personality in everyday life, a little naive. People who write about it and say psychologically nothing understand about life.

Sergey Yakovlevich goes to the White Army. It should solve all problems alone. At the same time, it can not stop writing. Name it is an ideal mother, of course, the language does not turn. She even makes a girlfriend from her eldest daughter. They were generally so established in the family that they are friends-comrades, appealing to each other by name, and not "mother" or "daughter". The Hasive Mother of Tsvetae will be when her son Georgy will be born.

And what about her second daughter Irina, which is born in 1917 and dies in the 1920s, being a given color in the shelter?

In 1919, children got sick. They suffered from constant hunger. In November, Tsvetaeva gave seven-year-old ally and two-year-old Irina to Kuntsevsky children's shelter. She was assured that children give food from American humanitarian aid (Ara). However, all food was already stolen. Little Irina fell ill in the shelter and died, older Alya survived. Many believed that the death of his daughter left Tsvetaeva indifferent. She herself confessed to many familiar when Irina was still alive, which loves more smart and talented alillus, the lagging in development (from hunger) Irina. After a while she recorded: "Irina was easily saved from death, - then no one turned up. So it will be with me. "

The only thing in this situation can be seen the guilt of Tsvetaeva as a mother, so this is that in the summer of 1920 she refused Elizabeth Yakovlevna Efron, her husband's sister, who asked to give her Irina to the village. But Tsvetaeva never let go of his children. She was a very totalitarian mother, wanted the children next to her. Perhaps Elizabeth Yakovlevna, being childless, could go out this girl.

Its complex motherhood is brilliantly described in the "Crossing of Fate". Maria Josephovna writes about Marina Tsvetaeva, which goes down the street and, if he sees a bowl, grabs her to cook soup. This happens in Paris and anywhere. There are a bunch of photos where she erases underwear. It was very loaded by life. She is not at all a lady with a manicure that sits at the table and, putting his hand to the head, composes something. This is not at all in the memoirs. She is looking for food, she is preparing her, she knits ale to prison endless rates, writes to her: "Alechka, I am most afraid that you will be treated for your kidney."

Unlike my beloved beautiful Anna Andreevna, who was always half a walk on the bed and wrote poems, being a person who was not adapted to life at home, Tsvetaeva carried the goods of household duties. Therefore, with Tsvetaeva, in my opinion, they do unfair. This is a person, the last two or three years lived only for his child. She herself was no longer needed.

"Tsvetaeva never let go of his children. She was a very totalitarian mother, wanted the children next to her. " Photo izbrannoe.com.

"Tsvetaeva and her husband were the creatures of a special order. It tied them much stronger than bed and attitudes on the side "

In those of the most "yellow" books and articles about Tsvetaeva, stories about its countless trees are published - both real and "according to correspondence". It forms an idea of \u200b\u200bthe poet as a man of immoral behavior, which is again shown in the film "Mirror". What was the real situation, how did the relationship between Tsvetaeva and her husband?

We have already started talking about it a little. Let's always take over the point of reference what they got married at a very young age. These are the people who lived in the world of literary images - and he, and she. Therefore, the father of the Tsvetaeva and the poet Voloshin, who introduced them to, very nervous. They did not want those to marry at such a young age. But in this story there is an important point. Tsvetaeva, despite the fact that it seems a changeable and non-permanent, throughout his life will carry loyalty to his words, said at the very beginning of her chosen one - about his chivalry, that he is for her a man of the highest honor. And when at the police station in Paris, she was asked about her husband, she replied that he was a person of honor and could not do anything wrong. You read and do not believe your eyes. But in three years she will write in the letter of Beria the same words that her husband sits in prison, but this is a person of honor, this is the noble man, he could not do anything wrong, because he served his truth and the idea. She did not lie, she thought so. And Efron knew that she was thinking about him. And they tied them much more than, sorry, any bed and any relationship on the side. They were for each other creatures of a special order.

At first about her novel with Sofia Glakniy in Moscow, before the revolution. Tsvetaeva lost his mother at 11 years old. Father was busy with a museum. She, like Efron, was a man orphaned, and it pushed them to each other even stronger. And her orphanhood, and the lack of an older woman in her life played a key role in the relationship with the guinea. The guy was stronger. In addition, she was a poet and introduced it to the circle of St. Petersburg poetry. Relationships that between them arose were for the color also an element of freedom, which all then breathed. Before talking about morality and immorality, it is necessary to understand that poets to write something, put on themselves very brutal experiments. All the literature of the Silver Age - it was the path of constant samples on the moral field, on the field of love and breaks. Of this, a thick atmosphere of literature, painting, theater was born. There were people there different orientations. Remember Dyagilev, Nizhinsky. But from this solution, some absolutely new art was doused. It was, of course, terribly, and beautiful, as it happens in such eras.

The appearance of the game became for Sergey Yakovlevich injury. And he "escaped" to war. But in all letters, he is afraid of Tsuela and respects her freedom and will. I was always amazed that all claims in their relationship will appear later, while the initial time of their life is a space in which everyone is having to do and choose what he wants, and this does not affect their relationship.

Another point is not by chance of Tsvetaevsky poetry such strong energy. When we get a bunch of great strength from her, it is necessary to understand that this blow can not be invented, to symit, it must be experienced. If you are not experiencing strong senses of love, love, you cannot write the text of this energy. It does not work out of nothing. That is why serious big poetry should come from somewhere. Love moment is the key. And if people want to read such poetry, let them calm down about immorality. Because this poetry itself is not immoral, it does not call for debauchery, she is about high love. No need to forget that "I loved you ..." Pushkin did not write a wife, "I remember a wonderful moment." - Also not Goncharova.

I understand that all claims to Tsvetaeva stem from the fact that she did all this, being a married woman. But she always said that he loves one earrings ... and at the same time she loved this, the other. This is her world. And it can be taken or not.

In 1924, Sergey Yakovlevich wrote about it the most cruel letter Maximilian Voloshin. He was already met with her, she already experienced the love of Vishnyak, a novel began with Rodzevich. The letter of Efron amazes his understanding. He writes that Marina is a person who uses people like firewood to warm his feelings. That he can no longer be these firewood that he is exhausted by this situation. What he wanted to leave, but when she learned about it, he said that he could not live without him.

"Let's always take over the point of reference what they got married at a very young age. These are people who lived in the world of literary images - and he, and she "

Sergey Yakovlevich was a rod for her. With all his bends, with all that he was confused by this life, it was important for her that he would forever remain the knight she met in Koktebel. She needed to be leaning toward him. And he played this role for her to the end. And for me one of the strongest shocks in the history of their collaboration was the next fact. The protocols of its interrogations and recent days have opened. He was planted with a huge number of other Beloamigrants. He was made by the head of this case. All of them were announced by Japanese, French and other spies. And all of them in three or four days signed the paper that they are these sophistications. All, with the exception of Sergey Yakovlevich Efron, who told on all interrogations, that he is a Soviet spy. As a result, everyone was shot, and they did not know what to do. In September 1941, after all torture, it turns out in one of their psychiatric hospitals in Lubyanka in one of their psychiatric hospitals, and in the case there is an amazing entry: he, being in a poorer consciousness, asks for him to be let his wife, who stands outside the door and reads him his poems. But Tsvetaeva has already committed suicide at that time. Her presence he always felt. And he was shot on October 16, 1941, when German troops stood near Moscow.

In this story, as in an ancient drama, there is everything in the world. It is absolutely not unambiguous.

"Tsvetaeva said many times that" when the poems end, I'm finishing and I ". It happened in early 1941

There are several interpretations of the causes of suicide Tsvetaeva. The most loose - that NKVD was trying to recruit her. You studied in detail the last days of Marina Ivanovna in Elabuga. Where is the truth?

I immediately celebrate the version with the NKVD, although it is the most favorite and often repeated. But it seems to me not convincing, because it came out of a fairly simple story: Mura is written in the diary that the mother was called in the NKVD after they filed their working questionnaires, where they wrote that they knew how to do what languages \u200b\u200bdo you know. But she, most likely, did not go there, because she was very afraid of this word "NKVD". Women swimming with her on a ship remembered that Tsvetaeva spoke about his passport, as if she seemed to her that he was written in the arrest of her loved ones. She was afraid of what was an emigrant, she was afraid of the NKVD, where long hours stood in the queues, passing the parcels.

It is necessary to understand what Elabuga represented in September 1941. There was the first camp of the German prisoners. And with them it was necessary to communicate, we needed translators. From a small number of educated people evacuated in Elabuga, only Tsvetaeva knew German. She could offer such work in the NKVD. Therefore, even if she went there, most likely, it was precisely in this. Because if she had to need NKVD for other purposes, during the years she spent in Moscow, it was full of opportunities to arrest and recruit. It was just ridiculous to recrupt her in Elabuga. In addition to her, there were still three evacuated families, and all these people did not imagine interests for the authorities. Rather, they could recruit them to keep track of the Tsvetaeva.

Tsvetaeva said many times that "when the poems end, I'm cunning and I". This happened in early 1941. Her last poem is dedicated to Tarkovsky. She lived only with her son. And she turned out to be in Elabuga, because bombing began in Moscow, her son had to collect "lighters" on the roof of their house on the Pokrovsky Boulevard, where they shot the room. Tsvetaeva was panically afraid that he would die in Tritarmia. Therefore, it rushes in the first wave of children's unorganized and even unconnected evacuation. All of her time and life are engaged only by the salvation of the Son.

Her son is beautiful outwardly, high, handsome, smart, incredibly educated, knows several languages. But he has absolutely how she spoke herself, the soul is not developed. It is cold, selfish. At first he somehow tried to socialize in soviet schools, in the Soviet world. But very quickly realized that he was stranger there. And he began the crisis, and he donated all his problems on the head of the mother, who had already strongly weakened from all the blows of fate. Therefore, her words that "wherever he was, looking for the eyes of a hook," testified to what she was going to. But until the last moment she lived, because he considered himself his son.

"Tsvetaeva said many times that" when the poems end, I'm finishing and I ". This happened in early 1941. " Photo newsland.com

They found themselves in Elabuga on August 31. The boy wanted to go to school on September 1 in the city of Chistopol, where she had already come, but decided that there was no need to live, because it was not clear what to live there: they were attached to something in Elabuga, they were put on cards. And there was nothing there. But he did not want to know anything about it. And the color has a feeling that the son will be attached without her, that she is a boy, hinders him.

Everyone builds this story through it. But this story is no longer about it, but about him. She is already part of this young man who wants freedom and self-determination. And after scandals, which are increasingly and more often between them, Tsvetaeva is increasingly convinced of what is a burden for a son, an obstacle on his way.

That is, she believed that the Soviet power would be reacted to him more favorably if he had no emigrants behind him with an incomprehensible destiny, which was not printed anywhere and which is not needed by anyone. And after her death, he immediately rushed to prove to what he was capable of. He immediately went to Chistopol, went to Moscow, ate cakes, walked around the city.

Tsvetaeva threatened and freed him the road. It combined with its deep depression. For the color and war, and all subsequent events were the harbinger of the coming apocalypse. Her grave is lost, which is very symbolic, since she opposed every physicity to the free life of the soul.

- Is there a tech student or followers? Is it possible in principle?

W. major poets With followers is difficult. They may have a lot of epigal, but it is immediately visible. You can call Bella Akhmadullin's successor, but she has his own story, his voice, his time. And thank God that it is. Because the creativity of the color cannot be continued in the same way as it is impossible to continue her fate and live her life.

And Tsvetaeva has already become a brand like Pushkin? After all, under her name, some events are already held. How do you feel about the "Tsvetaevsky fires", for example?

I don't really love it. There is such a comic definition: People's Coloring Republic. I am afraid that my words will be perceived as arrogance and snobbery, but this is a kind of chicken around big man. These bonfires are poems about the color in large quantities. You can love Tsvetaeva, touch her, talk about it. But it is better to be ourselves. In general, the problem is that creating around it some kind of action is equivalent to its strength, difficult.

But the problem is not only in Tsvetaeva. And in the fact that the time itself is understood bad. What is the 1917 year, what is the 1920th year, what is the First World War? About this only the day before yesterday began to talk. I'm not talking about her fate with a cheeky-husband, it all needs to understand deeply as an antique tragedy, and not as one of the flat stories.

Therefore, both Pushkin realized, and Tsvetaeva will understand another century. But while this is all naive enough, these are the first approaches.

"Her life is a very big and complex volume. To transfer it to, you need to be a very deep and clever person. Therefore, everything that is now is just approaching. " Photo TheoryAndPractice.ru.

"Tsvetaeva is not some hysterical broken woman who writes poems and all the time lives with everyone."

- That is, Tsvetaeva will remain object of attention?

She is not just an object of attention, she is nervous, she annoys. For example, in Facebook, people come to me every three months and ask to explain that she did not hate children, did not eat them, was a good man. I have already explained all this many times. But they ask me again. And it happens regularly. Discuss techly the people of various cultural layers. People cannot calm down.

But after all, other people, including those famous, make a lot of worse than those who are judged by Marina Ivanovna. Why do such high demands presented to Tsvetaeva?

Because these are open people, they lived a lap. It's like a thick diary. He was often accused of being such a Siak. Open easy to take. And then they say: "What can he write to us if he is as small as we, as low as we?"

And also this melancholy on the ideal. But I believe that you need to wait at all of the poets. Poets formulate. It should be understood that in a high ancient ancient antique tradition, the poet is a person who catches the sounds of the sky, but at the same time he himself can be blind as Homer, not only literally, but in a figurative sense. So in the historical tradition was perceived by the poet. In Russia, the poet turned into something more, because in our country at some point the literature was replaced by everything, they began to ask him as from the Bible.

- How do you feel about the songs on the poems of the color and artistic reading of her poems? Is there something interesting?

I am a senior man. I like Eva Demarchik, the Polish singer, she sang a "grandmother" in the 60s. Perhaps Elena Frolova. Farther below. I even care about the color is careful. I listened to Natalia Dmitrievna Zhuravlev, she taught her dad, who he himself listened to Tsvetaeva live. It is interesting. You see, it should not score poems, should be fine and clever. Tsvetaeva is not some kind of hysterical broken woman who writes poems and all the time lives with everyone. When some piece burst out of her life, it is always not about her. Her life is a very big and complex volume. To transfer it to, you need to be a very deep and clever person. Therefore, everything that is now is just approaching.

Natalia Fedorova

reference

Natalia Gromova- historian of literature, prose, literary critic, playwright, journalist, teacher, museum worker, researcher. The author of the research on Marina Tsvetaeva and her surroundings "Flowers and pottery. Letters of Marina Tsvetaeva to Natalia Goncharova, "" Far Chistol on Kame "," Marina Tsvetaeva - Boris Bessarabov. Chronicle of 1921 in the documents. " Senior Researcher at home-museum M.I. Tsvetaeva in Moscow until 2015. Leading researcher at the House-Museum of Boris Pasternak in Peredelkino until 2016. Leading Researcher State Literary museum (House Ostrukhova). The Journal Prize "Banner" (for the archive novel "Key"), the finalist of the Russian Booker Prize, the Winner of the Awards of the Writers of Moscow "Crown". Her books ("Knot. Poets: Friendship and Raznits", "Warring War. Memories of Children of Writers", "Tablecloth Lydia Lidia Lybdition", "Key", "Olga Berggolts: There was no death") Based on private archives, diaries and Live conversations with real people.

« M. I. Tsvevaeva»

Exercise 1

Marina Tsvetaeva turned out to be in emigration:

1. For political considerations.

2. In connection with the inextricable desire to meet with her husband and the impossibility of his arrival in post-revolutionary Russia.

3. For other reasons.

Task 2.

The impulse to the creation of a collection "Swan Stan" served:

1. Love for nature "

2. Commitment to the ideals of the White Army.

3. Love for her husband Sergei Efron.

Task 3.

The highest destination of the poet Marina Tsvetaeva considered:

1. Chanting the female share and female happiness.

2. The upset of the highest truth - the right of the poet to the integrity of his Lyra, poetic honesty.

3. The desire of the poet to be a carrier of the ideas of time, his political tribune.

Task 4.

M. Tsveyev in the article "Poets with history and poets without history" divides all artists into two categories. What group does she consider himself:

1. Poets with history, "arrows", i.e., the thoughts of the poet reflect the changes in the world.

2. Poets without history, clean lyrics "Circle", poets of feelings, immersed in themselves, detached from the vibration of life and historical events.

Task 5.

Marina Tsvetaeva wrote: "Clean lyrics lives feelings. Feelings are always alone. The feelings have no development, there is no logic. They are inconsistent. They are given to us at once all the feelings that will ever destroyed us: they are like a flame of a torch, it is thrown out to our chest. "

M. Tsvevaeva considered herself:

1. "Clean lyrics".

2. "Poet of time."

Task 6.

For M. Tsvetaeva, it was characteristic:

1. The feeling of unity of thoughts and creativity.

2. Alphabia from reality and immersion.

3. Romantic abstraction from reality.

4. Reflection in poetry of thoughts associated with time movement and change in the world.

Task 7.

The lyrical hero M. Tsvetaeva identity identity of the poet:

1. No. 2. Yes.

Task 8.

In his poetry, M. Tsvetaeva often challenges the world. Underline the string proving this statement:

"By the streets of the left in Moscow

I'll go - I, and you will.

And not one expensive stretch,

And the first kom about the coff cover is born, -

And finally will be resolved

Selfless, lonely sleep. "

Task 9.

The tragedy of the loss of the motherland is sometimes poured into the emigrant poetry of Marina Tsvetaeva:

1. In contrasting himself - the Russian all Russian.

2. In opposition to Soviet Russia.

Task 10.

Inversion used by M. Tsvetaeva in the poem "Orpheus", strengthens the emotional slope of the poem. Emphasize the example of inversion:

"Blood-silver, silver

Bloody trail double lia

Along the Mercenary Gebra -

Brother gentle my! My sister".

Task 11.

To whom from the poets of the Silver Century dedicates the cycle of poems M. Tsvetaeva:

1. A. A. Blok.

2. A. A. Akhmatova.

3. A. S. Pushkin.

Task 12.

To whom the poets are devoted to these lines:

"In the singement of Grad, my dome is burning,

And Savior Light famous blinding stray,

And I give you my bell hail,

... - And the heart of your impudent. "

1. A. A. Blok.

2. A. S. Pushkin.

3. A. A. Akhmatova.

Task 13.

Determine what motive of creativity can include the following passages:

"Dying, I will not say: it was

And it's not a pity, and I am not looking for guilty.

There is in the light of the case of the case

Passionate storms and loving feats. "

"Phoenix bird - I, only in the fire I sing!

Support a high life my life!

Highly grief - and the grief of Motley!

And yes I will be night - light! "

1. The theme of the poet and poetry.

2. The theme of nature.

3. Intimate Lyrics,

"Before the house of an apple tree in a snowdrift,

And the city in a snowy vest -

Your huge tombstone,

As the whole year it seemed to me.

Face turned to God

You pull it on it from the ground,

As in days when you

I did not let down on it. "

1. Anna Akhmatova.

2. Boris Pasternak.

3. Osip Mandelstam.

4. Nikolai Gumilev.

Answers to Test "M.I.TSvetaeva"

Grade 11 Test "S. A. Yesenin»

Exercise 1

Relate the literary current of the beginning of the 20th century with the "key" word:

1. Symbol.

3. Higher degree of something, blooming force.

4. Future.

P Ambamism n Futurism n Imazinism and symbolism

Task 2.

"What literary flow was close to S. Yesenin:

1. Symbolism. 2. Akmeism. 3. Imazinum. 4. Futurism.

Task 3.

The most important role in the artistic world of S. Yesenin is the image system. What an image for the poet is a generalizing, uniting all his perception of the world:

1. The image of the moon and the sun.

2. Spatial image of the Earth.

3. Image of a moving time.

4. Image (paths) of the road.

Task 4.

Determine the artistic means of expressiveness, with the help of S. Yesenin creates an image of nature:

"White birch

Under my window

Snapped with snow

Precisely silver. "

1. Epitts.

2. Metaphor.

3. Comparison.

4. Metaphoristic comparison.

Task 5.

Determine the artistic means of expressiveness used by the poet to create an image:

1. "Dawn by hand cool Rosno

Scrishes apples dawn. "

2. "Blue will dorm, then sighs."

3. "As earrings, granted girl laughter."

4. "... in the waters of the waters of the waters of the furrow."

5. "... Poplar is ringing."

P Otherification

P Sawing

P epitets

P metaphorical comparisons

P metaphors

Task 6.

FROM.Yesenin uses artistic taking antithesis in his appeal to the topic of the Motherland. Antiteza is:

1. Artistic technique, which consists in using a transparent hint of some well-known household, literary or historical fact, instead of mentioning the fact itself.

2. Artistic opposition of characters, circumstances, concepts, images, etc., which creates a sharp contrast effect.

3. Reception of sound survey, which consists in repetition of the same or close sounds of consonant sounds.

Task 7.

Poetry S. Yesenin has not only the first, lexical meaning, but with the help of artistic funds, the poet creates the second, figurative-metaphorical, and the third, philosophical-symbolic, level of the poetic world. Is it possible to allocate the main one.

M. I. Tsvetaeva Test

Exercise 1

For political considerations.
In connection with the inextricable desire to meet her husband and the impossibility of his arrival
in post-revolutionary Russia.
For other reasons.

Task 2.

Love for nature.
Adherence to the ideals of the White Army.
Love for her husband Sergei Efron.

Task 3.

Chanting the female share and female happiness.
The upset of the highest truth - the right of the poet to the integrity of his lira, poetic honesty.
The poet's desire to be a carrier of ideas
time, his political stand.

Task 4.

Poets with history, "arrows", i.e. thoughts
the poet reflects the changes in the world.
Poets without history, pure lyrics "Circle", poets of feelings immersed in themselves, detached from the vibration of life and historical events.

Task 5.

M. Tsvevaeva considered herself:

"Pure lyrics".
"Poet of time."

Task 6.

The feeling of unity of thoughts and creativity.
Alienation from reality and immersion.
Romantic abstraction from reality.
Reflection in poetry of thoughts related
with the movement of time and changing the world.

Task 7.

Task 8.

"By the streets of the left in Moscow

I'll go - I, and you will.

And not one expensive stretch,

And finally will be resolved

Selfless, lonely sleep. "

Task 9.

In contrasting yourself - the Russian is not Russian.
In opposition to Soviet Russia.

Task 10.

Inversion used by M. Tsvetaeva in STI-Honvators "Orpheus", enhances the emotional slope of the poem. Emphasize the example of inversion:

"Blood-silver, silver

Bloody trail double lia

Along the Mercenary Gebra -

Brother gentle my! My sister".

Task 11.

A. A. block.
A. A; Ahmatova.
A. S. Pushkin.

Task 12.

And your heart is in addition. "

A. A. block.
A. S. Pushkin.
A. A. Akhmatova.

Task 13.

"Dying, I will not say: it was

And it's not a pity, and I am not looking for guilty.

There is in the light of the case of the case

"Phoenix bird - I, only in the fire I sing! Support a high life my life!

Highly grief - and the grief of Motley!

Theme of the poet and poetry.
The theme of nature.
Intimate lyrics.

Task 14.

"Before the house of an apple tree in a snowdrift,

And the city in a snowy vest -

Your huge tombstone,

As the whole year it seemed to me. Face turned to God

You pull it on it from the ground,

As in days when you

I did not let down on it. "

Anna Akhmatova.
Boris Pasternak.
Osip Mandelstam.
Nikolai Gumilev.

Answers to Test

The writer I. Ehrenburg, who was abroad, at the request of Tsvetaeva, found her husband in Czechoslovakia. In July 1921, a letter from Prague came from Efron: "I live faith in our meeting. Without you for me there will be no life ... "In May 1922, M.I. Tsvetaeva and daughter went abroad. So began its emigration. At first Berlin, who remained for her forever a stranger city, although he met well. Several books are published here: "Poems to block", "separation", "Psyche" and the poem "Tsar-Maiden", a collection of poems "Craft" (1923). There, in Berlin, there was a meeting with Andrei White, who produced a big impression on Tsveyev.

In August 1922, Tsvetaeva moved to Prague and loved the city with all the soul. Later, in 1938-1939, "poems to the Czech Republic" were created by her. On occupation fascist troops The Czech Republics were written by bittering immortal lines penetrated:

I refuse to be.
In Bedlama Nerludde
I refuse to live.
With wolves of space

I refuse to leave.
With shark plains
I refuse to swim -
Down - by the flow of spin.

I do not need neither holes
Ear, no eyes.
On your mad world
The answer is one - the refusal.
About tears in the eyes! March 15 - May 11, 1939

Here in February 1925 the son of Georgy was born. The family lived poorly, but it did not interfere with the work. Tsvetaeva continued to write. During the years of emigration, dozens of poems were created, the poems "Well done", "Poem Mountain", "Poem of the end", prosaic works. But the lack of money forced to think about moving. In the autumn of 1925, the family moved to Paris. However, they failed to escape from poverty here. At first, Tsveyev was willingly printed in Russian magazines, in February 1926 her evening was held in Paris. In 1928, the book of poems "after Russia" was published, which turned out to be the last lifetime book of the poet.

Even in Prague, S. Efron took the first steps to return to Soviet Russia: participated in the creation of the magazine "His ways", where sympathy information about the USSR, the collection "Loars" was given. In Paris, Efron continued this work, becoming one of the most active members of the Union of return to his homeland. S.Ya. Efron, who became an NKVD agent abroad, turned out to be involved in the registered political murder. He urgently had to go to Moscow. Ariadne lived there. Staying in Paris Tsvetaeva could no longer be: a husband and daughter lived in Moscow, the son was torn to Russia, the emigrant environment turned away from her.

Emigration period in the work of Marina Tsvetaeva

I. The tragedy of the fate of the poet of the Silver Century. 2.

II. Creativity M. Tsvetaeva during the period of emigration. 2.

1. Czech emigration period. Relations with emigrant circles. 2.

2. Tosca middle. four

3. New motives in the work of a mature poet. 6.

4. Contrasts of creativity M. Tsvetaeva. eight

5. Immersion in myth-making and search for monumentality. eleven

6. Pooms M. Tsvetaeva - "Poem of the Mountain" and "Poem of the End". 13

7. Features of the drama M. Tsvetaeva. fifteen

8. Moving to France. Appeal to the theme of the poet and poetry. eighteen

9. Trends of creativity M. Tsvetaeva to the beginning of the 30s. 21.

10. Autobiographical and memoir prose M. Tsvetaeva. 22.

11. "Pushkinian" Tsvetaeva. 23.

12. Return to the Motherland. 26.

III. The value of creativity M. Tsvetaeva for Russian literature .. 27

Literature. 28.

I. The tragedy of the fate of the poet "Silver Century"

The poets of the "Silver Century" worked at a very difficult time, time of disasters and social shocks, revolutions and warrior. Poets in Russia in that stormy era, when people forgot what freedom, often had to choose between free creativity and life. They had to survive ups and downs, victories and defeats. Creativity has become salvation and exit, maybe even a flight from the surrounding of their Soviet reality. The source of inspiration was homeland, Russia.

Marina Ivanovna Tsvetaeva () - playwright and prosaik, one of the most famous Russian poerates, tragic, full of takeoffs and falls that the fate of which does not cease to worry the consciousness of readers and researchers of her creativity.

1. Czech emigration period. Relationship with emigrant circles

In the summer of 1921, Tsvetaeva received news from her husband, who after the defeat of the White Army was emigration. In January-May 1922, M. Tsveyev continues to write farewell poems. He wrote the poem "Lanes" - Farewell to Moscow. And on May 3 - 10, M. Tsvetaeva received the necessary documents for leaving her daughter abroad and on May 11 leaves from Soviet Russia initially in Berlin, and then to Prague, where S. Efron studied at the university.

The Czech period of Emigration Tsvetaeva lasted for more than three years. In the early 20s, she was widely printed in BeloEmegrarant magazines. I managed to publish the books "Poems to the block", "separation" (both in 1922), the poem is a fairy tale "Well done" (1924). During this time, she released two copyright books in Berlin - "Craft. Book of poems "(1923) and" Psyche. Romance "(1923), which included works recent years From among those written in the homeland.

Soon the ratio of the Tsvetaeva with emigrant circles was aggravated, which was promoted by its revolving gravity to Russia ("poems to the Son", "Motherland", "longing in the homeland! For a long time ...", "Chelyuskintsy", etc.). The last lifetime collection of poems - "After Russia. 1922 - 1925 "- came out in Paris in 1928.

In one of the most serious minutes, Marina Tsvetaeva wrote with bitterness: "... My reader remains in Russia, where my poems do not reach. In the emigration, I first (dried!) We are printed, then, having come back, withdraw from the appeal, having revealed not your own - there! ".

Her poetic creativity of these years has undergone a substantial change: it distinctly designated a turn towards large-format cloths. Lyrics in which its leading topics - love, creativity and Russia preserved preservedly, only the latter adopted quite definite nostalgic nature, - was replenished with such works as the "poet" ("Poet - from afar, it's a speech. / Poet - ")," An attempt of jealousy "," Mollus "," Russian rye from me bow ... "," Distance: the versts, miles ... "Being in emigration, M. Tsveyev constantly thought about his homeland. In the poem addressed to B. Pasternak, notes of indescribable longing and sadness sound.

Russian rye from me bow

Niva, where Baba will be interpreted ...

Friend! Rains for my window

Troubles and worst on the heart ...

You, in the right of rain and trouble -

Well, that Homer in the hexameter.

Give me a hand - on the whole world!

Here - my both are busy.

In the literary world, she still kept mansion. Abroad she lived first in Berlin, then three years in Prague; In November 1925, she moved to Paris. Life was an emigrant, difficult, poor. We had to live in the suburbs, since the capital was not for funds. At first, white emigration took Tsuelyeva as his, her willingly printed and praised. But soon the picture has changed significantly. First of all, the rigid stem has occurred for the color. Beloamigrant Wednesday, with mouse and fierce gnawing all sorts of "factions" and "parties", immediately revealed to the poethement in all its pathetic and disgusting height. Gradually, her connection with white emigration is rushing. It is printed less and less, some poems and works for years do not fall into the print or remain in the author's table.

Literature

1. Bavin S., Semibratova I. Fates of the poets of the Silver Age: Bibliographic essays. - M.: KN. Chamber, 19c.

2. Memories of Marina Tsvetaeva. - M., 1992.

3. Gasparov Tsvetaeva: from the poetics of life to the poetics of the word // Gasparov article. - M., 1995. - P. 307-315.

4. Kedrov K. Russia - Golden and iron cells for the poetess // "New Izvestia". - №66, 1998

5. Kudrov, Dali ... Marina Tsvetaeva :. - M., 1991.

6. Kudrov Marina Tsvetaeva. // "The World of the Russian Word", No. 04, 2002.

7. Osorgin M.. - M.: Olympus, 1997.

8. Pavlovsky Rowan: About Poetry M. Tsvetaeva. - L., 1989.

9. Razumovskaya M. Marina Tsvetaeva. Myth and reality. - M., 1994.

10. SAKAYANTS Tsvetaeva. Pages of life and creativity (). - M., 1986.

11. Tsvetaeva M. In Singing Grad, my: poems, play, novel in letters / Sost. . - Saransk: Mordov. kn. Publishing house, 19c.

12. Tsvetaeva M. Just - heart ... // Home library of poetry. - Moscow: Eksmo-Press, 1998.

13. Schweitzer Victoria. The life and being of Marina Tsvetaeva. - M., 1992.

Not only our contemporaries were looking for happiness away from their native Russians, but also the great artists of art, whose names entered world history. And despite its skepticism or attempts to escape from reality, the work of famous poets, for example, such as Maria Tsvetaeva, is immortalized as a heritage of Russian culture.

As poetess itself, Russian, Peoples have always been present in her verses. It includes works "and lit, a darling, a match ...", "forgive me, my mountains! ..", the cycle of poems about Stepan Razin.

The October Revolution Marina Tsvetaeva did not accept and did not understand, in the literary world, she still kept mansion. In May 1922, Tsvetaeva, with his daughter, went abroad to her husband. Life in emigration was difficult. At first, Tsvetaeva took as their, willingly printed and praised, but soon the picture had changed significantly. The emigrant environment with its fierce gnawing all sorts of "factions" and "parties" revealed to the poetry in all its unsight. Tsvetaeva was less and less printed, and many of her works were lying in the table. Decisibly abandoning his past illusions, she did not mourn anything and did not indulge in memories of the past past.

Around the color, the deaf wall of loneliness was closed. She had no one to read his poems, no one to ask, who could not be happy with. But in such deep insulation, she continued to write.

By fueling from the revolution, it was there, abroad, Tsvetaeva first gained a sober view of social inequality, saw the world without romantic covers. At the same time, the color is increasingly growing and strengthens the living interest in what is happening in Russia.

"The homeland is not the conventionality of the territory, but the belonging of memory and blood, she wrote. - Not to be in Russia, forget Russia can only be afraid of the one who thinks of Russia. In whom she inside - he loses it only with life. " The longing of Russia affects such lyrical poems as "dawn on the rails", "Luche", "Russian rye from me", "O, uncontrollable language ..." and many others.

In the fall of 1928, Tsvevaeva wrote an open letter to Mayakovsky, which became a reason for her accusation in the prosecutor sympathies, gap with her a number of emigrant circles, and termination of the publication of her poems. It was a heavy material impact. In the summer of 1933, the difficulties of publishing friends resumed, but it was often reduced to her poems, exposed advances. Almost any of the major poetic things written by Tsvetaeva in emigration was not printed. For 14 years of life in Paris, Marina Ivanovna was able to release only one book - "After Russia. 1922 - 1925." In search of earnings, she tried to enter into French literature, engaged in translations, but despite the praise, it was not possible to type. Sometimes created creative evenings who gave some money to support the family and pay for the apartment. The help of friends and friends of friends, acquaintances and strangers, along with a small Czech scholarship, were the main real income of Tsvetaeva. In the mid-1930s, the "Committee of Assistance of Marina Tsvetaeva" was even organized, which included a number of well-known writers.

By the 30s, Tsvetaeva clearly realized the frontier, separated it from white emigration. The cycle of "poems to the Son" is important for understanding the poetry of this time, where she speaks the entire voice about the Soviet Union as a country of a completely special warehouse, uncontrollably moving forward - into the future, in the universe itself.

Drive, my son, in my country, -

To the edge - all the edges on the contrary!

Where back to go - ahead ...

Tsvetaeva's husband, Sergei Efron, became increasingly attracted the idea of \u200b\u200breturning to Russia. He believed that the emigrants were guilty to their homeland and forgiveness to earn cooperation with the Soviet bodies. So, he became one of the active figures of the Paris Union return to his homeland. In 1932, the issue of departure was already resolved for him and he became the troubles about the Soviet passport. Marina Tsvevaeva believed that it was not necessary to go anywhere: "There is no Russia ...", but the children were on the side of the Father, believed in his truth and saw their future in the USSR. Gradually, she began to succumb, since she was increasingly refused to work. Marina's husband is mired in political issues, daughter has already left for Russia. It was meaningless to remain in France: the emigrant community completely turned away from the ephrons. Leaving most of his archive to friends, Tsvetaeva, along with her son, left Paris in 1939.

Of course, the fate of Tsvetaeva after returning to Russia can also be called happy and unequivocal. However, the abroad did not become a house for the Great Poets, while the thought of Russia was actually always near.

"Dahl who removes me blizzards

Dal, saying: "Return

Home!" From all - to the Alpine Stars -

I'm shooting place! "

Homesickness

Homesickness! Long
Exposed Fero!
I am absolutely anyway -
Where completely lonely

Be on what stones home
Bare with a bazaar wallet
To the house, and not knowing what - my
As a hospital or barracks.

I don't care what among
Persons are sophisticated captive
Lvom, from which human environment
Be disheld - certainly -

In yourself, in the sole sense.
Kamchatsky Bear without ice floes
Where do not get along (and not survived!),
Where to humiliate - I am one.

Do not deplete and tongue
Native, his call Milky.
I am indifferent to what
Notponed to be counter!

(Reader, newspaper tons
Swallower, millet gossip ...)
Twentieth century - he,
And I - until a century!

Sololbenvshi, like a log,
The remaining alley,
I all - equal, I do not care
And maybe only equally -

Rodnaya former - total.
All signs with me, all the meta,
All dates - as hand removed:
Soul, born - somewhere.

So the edge did not save me
My as the most teer
Along the whole soul, the whole is across!
The big spot will not please!

Any house I am alien to me, everyone is empty for me,
And everything is equal, and everything is one.
But if on the road - bush
Rises, especially - Rowan ...

Grade 11 Test

"M. I. Tsvetaeva "

Exercise 1

Marina Tsvetaeva turned out to be in emigration:

1. For political considerations.

2. In connection with the inextricable desire to meet with her husband and the impossibility of his arrival in post-revolutionary Russia.

3. For other reasons.

Task 2.

The impulse to the creation of a collection "Swan Stan" served:

1. Love for nature "

2. Commitment to the ideals of the White Army.

3. Love for her husband Sergei Efron.

Task 3.

The highest destination of the poet Marina Tsvetaeva considered:

1. Chanting the female share and female happiness.

2. The upset of the highest truth - the right of the poet to the integrity of his Lyra, poetic honesty.

3. The desire of the poet to be a carrier of the ideas of time, his political tribune.

Task 4.

M. Tsveyev in the article "Poets with history and poets without history" divides all artists into two categories. What group does she consider himself:

1. Poets with history, "arrows", i.e., the thoughts of the poet reflect the changes in the world.

2. Poets without history, clean lyrics "Circle", poets of feelings, immersed in themselves, detached from the vibration of life and historical events.

Task 5.

M. Tsvevaeva considered herself:

1. "Clean lyrics".

2. "Poet of time."

Task 6.

For M. Tsvetaeva, it was characteristic:

1. The feeling of unity of thoughts and creativity.

2. Alphabia from reality and immersion.

3. Romantic abstraction from reality.

4. Reflection in poetry of thoughts associated with time movement and change in the world.

Task 7.

The lyrical hero M. Tsvetaeva identity identity of the poet:

1. No. 2. Yes.

Task 8.

In his poetry, M. Tsvetaeva often challenges the world. Underline the string proving this statement:

"By the streets of the left in Moscow

I'll go - I, and you will.

And not one expensive stretch,

And the first kom about the coff cover is born, -

And finally will be resolved

Selfless, lonely sleep. "

Task 9.

The tragedy of the loss of the motherland is sometimes poured into the emigrant poetry of Marina Tsvetaeva:

1. In contrasting himself - the Russian all Russian.

2. In opposition to Soviet Russia.

Task 10.

Inversion used by M. Tsvetaeva in the poem "Orpheus", strengthens the emotional slope of the poem. Emphasize the example of inversion:

"Blood-silver, silver

Bloody trail double lia

Along the Mercenary Gebra -

Brother gentle my! My sister".

Task 11.

To whom from the poets of the Silver Century dedicates the cycle of poems M. Tsvetaeva:

1. A. A. Blok.

2. A. A. Akhmatova.

3. A. S. Pushkin.

Task 12.

To whom the poets are devoted to these lines:

"In the singement of Grad, my dome is burning,

And Savior Light famous blinding stray,

And I give you my bell hail,

... - And the heart of your impudent. "

1. A. A. Blok.

2. A. S. Pushkin.

3. A. A. Akhmatova.

Task 13.

Determine what motive of creativity can include the following passages:

"Dying, I will not say: it was

And it's not a pity, and I am not looking for guilty.

There is in the light of the case of the case

Passionate storms and loving feats. "

"Phoenix bird - I, only in the fire I sing!

Support a high life my life!

Highly grief - and the grief of Motley!

And yes I will be night - light! "

1. The theme of the poet and poetry.

2. The theme of nature.

3. Intimate Lyrics,

"Before the house of an apple tree in a snowdrift,

And the city in a snowy vest -

Your huge tombstone,

As the whole year it seemed to me.

Face turned to God

You pull it on it from the ground,

As in days when you

I did not let down on it. "

1. Anna Akhmatova.

2. Boris Pasternak.

3. Osip Mandelstam.

4. Nikolai Gumilev.

Answers to the test "M.I.TSvetaeva"

1	2	3	4	5	6	7	8	9	10	11	12	13	14
2	3	2	2	1	4	2	2	1	Went, string	3	3	1	2

Grade 11 Test "S. A. Yesenin "

Exercise 1

Relate the literary current of the beginning of the 20th century with the "key" word:

1. Symbol.

3. Higher degree of something, blooming force.

4. Future.

P Ambamism n Futurism n Imazinism and symbolism

Task 2.

"What literary flow was close to S. Yesenin:

1. Symbolism. 2. Akmeism. 3. Imazinum. 4. Futurism.

Task 3.

The most important role in the artistic world of S. Yesenin is the image system. What an image for the poet is a generalizing, uniting all his perception of the world:

1. The image of the moon and the sun.

2. Spatial image of the Earth.

3. Image of a moving time.

4. Image (paths) of the road.

Task 4.

Determine the artistic means of expressiveness, with the help of S. Yesenin creates an image of nature:

"White birch

Under my window

Snapped with snow

Precisely silver. "

1. Epitts.

2. Metaphor.

3. Comparison.

4. Metaphoristic comparison.

Task 5.

Determine the artistic means of expressiveness used by the poet to create an image:

1. "Dawn by hand cool Rosno

Scrishes apples dawn. "

2. "Blue will dorm, then sighs."

3. "As earrings, granted girl laughter."

4. "... in the waters of the waters of the waters of the furrow."

5. "... Poplar is ringing."

P Otherification

P Sawing

P epitets

P metaphorical comparisons

P metaphors

Task 6.

FROM.Yesenin uses artistic taking antithesis in his appeal to the topic of the Motherland. Antiteza is:

1. Artistic technique, which consists in using a transparent hint of some well-known household, literary or historical fact, instead of mentioning the fact itself.

2. Artistic opposition of characters, circumstances, concepts, images, etc., which creates a sharp contrast effect.

3. Reception of sound survey, which consists in repetition of the same or close sounds of consonant sounds.

Task 7.

Task 8.

The lyrical hero is:

1. The conditional image in lyrical and limier works, whose relation (lyrical estimate) to the depicted seeks to transfer the author.

3. Main character Or the main thing actor artistic workcausing the sympathy of the author (positive hero).

Task 9.

The lyrical "I" of the Yesenin poems is the poet himself:

Task 10.

What the topic reveals S. Yesenin with the help of a dog's image, its puppies in the poem "Song of the dog":

1. The topic of love for the whole living in the world and mercy.

2. Theme of the Motherland.

3. The topic of nature.

4. Maternity theme.

Task 11.

Everythingyesenian creativity is a single whole - a kind of lyrical novel, the main character of which is:

1. Poet himself.

2. Image of the poet.

Task 12.

Determine the size of the renovation of the reduced passage:

"Your see your poverty

And birch and poplars. "

1. Dactyl.

2. Anadist.

3. Amphibrachius.

Answers to the test "S.Senin" grade 11

1	2	3		4		5
1 - symbolism	3	4		4		1 - personification
2 - IMAZHINISM 3- acmeism 4- futurism								2 - metaphors 3-metaphoristic comparisons 4- epithets 5- Sounds
6	7		8		9		10		11	12
2	2		1		1		1		1	2

^ Test9 M. E. Saltykov-Shchedrin

Exercise 1

Allegory is:

1. One of the paths, allegory, an image of some distracted idea in a specific, distinctly represented image.

2. Artistic appropriate to use a transparent hint at some well-known household, literary or historical fact instead of mentioning the very fact.

3. Artistic opposition of characters, circumstances, concepts, images, composite elements, creating a sharp contrast effect.

Task 2.

Lower the concepts as the impact force increases:

Task 3.

Satira is:

1. One of the types of comic, hidden mockery, based on the fact that the word or expression is used in the coming opposite to the generally accepted.

2. One of the types of comic, caustic, evil, mockery mockery.

3. One of the types of comic, image of any flaws, vices of a person or society.

Task 4.

The hyperbole is:

1. One of the paths, an artistic exaggeration, the essence of which is to enhance any qualities.

2. One of the paths, consisting in the intentional implausible artistic understatement.

3. One of the paths concluded in comparison of items or phenomena possessing general sign, to explain one other.

Task 5.

What fairy tales of Saltykov-Shchedrin shows passages:

1. "Served [they] in some kind of registration; They were born, brought up and aged, therefore, did not understand anything. They didn't even know the words except: "Take the assurance in perfect my respect and devotion."

2. "In some kingdom, in some state lived, there was ..., lived and, on the light of Glyadyuchi, rejoiced. In all, he had pretty: both peasants, bread, and livestock, and land, and gardens. And he was stupid, read the newspaper "the message" and the body had soft, white and crumbly. "

3. "And suddenly he disappeared. What happened here! "Whether he swallowed him, whether his culnery crusher or his death himself died and pops up to the surface," he did not have witnesses. Most likely - he died ... "

P. "The story about how one man's two generals proceeded"

P. "Wild landowner"

P. "Woven Pescar"

Task 6.

Choose the missing words from the right column in such a way that the names of Saltykov-Shchedrin fairy tales were restored:

1. "... on the voivodship." P Orel

2. "... - Matssenat." P bear

3. "... - idealist." P halya

4. "... - a man." P Carat

5. "Selfless ...". N Voron

Task 7.

Ezopov language is:

1. Artistic exaggeration.

2. Allegory.

3. Art comparison.

Task 8.

In the novel of Saltykov-Shchedrin "History of the One City", the cityholders replace each other, which is accompanied by the strengthening of the Satire of the Writer. Find the compliance of the city holders and characteristics of their activities:

1. Grotesque soulless automatism.

2. Unlimited despotus.

3. punitive stouthood.

4. Scrupulous stationery bureaucracy.

5. Cruel bureaucratic injuries.

6. Idolopoclonic obsession.

Poyshilov P bobbers P Ferdychenko n Brudy n Ugryum-burver

P Borodavkin

Task 9.

M. E. Saltykov-Shchedrin: "If, instead of the word" Organchik ", the word" fool "would be delivered, then the reviewer, probably, would not find anything unnatural ..."

1. Ugryum-burver.

2. Grustils.

3. Ferdychenko.

4. Brudy.

Task 10.

Each image of the city holder is a generalized way for its era. A barmented ideal of whom of the city holders is absorbed by the most vivid signs of the reactionary political regimes of different countries and epochs:

1. Borodavkin. 2. Grustils. 3. Ugryum-burver.

4. Brudy.

Task 11.

M. E. Saltykov-Shchedrin in the "Stories of one city" proves the hostility of state power to the people. The humility of the people in the work is most pronounced:

1. In the psychological image of the personality of the peasant.

2. In the image of mass scenes.

3. In the image of the scenes of folk "riots".

Task 12.

Peru M. E. Saltykov-Shchedrin does not belong:

1. "Poshekhonna Older".

2. "Lord Golovy".

3. "The history of one city."

4. "On the eve".

Task 13.

The value of the writer's creativity is expressed in (eliminate superfluous):

1. Disrupting all and all sorts of masks.

2. Showing the progressive relationship russian society to the reform of 1861.

3. Displaying the evolution of Russian liberalism.

4. Out of state despotism.

5. Using grotesque fantasticity of the depicted.

Task 14.

The main "weapon" of the writer is:

1. Real image of reality.

3. Bright image of characters.

4. Revolutionaryness.

Grade 10 Answers to the test "M. Saltykov-Shchedrin"

^ Grade 10, I. A. Goncharov "Oblomov"

Option 1

In a peopic street, in one of the large houses, whose population will be on the whole district city, lay in the morning in bed, at his apartment, Ilya Ilyich Oblomov.

It was a man of thirty-two-three years old from the genus, medium height, pleasant outfacie, with dark gray eyes, but with the lack of any definite idea, any concentration in the facial features. The thought walked in a free bird in the face, fluttered in his eyes, sat down at the half-eyed lips, hid in the folds of his forehead, then completely disappeared, and then in the whole face he was growing even light carelessness. From facial carelessness passed into the poses of the whole body, even in the folds of the furry.

Sometimes the look was poured by an expression as if fatigue or boredom; But neither fatigue, nor boredom could never move the softness from his face, which was the dominant and the main expression is not a face only, but all the soul; And the soul is so open and clearly shone in the eyes, in a smile, in every movement of the head, hands. And superficially observant, a cold person, looking by passion to Oblomov, would say: "Dobryak should be, simplicity!" A man is plump and prettier, looking at him for a long time in his face, he would have walked away in a pleasant meditation, with a smile.

The complexion of the face of Ilya Ilyich was neither a ruddy nor dark, nor positively pale, but indifferent or seemed to be, maybe because the bugs somehow flictenly not in the years: from the lack of movement or air, and maybe And the other. In general, his body, judging by the matte, too white, the color of the neck, small chubby hands, soft shoulders, seemed too much faded for a man.

His movements when he was even alarmed, constrained also the softness and not deprived of a kind of grace lazy. If there was a cloud of care on his face, the look was mistaken, folds were folded on his forehead, the game of doubt, sadness, fright; But rarely anxiety, this was frozen in the form of a certain idea, even less often turned into intention. All anxiety was permitted by sigh and silenced in apathy or in the nurse.

A1. Determine the genre of the work from which a fragment is taken.

1) story; 3) ill;

2) the story; 4) Roman.

A2. What place does this fragment take up in the work?

1) opens the story;

2) completes the narration;

4) plays the role of a plug-in episode.

Az main theme of this fragment is:

1) a description of the house where the main character lived;

2) Beauty of the pea street;

4) Oblomov appearance.

A4 What expression was dominant on the face of Ilya Ilyich Oblomov?

1) simplicity; 3) softness;

2) rigor; 4) anger.

A5 For what purpose in this fragment, the idea is that the soul of Oblomov is bright and openly glowed in all his movements?

2) show the low mental abilities of the hero;

4) Describe the thoughtless attitude of the hero to life.

B1 Specify the term that in literature is called a tool of artistic image, helping the author to describe the hero and express their attitude towards it ("neither positively pale", "indifferent", "small chubby", "too rampant").

B2 name, under construction on the description of its appearance (according to: "It was a man ...").

B3 from paragraph starting with the words: "It was ...", write out the phrase, which explains what was reflected in the face of Ilya Ilyich Oblomov.

AT 4. In a paragraph, starting with the words: "His movements ...", find words that explain the feature of the state of Ilya Ilyich Oblomov.

C1. How is the character, the lifestyle of Oblomov reflected on the appearance of the hero?

Grade 10 I.A. Blugomov "Oblomov"

Option 2.

Read the text fragment below and perform the A1 - A5 tasks; B1 - B4; C1.

How the household suit was walking towards the late feathers of his face and to the rampant body! It was a robe from Persian matter, a real oriental bathrobe, without the slightest hint of Europe, without brushes, without a velvet, without a waist, is very elementary, so that both bugs could wrap in it twice. The sleeves, along the unchanging Asian fashion, went from the fingers to the shoulder wider and wider. Although this bathrobe has lost its original freshness and places replaced its primitive, natural gloss by another, acquired, but still kept the brightness of the Eastern paint; Fabric strength.

The bathrobe had in the eyes of Oblomov the darkness of unpleasant advantages: it is soft, flexible; The body does not feel it; He as a obedient slave is conquered by the self-playing of the body.

Oblomov always walked at home without a tie and without a vest, because he loved the space and enjoy. Shoes on it were long, soft and wide; When he, without looking, lowered his legs from bed to the floor, he certainly got into them immediately.

Ilya Ilyich did not have a necessity, like a patient or like a person who wants to sleep, nor the chance, like someone who was tired, nor enjoying, like a lazy person: it was his normal state. When he was at home - and he was almost always at home - he was all lying, and everything was constantly in the same room, where we found it, who served him, the bedroom, the office and the reception. He had three more rooms, but he rarely looked there, in the morning, and then not every day, when the man Möl is the office of him, which every day was not done. In those rooms, the furniture closed was covers, the curtains are lowered.

1) story; 3) ill;

2) the story; 4) Roman.

1) is part of the exposure;

2) completes the narration;

1) Portrait of Oblomov;

2) Description Kolata Oblomov;

3) urban bustle;

4) beauty of nature.

A4. Which determines the behavior of the main character in this
fragment?

1) the desire to challenge society;

2) the desire to stand out on the background of the crowd;

3) lying on the sofa;

4) Caring for estates.

^ A5. For what purpose in this fragment is a description of the Kolata Oblomov?

2) show through the subject of lifestyle, the characteristics of the behavior of the hero;

3) Describe psychological condition hero;

4) Explain the exception of the character of the hero.

IN 1. Indicate the term that in literature is called a means of artistic image, based on an animation and humanization of nature phenomena ("He ... flexible; ... conjugate to the self-playing body movement").

^ AT 2. Name a means of creating an image of the hero, under construction on the description of the subject (according to: "How was it ...").

IN 3. From paragraph, starting with the words: "Bathrobe had ...", write out the comparison with which the bathrobe is characterized.

AT 4. In a paragraph, starting with the words: "Lena from Ilya Ilyich ...", find the phrase, which explains what was the lay for Ilya Ilyich Oblomov.

Grade 10

Answers to test number 2 "Creativity I.A.Gongcharov"

1 option

A1. - 4 B1. -Epithet

A2. - 1 B2. - Portrait

A3. - 4 B3. - ... with the lack of any definite idea, any

A4. - 3 concentration.

A5. - 3 B4. -Pathy or Dremota

Option 2

A1. - 4 B1. - personification

A2. - 1 B2. - Art detail

A3. - 2 B3. - as a obedient slave

A4. - 3 B4. - Normal state.

Grade 10 "Creativity A.N.ostrovsky"

1. Recall the name of the writer's first plays.

2. What was the last Piese called A.N. Ostrovsky?

3. What kind of play is the debut of Ostrovsky playground on the theater scene?

4. In which magazines is Ostrovsky collaborated?

5. What kind of prosaic works wrote Ostrovsky?

6. What kind of play is the island's fairy tale created under the impression of nature in the estate of the Schekovo Kostroma province, where did the playwright come to work in the summer months?

7. Which composer wrote Opera to the plot of this play-fairy tales?

8. For that the island contemporaries called "Zamoskvorechye Columbus"?

9. What are the three names of the Ostrovsky comedy?

10. For which the Ostrovsky was forced to resign from the public service, accused of political unrealities and gave up the police supervision?

Do you know the heroes of the drama "Thunderstorm"

1. Dedked to invent an eternal engine, get a million for him and ensure the work of poor people.

2. It was argued that there are people with wax heads that "Fiery Zmia began to bargain ... for the sake of speed."

3. When mentioning that he should give someone to give, raced and swore.

4. Sings a song about how his wife prayed to her husband, so that he did not destroy it until the evening, but gave to sleep with small deubs.

5. argued that Lithuania fell on us from the sky.

6. He had education, as she studied at the Commercial Academy, but unquestionedly obeyed the self-director.

7. Promises to send Kuligina to Governing Mercharge "I tend to telete in a praha, we spent my body."

8. Brought the Son to Absolute Burning, daughter - to flight from the house, daughter-in-law - to suicide.

9. He said that he would take, and he would drink his last mind, and then let Mama with him, with a fool, and suffer.

10. I regretted that it was not a bird, but "it would be shattered, raised his hands and flew"?

Which of the "Thunderstorm" heroes said

1. "Here, the brother you are mine, I look at the Volga every day and I can't glad you all."

2. "Brutal morals, sir, in our city, cruel! In the mesh, sir, you are nothing but rude and the poverty is undelated, you will not see ... And who has money, sir, he tries to hardarly rolling, so that there is even more money on his works even more money. "

3. "Yes, I, Mama, and I do not want to live my will. Where I really live with my will. "

4. "What are you laughing! Do not rejoice! All in the fire will burn with a restless, everything in the resin will boil the unatolya. Vaughn, Won Beauty, where leads. "

5. "I have a lot of people in my year; You understand: I do not surcharge, I'm on some kind of a penny, and I have from this thousand are compiled. "

6. "But intelligent people notice that we have a while in short. It happened, summer and winter are drawn, you will not wait, when it is ends; And now we will not see how to fly. The days and the clock are all the same as if left; And the time is for our sins all shorter and

in short, "

7. "And in my opinion: wish what you want, only Shito, it was."

8. "I do not care about the will of food: Uncle sends, and the horses are ready; I just took over the uncle for a minute ... ".

9. "How not to scold! He can not breathe without it. Yes, I do not descend: he is my word, and I'm ten; Plus, and go. No, I can't worry before him. "

10. "The youth is what it means! It's funny to look something even on them! .. ... do not know anything, there is nothing about ... what will be how old people will die, as will be the light stand. I do not know. Well, yes, even though it is good that I will not see anything. "

Who about whom said in the drama "Thunderstorm"

1. "What a good person! Dreams and happy. "

2. "This is a crossover, like Savel Prokofich, look yet! I will cut a person for anything.

3. "Piercing man."

4. "But the trouble when he offends such a person whom he wrap will not dare: there is a domestic holding!"

5. "Khunzha, sir! The beggars will dwell, but at all the houses.

6. "She crushed me ... From her I and the house was emphasized; There are even steadfasts. "

7. "Yes, how connected! He will come out, so stuff. He now listens, and he thinks, however, he would break down to him as soon as possible. "

8. "Villains you! Monsters! Eh, kaba strength! "

9. "We put, even though she has a husband and a fool, and the mother-in-law is painful Luta."

10. "The whole, exactly its fever beats; A pale such, dares around the house, exactly looking for. Eyes like surprising! Live in the morning I was crying, so shifts. "

to test No. 2. "Creativity A.N.ostrovsky"

^ Life and creativity A.N. Ostrovsky

1. "Picture of family happiness."

2. "Not from this world."

3. "Do not sit down in your sleeves."

4. "Moskvatik", "Contemporary", "Patriotic Notes"

5. "Notes of the Zamoskvoretsky Resident", "Take on how the quarterly warden started to dance, or from the great to a funny one step."

6. Piez "Snow Maiden".

7. Roman Korsakov.

8. Ostrovsky lived in the merchant region of the old Moscow, Zamoskvorechye, his inhabitants for the first time in Russian literature became the heroes of the plays, for this discovery writer and was called the "Columbus Columbus".

9. Scenes "Insolvent Debtor" were an excerpt from the comedy "bankrupt", which is then the Ostrovsky called the proverb "His people will tear."

10. For his first comedy "bankrupt".

Do you know the heroes of the drama "Thunderstorm" which of them.

1. Mechanic self-taught Kuligin.

2. Wanderer Feklusha.

3. A merchant wild.

4. Wild Kudryash Railway.

5. One of the walking.

6. Boris, Wild nephew.

7. A merchant wild.

8. Kupchikha Kabanova (Kabaniha).

9. Tikhon Kabanov.

Katerina Kabanova, Tikhon's wife.

^ Which of the "Thunderstorm" heroes said

1. Kuligin, wurster self-taught.

3. Tikhon Kabanov.

4. Old crazy lady.

5. A merchant wild.

6. Wanderee Feklusha.

7. Varvara Kabanova.

8. Boris Grigorievich Wild.

9. Wild Kudryash Recorder.

10. Kupchikha Kabanova.

^ Who about whom said in the drama "Thunderstorm"

1. Boris about Kuligin.

2. Shapkin about wild.

3. Kudryash about the wilderness.

4. Boris about wild.

5. Kuligin about the boa.

6. Katerina about mother-in-law.

7. Varvara about Tikhon.

8. Boris about self-lying.

9. Kudryash about Tikhon and his mother.

10. Varvara about Katerina after Tikhon's Return.

^ 9 Class Test 1

Theory of literature

Exercise 1

According to characteristic features, determine the ideological and aesthetic direction of the art method in Russian literature of the XVIII-XIX centuries:

1. dissatisfaction with the present, civilian patriotic packing, preaching the ideas of independence and freedom of personality, national identity, disposal of self-adjusting, critical attitude towards the mad waste of the nobility, the image of the fight "two worlds".

2. Civil-educational pathos, the statement of the human mind, the presentation against religious and aesthetic scholasticism, a critical attitude towards the monarchical despoty and the abuse of serfdom, the principle of "imitation of nature" is based on a conflict between feeling and debt.

3. An image of a single, private everyday life is predominantly a "middle" personality in its inner essence, in its everyday life, a cult of feelings, foulness, sensitivity, "Religion of the Heart", a quest for the ideal image of "life out of civilizations" (Rousseau). The desire for naturalness in human behavior, mysterious and terrible, idealization of the Middle Ages.

4. The desire for the truthful image of reality in the contradictions inherent in it, in its everyday life, to understanding its patterns. Ideas of public progress, equality, labor for the benefit of society, overcoming ignorance by reason.

5. The cult of the chosen personality, the perception of the literature as the self-expression of the creator, the image of the disharmony of reality. The tragity and confessionalness of the narrative, lyricity, hero is a man of frantic passions, intellectually standing over the crowd. Always displeasing his surrounding atmosphere, dreamed of the future, in the "World of Heavenly Ideals" (V.G. Belinsky).

classicism
romanticism
Enlightenment realism
sentimentalism
Critical realism

Task 2.

TOwhat ideological and aesthetic direction in the literature of the XVIII-XIX centuries belongs to the works of Russian writers:

1. "MTSIRY" M. Yu. Lermontov.

2. "Poor Lisa" N. M. Karamzin.

3. "Woe from the mind" A. S. Griboyedov.

4. "Conversation with Anaconon" M. V. Lomonosov.

5. "Lady" D. I. Fonvizin.

classicism
sentimentalism
Enlightenment realism

Critical realism
romanticism

Task 3.

In 1801, the liberal sociable sentimentalists united in the literary society. Name him:

1. "Green lamp".

2. "Arzamas".

3. "Filter Society of Literature Literature, Sciences and Arts."

4. "Stray dog."

Task 4.

Critical article "The hero of our time. Op. M.Yu.Lermontova "wrote:

1. V. G. Belinsky.

2. A.I.Grenz.

3. N.A. Dobravubov.

4. N.G. Chernyshevsky.

Task 5.

The publisher and editor of which periodical edition was A.S. Pushkin:

1. "Northern Bee" (1825-1864).

2. "Library for reading" (1834-1865).

3. "Northern Archive" (1822).

4. "Contemporary" (1836-1866).

5. "Moscow Telegraph" (1825-1834).

Task 6.

Name the genre of lyrical work written by an elevated style and chasing anyone or any solemn event:

1. Ballad.

Task 7.

Name the lyrol-epic genre of poetic narration with a detailed plot and a pronounced assessment of what is narrating:

1. Ballad.

3. epics.

4. Epic.

Task 8.

Epigraph is:

1. Relatively short text placed in front of the work or part of it and designed to briefly express the ideological meaning of the text following it.

2. Relatively independent part of the literary work, one of the units of artistic reading of the text.

3. Additional element of the composition, part of the literary work, separated from the main story in order to communicate additional information.

Answers to test number 1

"Theory of Literature"

Grade 9 Offset No. 2

"Creativity A. S. Pushkin"

Option 1

Read the text fragment below and perform the A1 - A5 tasks; B1 - B4; C1.

"My uncle of the most honest rules,

When not a joke,

He forced himself

And it was better not to invent.

His example is another science;

But, my God, what boredom

With sick sit and day and night,

Do not go away!

What a low cunning

Sexing to fun

He pillows to correct

Adopt the medicine

Suggest and thinking about yourself:

When damn take you! "

^ A1. Determine the genre of the work from which a fragment is taken.

1) story; 3) ill;

2) the story; 4) Roman.

A2. What place does this fragment take up in the work?

1) plays the role of lyrical retreat;

2) opens the story;

3) is the culmination of the plot;

4) is a stronger story.

^ AZ. The main theme of this fragment is:

1) Portrait of Uncle Onegin;

2) Thoughts of Onegin;

4) Education Onegin.

^ A4. What a feeling, on the thought of Onegin, will master them when he will sit at the bed of a sick uncle?

1) boredom; 3) love;

2) anger: 4) Care,

A5. For what purpose in this fragment is a description of the thoughts of Onegin?

1) to identify the lack of a serious relationship to life into a hero;

2) show inner world Hero, his way of thinking;

3) characterize the attitude of Onegin to Uncle;

4) show the greed of Onegin.

IN 1. Indicate the term that in literature is called a tool of artistic image, helping the author to describe the image and express their attitude to it ("honest", "low"),

Answer; _____________________________

^ AT 2. Name the means of creating an image of the hero, under construction on the description of his thoughts.

Answer: ________________________________

Vz. In the line: "He sang himself / and better to invent could not ..." Used violation of the traditional word order in the sentence, name this syntax.

Answer: ____________________________________

^ AT 4. Fit the phrase in the fragment, with which Onegin characterizes the care of the sick

uncle.

Answer: ___________________________________

C1. Why does Roman A. S. Pushkin begins with the description of the thoughts of Onegin? His idea explain.

Answer : _________________________________

^ 9 Class

Answers to test number 2

« M. I. Tsvevaeva»

Exercise 1

Marina Tsvetaeva turned out to be in emigration:

1. For political considerations.

2. In connection with the inextricable desire to meet with her husband and the impossibility of his arrival in post-revolutionary Russia.

3. For other reasons.

Task 2.

The impulse to the creation of a collection "Swan Stan" served:

1. Love for nature "

2. Commitment to the ideals of the White Army.

3. Love for her husband Sergei Efron.

Task 3.

The highest destination of the poet Marina Tsvetaeva considered:

1. Chanting the female share and female happiness.

2. The upset of the highest truth - the right of the poet to the integrity of his Lyra, poetic honesty.

3. The desire of the poet to be a carrier of the ideas of time, his political tribune.

Task 4.

M. Tsveyev in the article "Poets with history and poets without history" divides all artists into two categories. What group does she consider himself:

1. Poets with history, "arrows", i.e., the thoughts of the poet reflect the changes in the world.

2. Poets without history, clean lyrics "Circle", poets of feelings, immersed in themselves, detached from the vibration of life and historical events.

Task 5.

M. Tsvevaeva considered herself:

1. "Clean lyrics".

2. "Poet of time."

Task 6.

For M. Tsvetaeva, it was characteristic:

1. The feeling of unity of thoughts and creativity.

2. Alphabia from reality and immersion.

3. Romantic abstraction from reality.

4. Reflection in poetry of thoughts associated with time movement and change in the world.

Task 7.

The lyrical hero M. Tsvetaeva identity identity of the poet:

1. No. 2. Yes.

Task 8.

In his poetry, M. Tsvetaeva often challenges the world. Underline the string proving this statement:

"By the streets of the left in Moscow

I'll go - I, and you will.

And not one expensive stretch,

And the first kom about the coff cover is born, -

And finally will be resolved

Selfless, lonely sleep. "

Task 9.

1. In contrasting himself - the Russian all Russian.

2. In opposition to Soviet Russia.

Task 10.

Inversion used by M. Tsvetaeva in the poem "Orpheus", strengthens the emotional slope of the poem. Emphasize the example of inversion:

"Blood-silver, silver

Bloody trail double lia

Along the Mercenary Gebra -

Brother gentle my! My sister".

Task 11.

To whom from the poets of the Silver Century dedicates the cycle of poems M. Tsvetaeva:

1. A. A. Blok.

2. A. A. Akhmatova.

3. A. S. Pushkin.

Task 12.

To whom the poets are devoted to these lines:

"In the singement of Grad, my dome is burning,

And Savior Light famous blinding stray,

And I give you my bell hail,

... - And the heart of your impudent. "

1. A. A. Blok.

2. A. S. Pushkin.

3. A. A. Akhmatova.

Task 13.

Determine what motive of creativity can include the following passages:

"Dying, I will not say: it was

And it's not a pity, and I am not looking for guilty.

There is in the light of the case of the case

Passionate storms and loving feats. "

"Phoenix bird - I, only in the fire I sing!

Support a high life my life!

Highly grief - and the grief of Motley!

And yes I will be night - light! "

1. The theme of the poet and poetry.

2. The theme of nature.

3. Intimate Lyrics,

"Before the house of an apple tree in a snowdrift,

And the city in a snowy vest -

Your huge tombstone,

As the whole year it seemed to me.

Face turned to God

You pull it on it from the ground,

As in days when you

I did not let down on it. "

1. Anna Akhmatova.

2. Boris Pasternak.

3. Osip Mandelstam.

4. Nikolai Gumilev.

Answers to Test "M.I.TSvetaeva"

Grade 11 Test "S. A. Yesenin»

Exercise 1

Relate the literary current of the beginning of the 20th century with the "key" word:

1. Symbol.

3. Higher degree of something, blooming force.

4. Future.

P Ambamism n Futurism n Imazinism and symbolism

Task 2.

"What literary flow was close to S. Yesenin:

1. Symbolism. 2. Akmeism. 3. Imazinum. 4. Futurism.

Task 3.

The most important role in the artistic world of S. Yesenin is the image system. What an image for the poet is a generalizing, uniting all his perception of the world:

1. The image of the moon and the sun.

2. Spatial image of the Earth.

3. Image of a moving time.

4. Image (paths) of the road.

Task 4.

Determine the artistic means of expressiveness, with the help of S. Yesenin creates an image of nature:

"White birch

Under my window

Snapped with snow

Precisely silver. "

1. Epitts.

2. Metaphor.

3. Comparison.

4. Metaphoristic comparison.

Task 5.

Determine the artistic means of expressiveness used by the poet to create an image:

1. "Dawn by hand cool Rosno

Scrishes apples dawn. "

2. "Blue will dorm, then sighs."

3. "As earrings, granted girl laughter."

4. "... in the waters of the waters of the waters of the furrow."

5. "... Poplar is ringing."

P Otherification

P Sawing

P epitets

P metaphorical comparisons

P metaphors

Task 6.

FROM.Yesenin uses artistic taking antithesis in his appeal to the topic of the Motherland. Antiteza is:

1. Artistic technique, which consists in using a transparent hint of some well-known household, literary or historical fact, instead of mentioning the fact itself.

2. Artistic opposition of characters, circumstances, concepts, images, etc., which creates a sharp contrast effect.

3. Reception of sound survey, which consists in repetition of the same or close sounds of consonant sounds.

Task 7.

Municipal budgetary general Education

"Lyceum №1" R.P. Chamzinka Chamsinsky District of the Republic of Mordovia

Tests for creativity M.I.TSvetaeva

Prepared teacher

russian language and literature

Pechkazov Svetlana Petrovna

CHAMZINK

Explanatory note

Tests for creativity M.I.TSvetaeva contain questions about the life and work of the poet.

Each question is given several answer options.

The submitted resource can be used at the final lesson of the literature on the work of the poet in the 11th grade.

Evaluation criteria:

"5" (excellent) - the work performed unmistakably,

"4" (good) - no more than 2 errors are admitted to

"3" (satisfactory) - more than 2 errors were admitted to

"2" (unsatisfactory) - more than 5 errors were admitted to

Option I. Life and creativity M.I.TSvetaeva

The founder of which museum was the father of M. Tsvetaeva: A. M Uzaya of the visual arts in Moscow, B. Russian Museum in St. Petersburg, V. Tretyakovsky Gallery

The highest destination of the poet Marina Tsvevaeva considered: A. Champions of the female share and female happiness, B. Highest truth settling - the right of the poet to the integrity of his Lyra, Poetic honesty, V. Striving a poet to be a carrier of time ideas, his political stands

For M. Tsvetaeva, it was characterized by: A. Feeling of the unity of thoughts and feelings of creativity, B. Aliennity from reality and immersion in itself, V. Reflection in poetry of thoughts associated with the movement of time and a change in the world

The lyrical hero M. Tsvetaeva identity identity of the poet:

A. Yes, B. No

The tragedy of the loss of the motherland is sometimes poured into the emigrant poetry of Marina Tsvetaeva:

A. In contrasting himself, Russian, in all Russian, B. in opposition to Soviet Russia, V. In the misunderstanding and non-acceptance of the revolution

To whom from the poets of the "Silver Century" devotes the cycle of poems M.TSvetaeva: A. Pushkin, B. Akhmatova, V.Boka

To whom the poets are devoted to the lines "in the singement of Grad, my dome is burning. / And Savior Light Splancing Pretty Stray. / And I give you my bell hail, / ..! And your heart is in addition ":

A. Pushkin, B. Akhmatova, Vboka

Determine how the motif of creativity can include a given passage: "Dying, I will not say: it was, / not sorry, and I'm not looking for guilty. / There is in the light of the chefs of the case / passionate storms and loving feats ":

A. Topic of Nature, B. Intimate Lyric, V. To the topic of the poet and poetry

Marina Tsvetaeva was in emigration: A. For political considerations, B. In connection with the inequate desire to meet with her husband and the impossibility of his arrival in post-revolutionary Russia, V. For other reasons

Marina Ivanovna Tsvetaeva: A. Died from the incurable disease, B. was killed during the Great Patriotic War, V. committed the life of suicide

Indicate the literary direction belonged to the creativity of Tsvetaeva: A. Akmeism, B. Futurism, V. Outside

KEY

Option II. Test on the poem M.I.TSvetaeva

"Who is created from the stone who is created from clay" (1920)

Who is created from a stone who is created from clay,

And I am silly and sparkle!

I'm the case - treason, I am name - Marina,

I am a marine marine foam.

Who is created from clay, who is created from the flesh -

Those coffin and tombstones ...

- In the font of sea baptism - and in flight

His - incessantly broken! Through each heart, through every network

It breaks my self-width.

Earth will not make salt.

Walking about the granite your knees,

I am with every wave - resurrected!

Long live foam - Merry foam -

High marine foam!

2. The leading theme of the poem is the topic: 1) love and debt, 2) homeland and fate, 3) of nature and man, 4) the poet and his fate

3. What is the name of the fine-expressive agent used in the poetic line "Tit my suspender": 1) metaphor, 2) metonimia, 3) comparison, 4) epithet

4. What is the features of the composition of this poem:

1) ring, 2) cyclic, 3) mirror, 4) without features

1) sees his connection with prosaic land, 2) compares himself with maritime foam, 3) listens to the opinion of others, 4) thinks about death

6. The poem entered the collection: 1) "Evening album", 2) "Magic Lantern", 3) "Poems to block", 4) "Verses"

7. What is the name of the phonetic remedy used in the strings "Long live foam - Merry Foam - High Marine Foam!": ___________

8. Name the rhetorical question, expressing doubts of lyrical heroine: ________________

9. What is the name of the syntactic reception used in the line "Through each heart, through every network ...": _________________

10. Determine the size that poem is written: ___________

Key: 1.

Embodiment III. Test on the poem M.I.TSvetaeva

"Where such tenderness" (1916)

Where does this tenderness come from?

Not the first - these curls

Smoothing and lips

I knew the darkness of yours.

Boiled and gasli stars,

Where does such tenderness come from? -

Boiled and gasli eyes

At my very my eyes.

Not yet such hymns

I listened to the dark night,

Western - about tenderness! -

On the chest singer.

Where does such tenderness come from

And what to do with it, the tags

Crazy, singer

With eyelashes - no longer?

1. What type of lyrics includes this poem:

1) landscape, 2) patriotic, 3) love, 4) civil

2. The leading theme of the poem is the topic:

1) Love, 2) Motherland, 3) Nature, 4) Freedom

3. What is the name of the syntax used in the line "Where does such tenderness come from?": 1) Rhetorical Question, 2) AnaFora, 3) Antiteza, 4) Syntax parallelism

4. What stanza consists only of rhetorical issues:

1) first, 2) second, 3) third, 4) fourth

5. Lyrin heroine poem:

1) indifferent to love, 2) does not understand the causes of the tenderness of the beloved, 3) afraid of losing the beloved, 4) dreams of new love

7. Name a string that reveals the features of perception of lyrical heroine: ________________

8. What is the name of the visual remedy used in the combination of "Frames", "Singer Some": _________________

9. Determine the size that poem is written: ___________

10. Who is dedicated to this poem: _________________

Key: 1.

References:

Buneev R.N., Buneeva E.V., Chinkdilova O.V. Literature. Grade 11. Between tomorrow and yesterday. Eternal dialogue "in 2 kN. - M.: Ballas, 2012

Korshunova I.N., Lipin E.Yu. Tests in Russian literature. - M.: Drop, 2000

Romashina N.F. Tests on literature for the current and generalizing control. - Volgograd: Teacher, 2007

Berezhnaya I.D. Current control of knowledge in literature. - Volgograd: Teacher, 2008

Mironova N.A. Tests in literature in grade 11. - M.: Exam, 2008.

- Music

- Statistics

Tsvetaeva. Facts from biography

"Tsvetaeva hanged himself due to the supply of the NKVD to knock"

Soviet intelligence officer Kirill Henkin in his memoirs writes about the reasons for suicide the poetess Marina Tsvetaeva. At first, the Soviet writers Aseev and Fadeev were refused to help her. But finally aggravated the situation of the NKVD employee in Elabuga "help authorities".

Kirill Henkin in early childhood, in 1919, was taken away by his parents from Russia to France. In Paris, he became friends with her husband, Marina Tsvetaeva poeses, an NKVD officer Sergey Efron. The latter sent him in 1937 to fight in Revolutionary Spain, where Henkin became an employee of the NKVD. In early 1941, he returns to the USSR, where he is credited to the Diversants of the NKVD. His best friends are the famous Soviet intelligence officers Willie Fisher and Rudolf Abel. After the war - an employee of the Ministry of Issue of the Moscow Radio. In the middle of the 1960s, closely converges with Academician Sakharov and becomes actually His Relations Agent with Foreign Public Relations. In 1973, Henkin emigrates to the West. He writes that in the 1970s, the KGB opened the Jewish emigration with one goal - to saturate the West with his agents instead of the old school that left in the 1960s ", recruited NKVD in 1920-30. Henkin died in Mincenne in 2008 aged 92 years.

Kirill Henkin wrote a book "Hunter upside down" (in Russia, in 1991), in which, mainly talks about Soviet intelligence in the West (in particular, about the mission of his friend Willie Fisher in the USA). Henkin also mentions in the book version of the cause of the suicide of Marina Tsvetaeva, with the family of which he was well acquainted in France.

"In the same winter of 1941/1942, I learned that in Elabuga, where she evacuated with the son of Murom, Marina Ivanovna Tsvetaeva hanged himself.

Hanging ... her daughter, Ariadne (Alya), with which we were friends in childhood, was already pushing at the time around the camps and prisons. Husband, Sergey Yakovlevich Efron, who once sent my destiny on a winding bed, which led me to the students to Willie Fisher, was already shot.

(Kirill Henkin - extreme on the right, in dark glasses. The beginning of the 1970s)

About the life of the Tsvetaeva writes the Ivinskaya, a long-term friend Boris Pasternak: "Terrifying, devouring all the time and forces of life, constant soreness and unpleasurness of her husband. Moreover, her relationship with emigration worsened. "

Right. Worsened. Perennial cooperation between Sergey Yakovlevich SGPU was small for whom was secret. Did Marina know? Not at all could not know, but somehow he explained it to not disturb the conscience and not violate the Rostan vision of herself and her husband: selflessness, chivalry, sense of honor.

Everyone was noticed in it "... inability and reluctance to fight for their welfare." I will even say that Marina Ivanovna's domestic disagreement. No dirt in the house have always been stunning. With such a frantic indifference to the low-alberty productions, the benefits of moral, mental comfort are acquired. Feeling of the rightness and beauty poses.

... our last meeting. Moscow. Beginning of June 1941, the eve of war. Somewhere near pure ponds. Do not turn in a strange triangular room - windows without curtains, blind sunlight, terrible Tsvetaevsky mess. I do not remember the conversation itself. But I remember well his tonality. Unclear Irritation explosions from the son of Mura. Not only to the mother, but also on the already disappeared, shot (although it was not yet known) Father, for the arrested alone. Unspoken reproach. I then decided: anger on those who brought him to this damn country. So it, generally speaking, was. But it was another.

I had better understood Moore's mood, betrayed several years later with one of his peers and her neighbor of Efronov in the country in Bolshevo. There, after the flight from France, there were two Russian emigrant families nearby, who participated in the murder of the ignition of Poretsky (flight; party nickname - Ludwig).

It's amazing, "my friend told me - that they didn't change them all before. They just did that from morning to night they gnawed together.

Moore could not forgive that for the sake of this dirty one was killed his life. Although espionage was possibly due to the secondary phenomenon. A tool return Marina to Russia.

In the book "Captive Time", Ivinskaya writes about the meeting in 1935 in Paris of two great Russian poets. "The family of her (Tsvetaeva)," writes Ivinskaya, "was then at a crossroads - to go home - not to go? That's how Pasternak himself responded to it: "Tsvetaeva asked what I think about this. I did not have a certain opinion on this. I did not know what to advise her. "

"But Pasternak," adds Ivinskaya, "in the situation of mass repressions that followed the murder of Kirov, the ILO would advise Marina something clearer and definite."

Let us imagine, however, for a moment that Pasternak says Marina the truth about what is happening in Russia, about millions of repressed, about the suffocating atmosphere, about the inability to be printed for it. Imagine! And Paris buzzes: "Pasternak has honored the Tsvetaeva to go to Russia!" Upon returning, Pasternak could have trouble. And the hero of Pasternak was never.

Not for the sake of Sergey Yakovlevich, a man in his own way talented, but remaining until the end of the days only "husband of Marina Tsvetaeva," the family was returned to Moscow. Returned for the sake of meeting Marina Ivanovna with the Russian reader. This meeting the family sought at any cost. The price was high. At first, the spying, the recruiting, killing, paid Sergey. And finally surcharged his head. Sixteen years of camps and links paid Ariadne's daughter. Marina and Moore paid life.

The day when Pasternak did not find anything to say Marina "Clear and defined", predetermined everything else. True, there was still a moment at the beginning of the war: For some reason, Marina decided that Pasternak would let her live to his dacha in Peredelkino, will give her to rest there from homelessness and poverty. But Boris Leonidovich was for some reason not with his hands. And Marina Ivanovna went with her son to evacuation in Elabugu. On death.

About the end of Marina Tsvetaeva speak deaf. On Sunday, August 31, ten days after arriving from Moscow, the hostess of the house, Anastasia Ivanovna Bredelchshchshchikova, found Marina Ivanovna Tsvetaeva hanging on a thick nail in the Seine on the left side of the entrance. She never took the apron before the death with a big pocket, in which she worked on the housework in this morning, sending Moore to clearing the site under the airfield.

After the death of Marina, the Tsvetaeva remained brought from Moscow products and 400 rubles. The hostess of the house said: "It could still hold out ... I would have done when everyone eaten." Could, of course. How many people in Russia have handed over, because they waited for a soldering or a bunny day.

(A.Krucheny (sits on the left), Georgy Efron (Moore), Marina Tsvetaeva (left), L. Libedinskaya Kuskovo, summer of 1941)

Having learned that in front of the suicide Marina Tsvetaeva went to Chistopol to the poet Aseev and writer Fadeev, Pasternak gone later: "Why did they not give her money? After all, I would then return it. "

But I still learned that Marina Ivanovna traveled not for money, and for sympathy and help. I heard this story from Maklasky (also an employee of IO NKVD and a friend Henkina - BT). I confirmed her deeply after a few years. But he quickly stopped talking about it.

Immediately at the arrival of Marina Ivanovna in Elabugu, called her the local authorized NKVD and proposed "help". The provincial Chekist judged, probably like this: the woman came from Paris - it means in Elabuga she is bad. Once bad, it will be pouring unhappy. Conversations will begin, which will always "identify enemies", that is, to compact the case. And maybe came to Elabugu's "Case" of the Efron's family with an indication of her felt with the "authorities".

Talking to me about this, Misha Macarean Ceved Ham Chekist from Elabugi, who did not manage to fit delicately, elegantly to recruit, and watched Zorko behind my reaction.

She was suggested.

(In the diary Moore it is written that on August 20, Tsveyev was in the Elabuga City Council - I was looking for a job. She was offered a place of translator from German in the NKVD)

She was waiting for Aseev and Fadeev with her to be hurt, would be fenced from vigilant offers. This is from what to protect? What to indignant? Autumn 1941! Stalin rules the country! Yes, cooperation with the authorities, if you want to know the greatest honor! You, a citizen, if it went to that, expressed confidence!

And therefore, fearing for himself, fearing that, referring to them, Marina will destroy them, Aseev and Fadeev said the most innocent, which could tell people of their position in such circumstances. Namely: that everyone himself must decide - cooperate or not cooperate with the "authorities", that this is the case of conscience and civil consciousness, the case of political maturity and patriotism. The advice is no better and no worse than what gave her to her Pasternak. Boris Leonidovich, probably, would generally have done the view that she did not understand what she was talking about, would be silent something wrongful. As in the famous telephone conversation with Stalin about Mandelstam.

"Oh, why did they not give her money?" In fact, why? In Elabugu, Marina returned twirling from despair. I do not know what the son of Moore said to her.

(I knew Marina that when Sergei Efron's friends killed ignosting Poretskogo, then according to a pure chance, they did not poison his wife and a little child with Cyanian Channels? Didn't she have all these years with executioners?)

It was difficult to live, but it became completely non-night. And instead of meeting with the Russian reader - the only way out: a nail in the sieves and fragmentation of the rope. The letter is farewell withdrawn by the authorities.

More in the blog interpreter on Soviet pre-war writers:

Soviet writer-science fictional Alexander Belyaev After the Civil War, the rest of his life was forced to hide his Socialist past and serving Belykh (the defense of him was imaginary paralysis). It is not surprising that the early cycle of Fantastic Belyaev is unknown. One of his first anti-nightopy was written in 1915.

In 1934, the party created the Union soviet writers. In exchange for the correct position, the writers were guaranteed beautiful in the time of the content - manuals, apartments, rest in sanatoriums, clothes. Hundreds of graphomans sought to get into the SSP, punching their way with denunciations and hysterics. Three remarkable things in this series - "writers" of simple, blues and Hankina.

ღ Marina Tsvetaeva. Return to the Motherland ღ

On June 18, 1939, Marina Tsvetaeva returned to the USSR from the emigration. From this day, the most dramatic, although short, part of the "novel" poetess with their homeland began.

Our homeland will not call!
Drive, my son, home - forward -
In your land, in your age, in your hour - from us -
To Russia - you, in Russia - masses,
In our hour - the country! In this hour - the country!
In Na-Mars - Country! in without us - the country!
"Poems to Son", 1932

In the spring of 1937, performed by hope for the future, the daughter of Marina Tsvetaeva went to Moscow from Paris, Ariadne, who took Soviet citizenship during sixteen years. And in the fall of the husband poetess, Sergey Efron, who continued his activities in the "Union of Returning to the Motherland" and cooperation with Soviet intelligence, turned out to be involved in not very clean history that was widely published.

Marina Tsvetaeva and her husband Sergei Efron and children - Aley and Murom, 1925

In September 1937, the Swiss police found a corpse soviet intelligence officer Ignatius Reiss. It turned out that Reiss sent a letter to Joseph Stalin and called him a terrorist. A few weeks later, the "reliable source" told the press, which organized the killing of the scout Agent NKVD Sergey Efron, who had to leave Paris in a hurry and secretly cross in the USSR. The departure of Marina Tsvetaeva was predetermined.

The poetess was in a serious mental state and did not write anything over six months, prepared his archive to send. The September events of 1938 were brought from creative silence. Germany's attack on Czechoslovakia caused her stormy indignation, which took place in the "poems to the Czech Republic" cycle.

About mania! O mummy
Majesty!
Burn
Germany!
Madness,
Madness
Clear!
"Germany", 1939

Marina Tsvetaeva and Georgy Efron, 1935

On June 12, 1939, Marina Tsvetaeva and Son George ("Murom") went to Moscow. The joy of the family has lasted long. In August 1939, they were arrested and sent to the camp Alya, and in October - Sergey Yakovlevich. Tsvetaeva wandered with a often-suffering Moor on foreign corners, stood in the queues with his daughters and her husband. To feed, she was engaged in translations, leaving his head. "I'm translated by hearing - and in spirit (things). This is more than the meaning, "this approach meant a truly robotable work. The color time did not have enough poems. Among the translation notebooks were lost only by several beautiful poems reflecting its mental state:

It's time to shoot amber,
It's time to change the dictionary,

It's time to quench the lantern
Proper ...
"It's time to shoot Amber ...", 1941

Tsveyev tried to support friends - Boris Pasternak and Anatoly Tarasenkov, in the autumn of 1940 an attempt was made to publish a small collection of her poems. The poetess carefully made him, but due to the negative review of the Cornelia Zelinsky, who announced the poems of "formalistic", although in personal meetings with Tsvetaeva he praised them, the collection was not published.

Marina Tsvetaeva. Moscow, 1940

In April 1941, Tsveyev took on the trade university of writers in accordance with the stately agency, but her forces were on the outcome. She said: "I wrote my own, I could still, but I can not freely ...".
Tsvetaeva: "I wrote my own, I could still, but I can not freely ...".

The war interrupted the work of poetess over the transfer of Federico Garcia Lorca, and the magazines did not have poems. On August 8, not withstanding bombing, Tsvetaeva, together with several writers evacuated in Elabugu. According to her friends, Boris Pasternak collected things on the road. He gave a poetess rope, saying: "On the road it is useful, such a durable, even hang." The rope is really useful ...

Ariadna Efron. After arrest, 1939

Work, even the black one, was not for her. She tried to find anything in chistopol, where most Moscow writers were. On August 28, an encouraged, she returned to Elabugu, and on August 31, until the son had been in the house and the owners, she hanged himself, leaving three notes: comrades, poet Aseev and his family with requests to take care of her son, and Muru: "Murlyga! Forgive me, but it would be worse. I'm hard to hurt, this is not me. I love you madly. Understand that I could no longer live. Tell me Pape and Ale - if you see - that he loved them until the last minute, and explain what came to the dead end. "
After the death of the daughter of Ariadne in 1975, there was no straight descendants left

Boris Pasternak said about her death: "Marina Tsvevaeeva leaned all his life from everyday life, and when it seemed to her that it was a non-dissolute luxury and for the sake of her son, she should temporarily sacrifice the fascinating passion and take a look around soberly, she saw chaos, not missing through creativity, fixed , unusual, tacial, and in the frightened, and not knowing where to go from horror, hurried to death, put her head in a loop, like under the pillow. "
Once, being in emigration, Tsvetaeva wrote:

And to the name of my
Marina -
Add: martyr.

Suicide is accepted to be buried for the church fence, there could be no speech about the funeral. But for the sake of Tsvetaeva, for the request of its believers, including Diacon Andrei Kurayev, in 1991 an exception was made. Patriarch Alexy II gave a blessing, and 50 years after her death, Marina Tsvetaev went away in the Moscow temple of the Ascension of the Lord in Nikitsky Gate.

From left to right: M. Tsvetaeva, L. Libdition, A. Klychey, Efron. Kuskovo, 1941

The exact location of the Tsvetaeva's grave in Elabuga at the Petropavlovsk cemetery is unknown. But in the other side of the cemetery, where it is the lost grave, in place, where in 1960 the sister of the poetess Anastasia Tsvetaeva put the cross, in 1970 the granite tombstone was established.

Kenotaf Marina Tsvetaeva

Husband poetess - Sergey Efron, was shot on October 16, 1941. Moore, George Efron, died in the Great Patriotic War in 1944. Ariadne's daughter spent 8 years in correctional labor camps and 6 years later in the Tourukhan district, in 1955 it was rehabilitated. After her death in 1975, the director's straight descendants did not have the color left.

On May 11, 1922, Marina and Daughter of Aleu leaves for emigration. On May 15, 1922, they arrive in Berlin.
On August 1, 1922, Marina Tsvetaeva moves to Prague. Habitat there: Horning Mokrops, Prague, Ilikovishi, Dolly Mocropsy, Westenora. Sergey Efron receives a student scholarship, and Marina Tsvetaeva - help from the Czech government and the fees from the magazine "Will Russia".

In 1922, the acquaintance of Marina Tsvetaeva and K.B. (Konstantin Boleslavovich Rodevich), the gap with whom in 1923 served as the basis for writing the "Poem Mountain" (1924). The word "mountain" itself gives a reason for the emergence of a set of synonymous concepts and images. All the fabric of the poems is stitched and fastened with alliterations and sound rolls, for which the consonants "G" and "P" are used, which are included in the word "mountain":

That mountain was like thunder.

In vain with titans flirting!

The mountain is the last house

Do you remember - on the outcome of the suburbs?

That Mountain was the worlds!

God for the world charges expensive!

Mount began with a mountain.

That mountain was over the city.

"The poem of the mountain", as well as the "poem of the end" is built on the unity of reliability and romance. So "Mountain", which is in question in the poem, this is Petrshin Hill in Prague (Tsvetaeva called her Smikhov Kholm - from the district of Smukhov). But at the same time, the word is for the poet and the other, a romantic meaning. Mountain in the poem is synonym and a symbol of love. The image of the mountain is always connected in the work of Tsvetaeva with a height, the huge, avalanche of the feelings and the greatness of the person himself. Compare, for example, in the poem "Signs": "I carried exactly the mountain in Poland ...". In the poem "I don't have to circumvent it ..." Tsvetaeva likes the grief itself, responding to the oklik "Organo Bureu". "When we meet, it is, however, the mountain will come down with the mountain," she writes Boris Pasternak on May 26, 1925.

The concept of "mountain", as part of nature, land, according to which Tsvetaeva, "Born Pedestrian", loved to walk, she opposed - in the same natural sense - the sea that did not love. In the creative consciousness of the poet, both concepts, symbolized, acquired a polar one friend's sense: "There are things from which I am in the constant state of renunciation: the sea, love," she writes Pasternak on July 25, 1926. - Ocean, as a monarch, like a diamond: hears only someone who sings him. And the mountains are grateful (Divine). "

In 1923, Marina Tsvetaeva writes the cycle of poems "Wires". In the same year, a collection of "Craft" comes in the Publishing House "Helikon" in Berlin. In 1924, Marina Tsvetaeva writes the play "Ariadna". Then followed the "Poem of the end", also dedicated to K. B.odzevich. This is a detailed multiple dialogue about separation, where in the deliberate everyday conversations, then sharply rotten, then gentle, then evil ironic, pass the last path in the city. Opening forever. Everything is built on a sharp contrast of pronounced words and unspoken pain and despair.

Much more difficult to build a "poem of the staircase" (1926), where the staircase of a multilingated urban poverty house is a symbolic image of all everyday troubles and sorrows of the poor against the background of the well-being of immutors and prosperous. The poem is replete with realistic signs of everyday existence, leaving on the steps of the ladder tracks of hopeless work and worries in the struggle for a piece of bread. The staircase for which they go down and descend, on which the pitiful things are pierced and heavy furniture rich. The thing is undoubtedly autobiographical - there is a gloomy experience of cramped life, so well familiar to the poet

In 1925, Marina Tsvetaeva writes the poem "Ratsolov", called lyrical satire. The author took advantage of the Western European medieval legend on how in 1284 the stray musician delivered the German city of Hamilyn from the invasion of rats. He led them to the sounds of his flute and drowned in the River Weser. Tolstoshuma City Town Hall did not pay him a penny. And then the musician, playing on the flute, led all young children of the city, until the parents listened to the church sermon. Children who climbed at Mount Coppenberg, absorbed the abyss exposed to them.

But this is only an external background of events, which is imposed by an acute satire, implanting any manifestations of confusion. The story is deployed in a rapid pace, with a rhythm usual for the color shifts, crushing the structure into separate semantic pieces, with the inexhaustible wealth of fresh rhymes, or rather consonant.

On February 1, 1925, Marina Tsvetaeva is born the son of George (Moore). He will die very young during the Great Patriotic War.
On November 1, 1925, Marina Tsvetaeva and his family moves to Paris. Here is the usual picture of Paris Budy in the metro car: a business crowd, where everyone buried into the deployed sheet of the newspaper.

Who is reader? Old man? Athlete?

Soldier? - Not damn, no people

Not years. Skeleton - no

Persons: newspaper sheet!

... what for such gentlemen -

Sunset or Dawn?

Swallowing

Newspaper readers.

("Newspaper readers")

The striking force of poisonous sarcasm is permeated by her ode "Praise rich", written on September 30, 1922.

And province, make sure that

What between me and you - miles!

That I rank yourself to Rvani,

As honestly my place in the world:

Under the wheels of all excesses:

Table of freaks, horses, humpbalances ...

And zasim, from the bell roof

I declare: I love the rich!

For their root, rotten and shaky,

From the cradle of a growing wound,

Behind the confused chap

From the pocket and again to the pocket.

For the silent request of their mouths,

Fulfilled like a shock

And for not letting them in paradise,

And for the fact that in the eyes do not look ...

("Praise rich")

"An indignation gives rise to verse," said Juvenal, and these words are fully applicable to many poems of Marina's colors of the Foreign Foreign period. Inner emotion is so great that the quarantion is overpowered by the borders, ending the phrase in an unexpected place, subordinating it to a pulsating or suddenly tearing rhythm. The emotional explosion is enhanced by the toolkit of verse, ring-adjacent words adjacent on sounding or synonymous kinship, the verbal network is often complicated in such sophisticated patterns that the understanding of the main plan is far from immediately. But Tsvetaeva itself now insists that the verse should not be too lightweight. Now it resolutely stands for the complicated structure of the poetic language. "What is reading, if not a breakdown, interpretation, the extraction of the secret left behind the rows, the limits of words ... Reading - First of all, the creation." ("Poet of criticism", 1926). It refuses and from the convention of the poetic form, close to common canons, from the musicality of the verse, from the "pouring" speech: "I do not believe the poems that are poured. Robed - yes! " A bold, gusty crushing of the phrase into separate semantic pieces for the sake of telegraph compression, when everything is descended by itself, only the most necessary accents of thought remain, it becomes a special prompt of its style, innovative and unique.

Otherwise, Tsvetaeva could not write - so complicated, prone to paradoxes was her creative nature. The gusty and intermittent nature of the speech is unusual because it reflects the mental state of the poet with the rapid immediacy of the minute experienced. Even in the printed line, the poems of Tsvetaee seems not yet cooled from the inner heat that thormed them. From here, they are like choking ripping, crushing phrases on brief, explosive emotional pieces and a continuous flow of unexpected, but at the same time convincing associations.

The direct heiress of the traditional melodic and even sowing system, Tsvetaeva resolutely refuses every melody, preferring to her aphoristic compression nervous, as if spontaneously born speech, only conventionally subordinate to the breakdown. And at the same time, it is widely used by the reception of sound repeats and generous alliterations, not to mention the fresh unexpected rhythm, or, it is better to say, the system of terminal consonance.

Pretty soon she was convinced that emigration, at first, having met her as an attachment, sharply changed his attitude, feeling that she was disappointed in her previous views and became the opposition to the Emigrant environment. Tsvetaeva did not change his vocation, wrote a lot and inspired, but all her work had passed into another, tragedy tonality.

Even more or less liberal emigrant magazines gradually ceased to print her poems. The first time of staying abroad, however, it was possible to publish several collections, of which the main: "separation", "Psyche", "Craft", and six years old and the last lifetime book - "After Russia", which included poems 1922 1925. From this time, its poetic works almost disappear from the pages of printing.

In 1926, Marina Tsvetaeva writes poems from the sea, "the attempt of the room", the "poem of the staircase".

In the spring of 1926, Pasternak acquaintances Marina Tsvetaeva in absentia with Rainer Maria Rilke (1875-1926). "Roman Troyich" ("Letters of the summer of 1926").

December 29, 1926 - Death Rilke. She followed the answer in the form of a poem "New Year's", "Pooms of Air" and Essay "Your Death".

At the end of 1927, Marina Tsvetaeva writes Pieces "Fedra", Essay "Poet about criticism", adopted in the bayonets by Russian emigration.

Let me remind you, in 1928 the book "After Russia" was published. Marina Tsvetaeva writes the poem "Red bull". 1928 - Tsvetaeva welcomes Mayakovsky's arrival in Paris, after which almost all Russian emigration is opposed to her.

In one of the greatest minutes for himself, Marina Tsvetaeva recorded with bitterness: "... My reader remains in Russia, where my poems ... do not reach. In the emigration, I first (dried!) We are printed, then, who has come back, withdraw from the appeal, having revealed not to their own! " So it was. The Beloeamigrant Press announced the poet outside of his laws, seeing not only a sharp accusability of his environment, but also an irreconcilable enemy of storm, racism, fascism. Marina Tsvetaeva opposed the reaction forces to all his poetic creature and safely spoke of their sympathies to new Russia. "I am not writing for here (here will not understand because of the voice), namely for there - There is an equal language. "

Upon twelve years of the half-dollar existence, she will say in one of the private letters: "Lyuto is mocking here, playing on my pride, my need and my powerlessness (no protection)." And further: "Povements in which I live, you can't imagine, I have no means of life, except for Scripture. Husband is sick and can not work. Daughter of viscous hats earns 5 francs per day, on them four of them (I have a son of eight years old, George) we live, that is, just slowly die with the hunger. " But immediately a characteristic confession: "I don't know how long I still have to live, I don't know if I ever still have in Russia, but I know that until the last line I will write hard that weak poems will not give." So it was always with her.

In 1929, Marina Tsveyev finishes the poem "Perekop", writes Essay "Natalia Goncharova", in 1930 he creates a Requiem for the death of Mayakovsky - the cycle of Pychs "Mayakovsky".

In 1931, Tsvetaeva writes a cycle of poems "poems to Pushkin". The traditional, well-known "sun of Russian poetry" in Marina becomes very unexpected and alive.

"Beach gendarmes, God of students,

Bile husbands, satisfying wives

Pushkin - as a monument? "

Guest stone? - is he,

Scaly, loading ...

Agree, good! And completely deprived of a housing gloss.

In 1931, Sergey Efron asks Soviet citizenship, becomes an active figure of the "Union of return to his homeland."

In 1932, Marina Tsvetaeva writes Essay "Poet and Time", "Epos and Lyrics in modern Russia"(About Boris Pasternak and Vladimir Mayakovsky) and" Living about living (Voloshin) ".

In 1933, Marina Tsvetaeva writes a cycle of poems "Table", Essay "Two Forest Tsar", "Birth of the Museum", "Opening of the Museum", "Tower in Slask", "House of Old Pimen", "poets with history and poets without history ". In 1934, Marina Tsvetaeva writes an essay "Kirillovna", "Insurance of Life", "Mother and Music", "Mother's Tale", "Frank Spirit (my meeting with Andrei White)". Purse of Marina Tsvetaeva not worse than the poems. But quote it, in my opinion, the occupation is ungrateful. Read and you will certainly discover a special world, where life and eternal intertwined

In 1937, Marina Tsvetaeva writes Essay "My Pushkin", "Pushkin and Pugachev", "Tale of Sonia".

March 15, 1937, the daughter of Marina Tsvetaeva Ariadne rides Moscow. Later, in the fall of 1937, Sergey Efron, suspected by the Paris police in the murder of the former Soviet agent Ignatiya flight, is forced to leave for the USSR.

In 1938-39, Marina Tsvetaeva writes the cycle "Poems to the Czech Republic", which places the courage of the freedom-loving people.

Do not die the people!

God keeps you!

Heart gave - grenades,

Breast gave - granite.

Flourishes, people, -

Solid like a screen

Hot, like a grenade,

Clean like a crystal.

In August 1922, Tsvetaeva moved to Prague and loved the city with all the soul. Later, in 1938-1939, "poems to the Czech Republic" were created by her. At the occupation of the fascist troops of the Czech Republic, the immortal lines permeated bitterly were written:

I refuse to be.
In Bedlama Nerludde
I refuse to live.
With wolves of space

I refuse to leave.
With shark plains
I refuse to swim -
Down - by the flow of spin.

I do not need neither holes
Ear, no eyes.
On your mad world
The answer is one - the refusal.
About tears in the eyes! March 15 - May 11, 1939