The Tsvetaeva family. Unknown facts about famous writers

10.03.2020

Marina Ivanovna Tsvetaeva, one of the greatest Russian poets of the 20th century, was born on October 8 (September 26 according to the old style) in 1892 in Moscow. Father - Ivan Tsvetaev, a classical philologist, professor, headed the Department of History and Theory of Arts at Moscow University, was the curator of the department of fine arts and classical antiquities in the Moscow Public and Rumyantsev museums. In 1912, on his initiative, the Museum was opened in Moscow. Alexander III(now the State Museum fine arts them. A.S. Pushkin). Mother - Maria Tsvetaeva (née Maine), pianist, died in 1906.

As a child, due to her mother's illness (consumption), Tsvetaeva lived for a long time in Italy, Switzerland, Germany; breaks in gymnasium education were replenished by studying in boarding houses in Lausanne (Switzerland) and Freiburg (Germany). Fluent in French and German. In 1909 she took a course in French literature at the Sorbonne.

According to her own recollections, Tsvetaeva began writing poetry at the age of six. In 1906-1907 she wrote the story "The Fourth", in 1906 she translated into Russian the drama of the French writer Edmond Rostand "Eaglet", dedicated to tragic fate son of Napoleon (neither the story nor the translation of the drama have survived).

The works of Marina Tsvetaeva appeared in print in 1910, when she published her first book of poems, The Evening Album, at her own expense.

The poems of the "Evening Album" were distinguished by their "homeliness", they contained such motifs as the awakening of a young girl's soul, the happiness of a trusting relationship that connects the lyrical heroine and her mother, the joys of impressions from the natural world, the first love, friendship with fellow gymnasium students.

Tsvetaeva's early work was significantly influenced by Nikolai Nekrasov, Valery Bryusov and Maximilian Voloshin (who became one of her closest friends).

In the winter of 1910-1911, Voloshin invited Marina Tsvetaeva and her sister Anastasia to spend the summer of 1911 in Koktebel, where he lived. In Koktebel, Tsvetaeva met her future husband Sergei Efron.

In 1912, the second collection of Tsvetaeva's poems, The Magic Lantern, was published; she dedicated it to her husband.

If The Evening Album was very well received by critics, The Magic Lantern was perceived as a relative failure, as a repetition of the original features of the first book, devoid of poetic novelty.

In 1913, Marina Tsvetaeva released a new collection - "From two books". When compiling her third book, she selected texts very strictly: out of 239 poems included in the "Evening Album" and "Magic Lantern", only forty were reprinted.

During 1913-1915, there was a gradual change in Tsvetaeva's poetic manner: the place of a touching and cozy children's life was taken by the aestheticization of everyday details (in the cycle "Girlfriend" (1914-1915), addressed to the poetess Sofia Parnok), and the ideal, sublime image of antiquity (poems "To the Generals of the Twelfth Year" (1913), "Grandmother" (1914) and others).

In 1915-1918, Marina Tsvetaeva created the poetry cycles "Poems about Moscow", "Insomnia", "Stenka Razin", "Poems to Blok" (which were completed in 1920-1921), "Akhmatova", "Don Juan" , "Comedian", as well as the plays "Jack of Hearts" and "Snowstorm".

In the center of cycles of poems addressed to contemporary poets Alexander Blok, Sofia Parnok, Anna Akhmatova, dedicated to historical figures or literary heroes- Marina Mnishek, Don Giovanni and others - a romantic person who cannot be understood by contemporaries and descendants, but does not seek primitive understanding, philistine sympathy either.

The romantic motives of rejection, homelessness, sympathy for the persecuted, characteristic of Tsvetaeva's lyrics, were backed up by the real circumstances of the poetess's life. In 1918-1922, together with her young children, she was in revolutionary Moscow, while her husband Sergei Efron fought in the White Army. Poems of 1917-1921 full of sympathy white movement, compiled the cycle "Swan Camp" (during the life of Tsvetaeva, the collection was not printed, it was first published in the West in 1957).

In 1922-1939, Marina Tsvetaeva lived in exile (a short stay in Berlin, three years in Prague, since 1925 - Paris).

The emigrant, and especially the "Czech" period was one of the most successful in the poetic fate of Tsvetaeva; creative evenings were held, several books were published: "Craft", "Psyche" (both - 1923), "Well done" (1924), "After Russia" (1928). Tsvetaeva wrote tragedies based on ancient subjects "Ariadne" (1924), "Phaedra" (1927); essays about poets "My Pushkin" (1937), "Living about the living" (1933); memoir essays "The House at the Old Pimen" (1934), "Mother and Music" (1935), "The Tale of Sonechka" (1938); the poems "The Poem of the Mountain" and "The Poem of the End" (both - 1926); lyrical satire "Pied Piper" (1925-1926), anti-fascist cycle "Poems to the Czech Republic" (1938-1939).

The best poetic works of the emigrant period are characterized by philosophical depth, psychological accuracy, expressiveness of style.

In 1937, Sergei Efron, for the sake of returning to the USSR, became an agent People's Commissariat Internal Affairs (NKVD) abroad, being implicated in a contract political assassination, fled from France to Moscow. In the summer of 1939, following her husband and daughter Ariadna (Alei), Marina Tsvetaeva and her son George returned to their homeland. In the same year, both Tsvetaeva's daughter and husband were arrested (Sergei Efron was shot in 1941, Ariadna was rehabilitated in 1955 after 15 years of repression).

Tsvetaeva herself could not find housing or work; her poems were not published. Caught at the beginning of the Great Patriotic War in the evacuation in the city of Yelabuga (Tatarstan), unsuccessfully tried to get support from the writers.

Marina Tsvetaeva was buried on September 2, 1941 at the city Peter and Paul cemetery in the city of Yelabuga. The exact location of her grave is unknown.

In October 1960, the sister of the poetess Anastasia Tsvetaeva unsuccessfully searched for her sister's grave and, not finding it, installed a cross in the southern part of the cemetery where they were buried in 1941. In 1970, the cross was replaced with a granite headstone.

The son of Marina Tsvetaeva - Georgy Efron, born in 1925, died in the Great Patriotic War in 1944.

Born in 1912, poet-translator who prepared the first posthumous edition of her mother's works for publication, died in Tarusa on June 27, 1975.

The material was prepared on the basis of information from RIA Novosti and open sources

The work of the poetess belongs to the Silver Age of Russian literature. She wrote prose, translated texts and, of course, composed elegant, sincere poetry. A tragic fate fell to her lot, full of injustice and deprivation. Nevertheless, there was a place for happiness in her wanderings. The life of Marina Tsvetaeva (1892-1941) was full of interesting events.

Ivan Tsvetaev founded the Museum of Fine Arts, studied philology, worked at Moscow University. The mother of the poetess was engaged in music, was fond of playing the piano, she also taught this to her daughter, composed poetry. It was from her that Marina inherited her passion for poetry. Maria Alexandrovna was very proud of her, but nevertheless she paid the most attention to her youngest daughter Anastasia. This offended the poetess a little. Tsvetaeva's parents raised four children: three girls and one boy.

At the age of 9, the little writer enters the fourth gymnasium for girls, where she will study for a very short time. When the girl turns 10, her mother will be diagnosed with tuberculosis. In this regard, the family will move to the coast between the Ligurian Sea and the mountain range. Later, our heroine will change two more places of study. In the summer of 1905, the Tsvetaeva family will come to their homeland. They will settle in a city on the Black Sea coast - in Yalta. Already next summer they will move to Tarusa - a place with which the life and work of Marina Tsvetaeva are so closely intertwined.

History of success

Even at the age of 6-7 years, the future poetess began her unique creative way writing his first poems. At the age of 18, she published her debut collection of poems entitled "Evening Album" (1910). She did not have sponsors, Marina Ivanovna published the collection on her own and with her own resources. The response to her work was immediate. She immediately attracted attention. famous people. Gumilyov Lev Nikolaevich, Valery Yakovlevich Bryusov and Voloshin were interested in the young writer. Acquaintance with them opens up a new literary world symbolists, which consists of many circles, where Tsvetaeva never found herself. Her style was so original and free from extraneous influences that it failed to fit into any aesthetic concept.

The poetic world of Marina Tsvetaeva is based on her life principles, which she herself carefully preserved for posterity in her notes:

The only guide: your own ear and, if you really need it, Savodnik's theory of literature: drama, tragedy, poem, satire.

The only teacher: own work.

And the only judge: the future.

Creation

First verses

In 1906, Marina Tsvetaeva wrote an impassioned appeal to the generation of fathers with a request not to interfere with young people to live the way they want ("Do not laugh at the young generation!"). In the same year, the sublime poem "Mame" was written, written in the same classical manner. Until 1910, most of her poems are devoted to childhood memories and impressions. The beginner Tsvetaeva composes simply and concisely, without experimenting with the size and rhythm of the verse. She frantically searches for her own style, her voice, trying out well-known poetic formulas.

Her originality begins from the time when she finds a way out of the established framework of poetry and realizes her own innovative potential.

Collections and cycles

The first collection - "Evening Album" (1910). Also in 1910, the article “Magic in Bryusov’s Poems” was published;
The Magic Lantern is published in 1912;
A year later, the public was able to evaluate her new collection "From Two Books".

Until the 21st, the writer takes a break and no longer publishes collections. Tsvetaeva also has publications in such magazines as: "Northern Notes", "Almanac of Muses", "Salon of Poets".

While in the Czech Republic, he writes his famous poems "The Poem of the Mountain" and "The Poem of the End". The collection "Youthful Poems" comes out gradually over two years from 1913 to 1915. In 1921, the private publication "Bonfires" published the collection "Versts I". It includes 5 poems written from 17 to 20 years. Works are also published: "The Tsar Maiden", "On the Red Horse". The collection "Psyche" is being formed. The cycle "" is being prepared.

The last collection of the writer is published in 1928 in France, in Paris. It has a characteristic name - "After Russia". All poems written between 1922 and 1925 were published there. The poetic cycle "Mayakovsky" is published in the 30th. The writer was too shocked by the suicide of the poet. Tsvetaeva is also working on the creation of the cycle “Girlfriend”, dedicated to her beloved woman, Sofia Parnok. At the same time, the prose of the writer is being published. The works delight the foreign audience. Further published: "Living about the Living" (1933), "The House at the Old Pimen", "The Captive Spirit" are published in 1934, "Mother and Music" (1935), the story "An Unearthly Wind" is published the next year, comes out "My Pushkin" in 1937, later "The Tale of Sonechka" is published.

The most famous cycle of Tsvetaeva's poems is poems dedicated to the poet A. Blok. Here is a detailed one of them, titled "Your Name".

Personal life

The writer was not limited only to men. Her lover was Sofia Parnok. More about their romance will be discussed below. The writer also had a relationship with Konstantin Rodzevich. He was a friend of her husband.

An interesting fact: after parting with Rodzevich, Marina Ivanovna helped to choose a dress for his future wife, and also dedicated some of her works to him. Friends called their novel "the only, real and difficult, non-intellectual" in the life of the writer. The husband knew about all the relationships of Tsvetaeva. But, nevertheless, the couple retained the bonds of marriage. After breaking up with Konstantin, Marina Ivanovna gave birth to a son. It is still not known exactly who exactly this child was from: from her husband or from a former lover.

Family

In 1911, Tsvetaeva and Sergei Efron met. Literally a year later, they decide to get married. In the 12th year, their daughter is born, whom they decided to name Ariadne. The family affectionately called her Alya. After 5 years, another daughter, Irina, is born. Unfortunately, the girl dies at the age of 3 years. Bad conditions and lack of food in the orphanage are to blame. Mom sent her daughters there during the days of revolutionary devastation, thinking that girls have more chances to survive there than in a poor family devastated by the civil war. February 1, 1925 the family is replenished. A son, George, is born, but everyone calls him "Mur".

Tsvetaeva's husband was engaged in journalism, studied literature, served. In 1941 he was sentenced to death for political reasons. His belonging to an ideologically alien class played a fatal role in his fate under the dictatorship of the proletariat. In 1955, the eldest daughter of the Tsvetaevs received permission to enter the USSR. Beloved Moore dies during the war, in 1944. The writer has no grandchildren. This means that Tsvetaeva has no direct heirs.

Other novels

Tsvetaeva and Sofia Parnok met in 1922, and then their love story began. Even at the first meeting, they felt mutual sympathy. Later, these feelings developed into a novel. Sergei was insanely jealous, made scenes, however, the affair with Parnok lasted about two years.

But, in the end, Maria Ivanovna decided to part with the translator. The cycle of poems "Girlfriend" is dedicated to the former lover. Marina Ivanovna called this union the first catastrophe in her life. But, having learned the news of Sophia's death, the writer reacted rather coldly and indifferently. However, it is Sonechka with long black braids that is dedicated to Tsvetaeva's prose story, which Russian authors value very highly, because this prose is written more elegantly and more figuratively than other poems.

There are rumors about other adventures of the scandalous poetess. In her small homeland, in Tarusa, old-timers remember stories about the juicy details of the life of the famous author. She often fell in love, was an impressionable and affectionate person. Often they talk about her connections with O. Mandelstam, A. Blok and other famous personalities.

Germany and Ancient Greece- the most adored countries of the writer.
The poet's favorite stone is carnelian. She always claimed that her husband would be the one who guessed what her favorite stone was. On the day she met her husband, Sergei gave her the same treasured item, accidentally finding it on the seashore. And so was the fate of Marina Tsvetaeva.
Moving, our heroine asked Boris Pasternak for help in collecting. He brought a rope for the suitcase and jokingly said: "The rope will withstand everything, even hang yourself." These words became prophetic. On the same rope, the writer later committed suicide.
Marina Tsvetaeva believed - the name, given to man at birth affects his future. Interesting life, in her opinion, was determined already at the stage of conception. She wanted to name her son Boris, not George, as she was sure that the letter “y” in the name deprives him of masculinity.
Marina Ivanovna did not love her youngest daughter, but she simply idolized her eldest, being jealous of her even to her relatives. She considered Irina to be weak-minded, because the girl really developed slowly and was not as smart and quick-witted as her older sister. In the shelter, Irina often hit her head against the walls and floor, which caused bewilderment of her peers. But Ariadna had a close relationship with her mother, so Tsvetaeva tried to give her more food. When the eldest daughter fell ill with malaria, the mother blamed Irina for this and gave the sick all the supplies she had (she visited them in the shelter and brought food). Perhaps because of this neglect, Irina died.
When one of the daughters ate a head of cabbage during her mother's absence, the mother became so angry that she tied the child to a chair every time she left the house.
Marina Tsvetaeva was very fond of the poetry of A. Akhmatova and longed to see her, but after a cold and brief meeting of two women given relation changed drastically. Both poetesses spoke very sharply and arrogantly about each other all their lives.

Emigration

In the spring of 1922, the family received permission to go abroad to her husband and father Sergei Efron. Their first stop is Berlin. Then they moved to the outskirts of Prague, where they lived for about three years. Having given birth to George, the writer and her family moved to Paris. Even abroad, the poetess continued to communicate with Boris Pasternak and other Russian writers.

Works released abroad did not bring much profit, although they were successful. The family of emigrants was actually a beggar. The mother of the family barely managed to cook soup for the whole family from what she managed to pick up in the market. Her husband cannot work because he is seriously ill. The only income comes from the tailoring of hats by the daughter of the poetess. This money is too little to support a family of four.

On March 15, 1937, Alya was given permission to go home. That same year, Efron was suspected of being an accomplice in a political assassination, so he decided to flee France. Later, the writer returned to the USSR in 1939.

Death

How did Marina Tsvetaeva die? The writer could not stand the death of her husband, the incident finished her off. On August 31, 1941, when her husband was shot, the writer hanged herself in the house where she temporarily lived with Moore. The cause of death is fatigue from life's squabbles and unrest. Possessing an extraordinary talent, the woman was forced to vegetate in poverty and drag an entire family behind her. This burden was too heavy for her.

Before doing this, Marina Ivanovna prepared several notes. One for those who will bury her (after this note will be called "evacuated"), one more for the son, the third was left for the daughter. The great poetess was buried on September 2 at the Peter and Paul Cemetery in the city of Yelabuga.

Places of Marina Tsvetaeva

In memory of the writer, several house-museums have been opened. There are also memorial monuments throughout the country. In Prague, there are small excursion routes, where tourists are given the opportunity to visit and see the places where the writer once lived with her family.

Petrin Hill is one of Marina Tsvetaeva's favorite places. It was this hill that became the prototype of the mountain in the work “The Poem of the Mountain”. The poetess quite often came to the Jewish cemetery in the Old Town and to Smichov's Lesser Town cemetery. There she walked all alone. Marina Ivanovna said that Prague is the only city that "cut into" her heart.

There is also a house-museum in Tarusa, where the poetess lived for a long time. The famous autumn festivals in her honor are also held there.

Marina Ivanovna's favorite city was Moscow, where she also has a memorable place

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Marina Ivanovna Tsvetaeva is a Russian poetess, translator, author of biographical essays and critical articles. She is considered one of the key figures in world poetry of the 20th century. Today, such poems by Marina Tsvetaeva about love as “Primed to the pillory ...”, “Not an impostor - I came home ...”, “Yesterday I looked into the eyes ...” and many others are called textbooks.

Childhood photo of Marina Tsvetaeva | M. Tsvetaeva Museum

Marina Tsvetaeva's birthday falls on the Orthodox holiday in memory of the Apostle John the Theologian. The poetess will later repeatedly reflect this circumstance in her works. A girl was born in Moscow, in the family of a professor at Moscow University, a famous philologist and art critic Ivan Vladimirovich Tsvetaev, and his second wife Maria Mein, a professional pianist, a student of Nikolai Rubinstein himself. On her father's side, Marina had a half-brother Andrey and a sister, as well as her own younger sister Anastasia. The creative professions of the parents left their mark on Tsvetaeva's childhood. Mom taught her to play the piano and dreamed of seeing her daughter as a musician, and her father instilled a love for quality literature and foreign languages.

Children's photos of Marina Tsvetaeva

It so happened that Marina and her mother often lived abroad, so she was fluent not only in Russian, but also in French and German. Moreover, when the little six-year-old Marina Tsvetaeva began to write poetry, she composed in all three, and most of all in French. The future famous poetess began to receive education in a Moscow private female gymnasium, and later studied in boarding schools for girls in Switzerland and Germany. At the age of 16, she tried to listen to a course of lectures on Old French literature at the Paris Sorbonne, but she did not finish her studies there.

With sister Anastasia, 1911 | M. Tsvetaeva Museum

When the poetess Tsvetaeva began to publish her poems, she began to communicate closely with the circle of Moscow symbolists and actively participate in the life of literary circles and studios at the Musaget publishing house. Soon the Civil War begins. These years had a very hard effect on the morale of the young woman. She did not accept and did not approve of the division of the homeland into white and red components. In the spring of 1922, Marina Olegovna seeks permission to emigrate from Russia and go to the Czech Republic, where her husband, Sergei Efron, who served in the White Army and now studied at Prague University, fled a few years ago.

Ivan Vladimirovich Tsvetaev with his daughter Marina, 1906 | M. Tsvetaeva Museum

For a long time, the life of Marina Tsvetaeva was connected not only with Prague, but also with Berlin, and three years later her family was able to get to the French capital. But even there, the woman did not find happiness. She was depressingly affected by the rumor of the people that her husband was involved in a conspiracy against her son and that he was recruited Soviet power. In addition, Marina realized that in her spirit she was not an immigrant, and Russia did not let go of her thoughts and heart.

Poems

The first collection of Marina Tsvetaeva, entitled "Evening Album", was released in 1910. It mainly included her creations written in school years. Quite quickly, the work of the young poetess attracted the attention of famous writers, especially Maximilian Voloshin, her husband, Nikolai Gumilyov, and the founder of Russian symbolism, Valery Bryusov, became interested in her. On the wave of success, Marina writes the first prose article "Magic in Bryusov's verses." By the way, a rather remarkable fact is that she published the first books with her own money.

The first edition of "Evening Album" | Feodosia Museum of Marina and Anastasia Tsvetaev

Soon the Magic Lantern by Marina Tsvetaeva, her second poetry collection, was published, then the next work, From Two Books, was also published. Shortly before the revolution, the biography of Marina Tsvetaeva was associated with the city of Alexandrov, where she came to visit her sister Anastasia and her husband. From the point of view of creativity, this period is important in that it is full of dedications to close people and favorite places, and later was called by experts "Alexander's summer of Tsvetaeva." It was then that the woman created the famous cycles of poems "To Akhmatova" and "Poems about Moscow."

Akhmatova and Tsvetaeva as Egyptians. Monument "Silver Age", Odessa | panoramio

During civil war Marina was imbued with sympathy for the white movement, although, as mentioned above, she generally did not approve of the division of the country into conditional colors. During that period, she wrote poetry for the collection "Swan Camp", as well as large poems "The Tsar Maiden", "Egorushka", "On a Red Horse" and romantic plays. After moving abroad, the poetess composes two large-scale works - "The Poem of the Mountain" and "The Poem of the End", which will be among her main works. But most of the poems of the emigration period were not published. The last to be published was the collection "After Russia", which included the works of Marina Tsvetaeva until 1925. Although she never stopped writing.

Marina Tsvetaeva's manuscript | Unofficial site

Foreigners appreciated Tsvetaeva's prose much more - her memoirs about Russian poets Andrei Bely, Maximilian Voloshin, Mikhail Kuzmin, the books "My Pushkin", "Mother and Music", "House at the Old Pimen" and others. But they didn’t buy poetry, although Marina wrote a wonderful cycle “Mayakovsky”, for which the suicide of a Soviet poet became a “black muse”. The death of Vladimir Vladimirovich literally shocked the woman, which many years later can be felt when reading these poems by Marina Tsvetaeva.

Personal life

The poetess met her future husband Sergei Efron in 1911 at the house of her friend Maximilian Voloshin in Koktebel. Six months later, they became husband and wife, and soon their eldest daughter Ariadne was born. But Marina was a very passionate woman and at different times other men took over her heart. For example, the great Russian poet Boris Pasternak, with whom Tsvetaeva had almost 10-year-old romantic relationship, which did not stop even after her emigration.

Sergei Efron and Tsvetaeva before their wedding | M. Tsvetaeva Museum

In addition, in Prague, the poetess began a stormy romance with a lawyer and sculptor Konstantin Rodzevich. Their relationship lasted about six months, and then Marina, who dedicated the poem of the mountain full of violent passion and unearthly love to her lover, volunteered to help his bride choose a wedding dress, thereby putting an end to the love relationship.

Ariadne Efron with her mother, 1916 | M. Tsvetaeva Museum

But the personal life of Marina Tsvetaeva was connected not only with men. Even before emigrating, in 1914, she met in a literary circle with the poetess and translator Sophia Parnok. The ladies quickly discovered sympathy for each other, which soon grew into something more. Marina dedicated the cycle of poems “Girlfriend” to her beloved, after which their relationship came out of the shadows. Efron knew about his wife's affair, was very jealous, made scenes, and Tsvetaeva was forced to leave him for Sofia. However, in 1916 she broke up with Parnok, returned to her husband and a year later gave birth to a daughter, Irina. The poetess will later say about her strange connection that it is wild for a woman to love a woman, but only men alone are boring. However, Marina described her love for Parnok as "the first disaster in her life."

Portrait of Sofia Parnok | Wikipedia

After the birth of her second daughter, Marina Tsvetaeva faces a black streak in life. Revolution, husband's escape abroad, extreme need, famine. The eldest daughter Ariadna became very ill, and Tsvetaeva gives the children to an orphanage in the village of Kuntsovo near Moscow. Ariadne recovered, but fell ill and Irina died at the age of three.

Georgy Efron with his mother | M. Tsvetaeva Museum

Later, after reuniting with her husband in Prague, the poetess gave birth to a third child - the son of George, who was called "Mur" in the family. The boy was sickly and fragile, however, during the Second World War he went to the front, where he died in the summer of 1944. George Efron was buried in a mass grave in the Vitebsk region. Due to the fact that neither Ariadne nor George had their own children, today there are no direct descendants of the great poetess Tsvetaeva.

Death

In exile, Marina and her family lived almost in poverty. Tsvetaeva's husband could not work due to illness, George was just a baby, Ariadna tried to help financially by embroidering hats, but in fact their income was meager fees for articles and essays written by Marina Tsvetaeva. She called this financial situation slow death from hunger. Therefore, all family members constantly turn to the Soviet embassy with a request to return to their homeland.

Monument to the work of Zurab Tsereteli, Saint-Gilles-Croix-de-Vi, France | Evening Moscow

In 1937, Ariadne received such a right, six months later Sergei Efron secretly moved to Moscow, since in France he was threatened with arrest as an accomplice in a political assassination. After some time, Marina herself officially crosses the border with her son. But the return turned into a tragedy. Very soon, the NKVD arrests the daughter, and then her husband Tsvetaeva. And if Ariadna after death, after serving over 15 years, was rehabilitated, then Efron was shot in October 1941.

Monument in Tarusa town | Pioneer Tour

However, his wife did not know about it. When the Great Patriotic War began, a woman with a teenage son went on an evacuation to the town of Yelabuga on the Kama River. To get a temporary residence permit, the poetess is forced to get a job as a dishwasher. Her statement is dated August 28, 1941, and three days later Tsvetaeva committed suicide by hanging herself in the house where she and Georgy were assigned to stay. Marina left three suicide notes. One of them she addressed to her son and asked for forgiveness, and in the other two she turned to people with a request to take care of the boy.

Monument in Usen-Ivanovskoye village, Bashkiria | School of Life

It is very interesting that when Marina Tsvetaeva was just about to evacuate, her old friend Boris Pasternak helped her in packing things, who specially bought a rope for tying things. The man boasted that he got such a strong rope - “at least hang yourself” ... It was she who became the instrument of Marina Ivanovna's suicide. Tsvetaeva was buried in Yelabuga, but since the war was going on, the exact place of burial remains unclear to this day. Orthodox customs do not allow the burial of suicides, but the ruling bishop may make an exception. And Patriarch Alexy II in 1991, on the 50th anniversary of his death, took advantage of this right. The church ceremony was held in the Moscow Church of the Ascension of the Lord at the Nikitsky Gate.

Stone of Marina Tsvetaeva in Tarusa | Wanderer

In memory of the great Russian poetess, the museum of Marina Tsvetaeva was opened, and more than one. There is a similar house of memory in the cities of Tarus, Korolev, Ivanov, Feodosia and many other places. A monument by Boris Messerer was erected on the banks of the Oka River. There are sculptural monuments in other cities of Russia, near and far abroad.

Collections

1910 - Evening Album
1912 - Magic Lantern
1913 - From two books
1920 - Tsar Maiden
1921 - Swan Camp
1923 - Psyche. Romance
1924 - Poem of the Mountain
1924 - Poem of the End
1928 - After Russia
1930 - Siberia

Russian poetess Marina Ivanovna Tsvetaeva was born on October 8 (September 26 according to the old style) in 1892 in Moscow. http://dic.academic.ru/dic.nsf/es/62967 Her father, Ivan Tsvetaev (1847-1913), a classical philologist, professor, headed the Department of History and Theory of Arts at Moscow University, was director of the Rumyantsev Museum, founder and the first director of the Museum of Fine Arts in Moscow (now the Pushkin State Museum of Fine Arts). http://dic.academic.ru/dic.nsf/bse/172959/%D0%A6%D0%B2%D0%B5%D1%82%D0%B0%D0%B5%D0%B2 Mother Maria Tsvetaeva ( née Maine, 1868-1906) is a pianist.

Russian poetess Marina Ivanovna Tsvetaeva was born on October 8 (September 26 according to the old style) in 1892 in Moscow. Her father, Ivan Tsvetaev (1847-1913), a classical philologist, professor, headed the Department of History and Theory of Arts at Moscow University, was director of the Rumyantsev Museum, founder and first director of the Museum of Fine Arts in Moscow (now the State Museum of Fine Arts named after A.S. . Pushkin). Mother Maria Tsvetaeva (née Maine, 1868-1906) was a pianist.

As a child, due to her mother's illness (consumption), Marina Tsvetaeva lived for a long time in Italy, Switzerland, Germany; breaks in gymnasium education were replenished by studying in boarding houses in Lausanne (Switzerland) and Freiburg (Germany). Fluent in French and German. In 1909, Tsvetaeva attended a course in French literature at the Sorbonne.

According to her own recollections, Marina Tsvetaeva began writing poetry at the age of six. In 1906-1907, she created the story "The Fourth", in 1906 she translated into Russian the drama of the French writer Edmond Rostand "Eaglet", dedicated to the tragic fate of Napoleon's son (neither the story nor the translation of the drama have survived).

The works of Marina Tsvetaeva appeared in print in 1910, when she published her first book of poems, Evening Album, at her own expense.

Tsvetaeva's early work was significantly influenced by Valery Bryusov and Maximilian Voloshin, who became one of her closest friends. In the winter of 1910-1911, Voloshin invited Marina Tsvetaeva and her sister Anastasia to spend the summer of 1911 in Koktebel, where he lived. In Koktebel, Tsvetaeva met her future husband Sergei Efron.

In 1912, Marina Tsvetaeva and Sergei Efron got married in Moscow.

In 1912, the second collection of poems by Tsvetaeva "The Magic Lantern" was published, in 1913 - the collection "From Two Books".

During the years 1913-1915, there was a gradual change in Tsvetaeva's poetic manner - the place of a touching and cozy children's life was taken by the aestheticization of everyday details (in the cycle "Girlfriend" (1914-1915), addressed to the poetess Sofia Parnok), and the ideal, sublime image of antiquity (poems "To the Generals of the Twelfth Year" (1913), "Grandmother" (1914) and others).

In 1915-1918, Marina Tsvetaeva created poem cycles "Poems about Moscow", "Insomnia", "Stenka Razin", "Poems to Blok" (which were completed in 1920-1921), "Akhmatova", "Don Juan" , "Comedian", as well as the plays "Jack of Hearts" and "Snowstorm".

The romantic motives of rejection, homelessness, sympathy for the persecuted, characteristic of Tsvetaeva's lyrics, were backed up by the real circumstances of the poetess's life. In 1918-1922, together with her young children, she was in revolutionary Moscow, while her husband Sergei Efron fought in the white army. Poems of 1917-1921, full of sympathy for the white movement, made up the cycle "Swan Camp" (during the life of Tsvetaeva, the collection was not printed, it was first published in the West in 1957).

In 1922, her collection "Versts" was published.

In 1922-1939, Marina Tsvetaeva lived in exile (a short stay in Berlin, three years in Prague, and since 1925 in Paris).

The emigrant, and especially the "Czech", period was one of the most successful in the poetic fate of Tsvetaeva; creative evenings were held, several books were published: "Craft", "Psyche" (both - 1923), "Well done" (1924), "After Russia" (1928). Tsvetaeva wrote tragedies based on ancient subjects "Ariadne" (1924), "Phaedra" (1927); essays about poets "My Pushkin" (1937), "Living about the living" (1933); memoir essays "The House at the Old Pimen" (1934), "Mother and Music" (1935), "The Tale of Sonechka" (1938); the poems "The Poem of the Mountain" and "The Poem of the End" (both - 1926); lyrical satire "Pied Piper" (1925-1926), anti-fascist cycle "Poems for the Czech Republic" (1938-1939).

In 1937, Sergei Efron, who, for the sake of returning to the USSR, became an agent of the People's Commissariat for Internal Affairs (NKVD) abroad, being involved in a contract political assassination, fled from France to Moscow. In the summer of 1939, following her husband and daughter Ariadna (Alei), Marina Tsvetaeva and her son George returned to their homeland. In the same year, both the daughter and husband of Tsvetaeva were arrested.

Sergei Efron was shot in 1941, Ariadne was rehabilitated in 1955 after 15 years of repression.

Tsvetaeva herself could not find housing or work, her poems were not published.

During the winter and spring of 1939-1940, she lived with her son in Golitsyn. The request to the Writers' Union for housing was refused. Wandering around other people's apartments, the poetess was engaged in translations, practically did not write her own poems.

In August 1941, at the beginning of the Great Patriotic War, she was evacuated to the city of Yelabuga (Tatarstan), unsuccessfully trying to get support from writers and find a job.

The poetess was buried at the city's Peter and Paul cemetery in Yelabuga. The exact location of her grave is unknown.

The eldest daughter of Tsvetaeva - Ariadna Efron (1912-1975), poet-translator,. The second daughter, Irina, born in 1917, died in 1920 in an orphanage in Kuntsevo, where Tsvetaeva temporarily gave her daughters because of devastation and hunger. Son - Georgy Efron, born in 1925, after graduating from school in 1943, he entered Literary Institute in Moscow. In February 1944 he was drafted into the army and a few months later he died on the battlefield of the Great Patriotic War.

In 1992, the House-Museum of Marina Tsvetaeva was opened in Moscow in Borisoglebsky Lane. In December 2007, opposite the house-museum was.

In 1992, in the village of Usen-Ivanovskoye in the Belebeevsky district of Bashkiria, the first monument in Russia to Marina Tsvetaeva was opened, and a memorial sign was placed near the house where the poetess once rested in the summer. In 1993, the literary and art museum of Marina Tsvetaeva began to work in the building of the Usen-Ivanovsky forestry.

In the same year, in the restored so-called "Thio House", bought by the poet's grandfather, the Tarusa Museum of the Tsvetaev family was opened. In 2006, a monument to Marina Tsvetaeva was erected in Tarusa on the banks of the Oka.

In 2002, in the year of the 110th anniversary of the birth of the poetess, the Memorial Square with a bronze bust of Marina Tsvetaeva was opened in Yelabuga. In the log house where she died, there is the Marina Tsvetaeva Memorial House. In 2004, the Literary Museum named after Marina Tsvetaeva was opened in a wooden house on Kazanskaya Street.

In 2012, in the French resort town of Saint-Gilles-Croix-de-Vi, where the poetess spent the summer of 1926, was.

The material was prepared on the basis of information from RIA Novosti and open sources

Marina Ivanovna Tsvetaeva was born September 26 (October 8), 1892 in Moscow. Daughter of Professor I.V. Tsvetaev, a professor at Moscow University, a well-known philologist and art critic, who later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts (now the Pushkin State Museum of Fine Arts). Mother came from a Russified Polish-German family, was a talented pianist. She died in 1906, leaving two daughters in the care of her father.

The family spent the winter season in Moscow, summer - in the city of Tarusa, Kaluga province. The Tsvetaevs also traveled abroad. In 1903 Tsvetaeva studied at the French boarding school in Lausanne (Switzerland), autumn 1904 - spring 1905 studied with her sister in a German boarding school in Freiburg (Germany), summer 1909 one went to Paris, where she attended a course in ancient French literature at the Sorbonne.

She began writing poetry at a young age. Her first collections "Evening Album" ( 1910 ) and "Magic Lantern" ( 1912 ) met with sympathetic responses from V. Bryusov, M. Voloshin, N. Gumilyov. In 1913 published a collection of two books. The book "Youth Poems. 1912-1915" marks the transition to mature romance. In verse 1916 (collection "Verst", 1921 ) form the most important themes of Tsvetaeva's work - love, Russia, poetry.

Winter 1910-1911 M.A. Voloshin invited Marina Tsvetaeva and her sister Anastasia (Asya) to spend the summer of 1911 in Koktebel, where he lived. There Tsvetaeva met Sergei Yakovlevich Efron. In 1912 Tsvetaeva married S. Efron, who became not only her husband, but also her closest friend.

October revolution M. Tsvetaeva did not accept. She idealized the White Guard movement, giving it features of sublimity and holiness. This is partly due to the fact that her husband S.Ya. Efron was an officer in the White Army. At the same time, Tsvetaeva creates a cycle of romantic plays (“Snowstorm”, “Fortune”, “Adventure”, “Stone Angel”, “Phoenix”, etc.) and a fairy tale poem “The Tsar Maiden” ( 1922 ).

Spring 1922 M. Tsvetaeva with her daughter Ariadna went abroad to her husband, at that time a student at the University of Prague. She lived in the Czech Republic for more than three years and at the end of 1925 She moved with her family to Paris. February 1, 1925 M. Tsvetaeva gave birth to a long-awaited son, named George (home name - Mur). In the early 20s. it was widely published in white émigré magazines. Published books: "Poems to Blok", "Separation" (both 1922 ), "Psyche. Romance", "Craft" (both 1923 ), fairy tale poem "Well Done" ( 1924 ). Soon, Tsvetaeva’s relations with emigrant circles escalated, which was facilitated by her growing attraction to Russia (“Poems to the Son”, “Motherland”, “Longing for the Motherland! For a long time ...”, “Chelyuskintsy”, etc.). The last lifetime collection of poems - “After Russia. 1922-1925" came out in Paris in 1928. The beginning of the Second World War met tragically, as evidenced by the last poetic cycle of Tsvetaeva - "Poems to the Czech Republic" ( 1938-1939 ), associated with the occupation of Czechoslovakia and imbued with ardent hatred of fascism.

In 1939 she regained her Soviet citizenship and, following her husband and daughter, returned to the USSR. At home, Tsvetaeva and her family lived for the first time at the state dacha of the NKVD in Bolshevo near Moscow, provided to S. Efron. However, soon both Efron and Ariadne were arrested (S. Efron was later shot). Since that time, she has been constantly visited by thoughts of suicide. After that, Tsvetaeva was forced to wander. She was engaged in poetic translations (I. Franko, Vazha Pshavela, S. Baudelaire, F. Garcia Lorca, etc.), prepared a book of poems.

Shortly after the start of World War II, August 8, 1941 Tsvetaeva and her son were evacuated from Moscow and ended up in the small town of Yelabuga. August 31, 1941 Marina Tsvetaeva committed suicide.

The world of themes and images of Tsvetaeva's creativity is extremely rich. She writes about Casanova, about the burghers, recreates with disgust the details of emigre life and glorifies her desk, confronts love with the prose of life, mocks vulgarity, recreates Russian fairy tales and Greek myths. The inner meaning of her work is tragic - the poet's collision with the outside world, their incompatibility. Tsvetaeva's poetry, including "The Poem of the Mountain" ( 1926 ) and "The Poem of the End" ( 1926 ), "lyrical satire" "Pied Piper" ( 1925 ) and even tragedies based on ancient subjects "Ariadne" ( 1924 , published under the title "Theseus" in 1927 ) and "Phaedra" ( 1927 , published in 1928 ), is always a confession, a continuous, intense monologue. The poetic style of Tsvetaeva is marked by energy, swiftness. More in 1916-1920. folklore rhythms burst into her poetry (raeshnik, recitative - lamentations, spells - "cruel" romance, ditty, song). Each time is not a stylization, but an original, modern mastery of the rhythm. After 1921 Marina Tsvetaeva appears solemn, "odic" rhythms and vocabulary (the cycles "Student", published 1922 ; "Otrok", published 1922 ). By the mid 20s include the most formally complicated poems by Tsvetaeva, often difficult to understand due to the extreme conciseness of speech (“Attempt at the Room”, 1928 ; "A Poem of the Air" 1930 , and etc.). In the 30s Tsvetaeva returned to simple and strict forms (“Poems for the Czech Republic”). However, such features as the predominance of colloquial intonation over melodious, the complex and original instrumentation of the verse, remain common to all of Tsvetaeva's work. Her poetry is built on contrasts, combining seemingly incompatible lexical and stylistic lines: vernacular with high style, everyday prose with biblical vocabulary. One of the main features of Tsvetaeva’s style is the selection of a single word, word formation from one or phonetically close roots, playing around with the root word (“minute - passing: pass away ...”). Highlighting this most important word for herself and rhythmically, Tsvetaeva breaks the lines of the phrase, often omits the verb, achieves special expressiveness with an abundance of questions and exclamations.

Tsvetaeva often turned to prose and created a special genre that combines philosophical reflections, touches to a literary portrait with personal memories. She also owns treatises on art and poetry (“The Poet on Criticism”, 1926 ; "Poet and Time" 1932 ; "Art in the light of conscience", 1932-1933 , and etc.). The works of Marina Tsvetaeva have been translated into all European languages.