The famous poetess Marina Tsvetaeva is known in almost all countries of the world thanks to her sincere poems about such an eternal feeling as love. The writer's lyrics contain the unrestrained element of the rebellious soul, complete self-giving and self-forgetfulness, as well as the emancipation of absolutely all passions. Despite the tragic fate of Tsvetaeva, who passed away on August 31, exactly 75 years ago, her poems are full of faith in a bright future, original in their style and airy.

The famous Russian poetess, translator and prose writer was born in Moscow on October 8, 1892 in an intelligent and creative family. Marina Tsvetaeva's mother was a pianist, and her father was an art critic and philologist. The talent for poetry manifested itself in the future poetess already at the age of six. At the same time, she began to write not only in Russian, but also in German and French. Marina spent her childhood in the capital and in Tarusa, and because of her mother's illness, she lived abroad for a long time.

In 1906, the mother of the poetess died of consumption, so the children were left only in the care of their father, who instilled in them a love of classical literature. The first publication of Marina Tsvetaeva took place at her own expense in 1910. The collection "Evening Album" included her school work, and the writer's work attracted the attention of more experienced like-minded people.

In 1911, Marina met her future husband Sergei Efron, with whom she connected her life the following year. The couple had a daughter, Ariadne. In 1913, the collection "From Two Books" was published, and three years later a cycle of poems, which was called "Alexander's Summer of Marina Tsvetaeva." In 1914, the famous poetess met the translator Sophia Parnok, with whom she had a romantic relationship for two years. In 1916, Marina decided to return to her husband.

During the civil war, Tsvetaeva gave birth to a daughter, Irina, but the girl died at the age of three from starvation in the Kuntsevo shelter. Her husband Sergei Efron went to serve in the White Army, and Marina lived at that time in Moscow. In those years, she wrote a cycle of poems "Swan Camp" and a number of romantic plays. In the spring of 1922, the poetess and her daughter Ariadne emigrated to her husband abroad, and in 1925, their son George was born in Paris. During the time spent outside her native country, Marina Tsvetaeva actively corresponded with Boris Pasternak, and many of her works created during this period remained unpublished.

In 1928, the collection "After Russia" was published, which became the last during the life of the poetess. In 1930, Tsvetaeva's prose began to enjoy success, about which she said: "Emigration makes me a prose writer ...". Marina returned to the USSR in 1939, following her husband and daughter, who were soon arrested. Sergei Efron was shot on suspicion of a political assassination, and Ariadna spent 15 years in prison, after which she was rehabilitated in 1955. With the outbreak of war, Tsvetaeva and her son left for evacuation, after which they were assigned to stay in the Brodelshchikovs' house. On August 31, 1941, the poet committed suicide, leaving three suicide notes. Marina Tsvetaeva was buried on September 2 in Yelabuga at the Peter and Paul Cemetery, but the exact location of her last resting place was not known.

Many lovers of Marina Tsvetaeva's creativity assure that her poems were created in order to merge with the music. Below is the TOP-5 of the best works of the poetess, which are immortalized in films of different times and are distinguished by their special musicality. Such well-known composers as Andrei Petrov and Mikael Tariverdiev tried to make Tsvetaeva's poems, which became romances, known even to people who had never held her collections in their hands.

1. In the film "Cruel Romance", which was released in 1984, the romance "Under the caress of a plush blanket" sounded, created based on Tsvetaeva's poem from the cycle "Girlfriend". The poetess dedicated this work to Sofya Parnok, although in society the connection between two women was considered only a whim of spoiled writers. Romantic relationships were difficult for everyone: Marina suffered because she could not leave her family, Sergey did not know what to do in this situation, and Sophia constantly suffered from paranoia that she would be abandoned. The poem, which became a romance performed by Valentina Ponomareva, tells how "it was" and puts everything in its place.

2. Marina dedicated the poem “Snow-white Lily of the Valley” to another Sonechka, and the composer Mikael Tariverdiev turned this work into a romance that sounded in the film “Long Farewell” (2004). Actress Sonya Holliday was popular in the post-revolutionary capital. The poetess was fascinated by the miniature actress, a friendship began between them. Tsvetaeva wrote plays for Holliday and dedicated touching poems, although there was no romantic connection between them. In addition, the girlfriends were even carried away by the same man, but were able not to quarrel because of this.

3. The list of the best poems by Marina Tsvetaeva cannot fail to include “I like that you are not sick of me.” The romance for this work, performed by Alla Pugacheva in the film "The Irony of Fate, or Enjoy Your Bath!" has its own paradoxical charm, which reflects the inner freedom of the heroine. The poetess was inspired to write this poem by her close but inaccessible friend Mauritius Mints. He was a chemical engineer by profession and met with Marina's sister, Anastasia, whom he soon married. But there is another assumption, according to which Mauritius introduced Marina to a friend who became interested in her. And it was thanks to the poetic lines that she conveyed a message that shows that there is a more voluminous plane of relations than a man and a woman.

4. In the film "Petersburg Secrets" there was a romance written on the poem "Roads Run Everywhere". In it, Marina Tsvetaeva raises a theme that permeates her work, namely endless roads and the eternal path. The verse is wonderfully set to music, telling about the fate of two families.

5. Nastenka's romance from the movie "Say a Word About the Poor Hussar" (1980) is much shorter than the source of the poem. The history of the appearance of the work "To the Generals of the Twelfth Year" is extremely feminine. At the age of 21, Marina Tsvetaeva bought a papier-mâché jar with a portrait of Tuchkov the Fourth at a flea market in the capital. The poetess, being a very romantic person, could not resist the beauty of a soldier, so she wrote a poignant and touching verse.

2. Sergei Efron (1893-1941) - Russian publicist, writer, officer of the White Army. He wrote stories, tried to play in the theater with Tairov, published magazines, and was also engaged in underground activities. In October 1917, he took part in the battles with the Bolsheviks in Moscow, then in the White Movement, in the Officer General Markov Regiment, participated in the Ice Campaign and the defense of the Crimea.
Husband of Marina Tsvetaeva, father of their children - Ariadna, Irina and Georgy (Mura). ()

7. Natalia Sergeevna Goncharova(1881-1962) - Russian avant-garde artist. She made a significant contribution to the development of avant-garde art in Russia.
She illustrated the books of the futurists: A. Kruchenykh and V. Khlebnikov - "The World's End", "The Game in Hell" (1912), A. Kruchenykh - "Blow Up", "Two Poems. Hermits. Hermit" (1913), Collection "Judges' Garden" No. 2 (1913), K. Bolshakov - "Le futur", "Heart in gloves" (1913), etc. On the initiative of A. Kruchenykh, lithographed postcards with drawings are published Goncharova.
Together with Larionov, she organized and participated in the exhibitions "Jack of Diamonds" (1910), "Donkey's Tail" (1912), "Target" (1914), "No. 4". She was a member of the Munich Association "Blue Rider" and participated in the exhibition of the same name in 1912. She took part in exhibitions of the "World of Art" (1911-1913. Moscow, St. Petersburg).
Marina Tsvetaeva and Natalya Goncharova met in the summer of 1928. Mark Slonim told Tsvetaeva about his conversations with Goncharova and Larionov. “MI caught fire: “How, Natalya Goncharova? Coincidence or kinship?” Slonim wrote. The acquaintance took place in a small Parisian cafe, where poets, artists, journalists often gathered, and Goncharova and Larionov almost always dined.
Natalya Goncharova was the great-niece of the poet's wife Natalya Nikolaevna. Hence the idea of ​​Tsvetaeva - to write an essay about two Goncharovs. By the time she met Tsvetaeva, Goncharova was a famous avant-garde artist, a participant, together with Mikhail Larionov, of many futuristic exhibitions in Russia and abroad. The design of Diaghilev's "The Golden Cockerel" in 1914 gave her recognition and the opportunity to acquire a workshop in Paris.
When creating the essay, Tsvetaeva used the monograph by E. Eganbyuri “Natalia Goncharova. Mikhail Larionov" (M., 1913). And to compare the two Goncharovs (the former, Pushkin's Natalya and the modern Natalya Sergeevna) - V. Veresaev's book "Pushkin in Life". As a result, she managed to skillfully intertwine three genres: research, interview and essay.

8. Ariadna Sergeevna Efron(1912-1975) - daughter of Marina Ivanovna Tsvetaeva and Sergei Yakovlevich Efron. She was born on September 5 (18), 1912 in Moscow.
Translator of prose and poetry, memoirist, artist, art critic, poetess (original poems, except for those written in childhood, were not published during her lifetime).
Parents and relatives called Ariadna Aley; a large number of Tsvetaeva’s poems are dedicated to her (including the cycle “Poems to her daughter”), Alya herself wrote poetry from early childhood (20 poems were published by her mother as part of her collection “Psyche”), kept diaries that amaze with originality and depth. In 1922 she went abroad with her mother. From 1922 to 1925 she lived in Czechoslovakia, from 1925 to 1937 - in France, from where on March 18, 1937 she was the first of her family to return to the USSR. (

I believe that Tsvetaeva is the first
poet of the 20th century. Of course, Tsvetaeva.
I. Brodsky

The red color, festive, cheerful and at the same time dramatically intense, chooses Tsvetaev as a sign of his birth:

With a red brush, Rowan lit up. Leaves were falling. I was born.

This "red brush of mountain ash" contains the fullness of the manifestation of the life and creative forces of the poetess, an emotional and poetic explosion, the maximalism of her poetry, and - a breakdown, a future tragic death.

Marina Ivanovna Tsvetaeva was born on September 26 (October 8), 1892 in a Moscow professorial family: father I.V. Tsvetaev - founder of the Museum of Fine Arts in Moscow, mother of M.A. Main - pianist, student of A.G. Rubinstein (died 1906). Due to the illness of her mother, Tsvetaeva lived for a long time in Italy, Switzerland, and Germany in her childhood.

The first books of poetry were The Evening Album (1910) and The Magic Lantern (1912).

In 1918-1922, Tsvetaeva, along with her children, was in revolutionary Moscow, her husband S. Efron fought in the white army (poems of 1917-1921, full of sympathy for the white movement, made up the Swan Camp cycle). From 1922 to 1939, Tsvetaeva was in exile, where she went after her husband. These years were marked by everyday disorder, difficult relations with the Russian emigration, and a hostile attitude from critics.

In the summer of 1939, following her husband and daughter Ariadna, Tsvetaeva and her son Georgy returned to their homeland. In the same year, the husband and daughter were arrested (S. Efron was shot in 1941, Ariadne was rehabilitated in 1955). M. Tsvetaeva's poems were not published, there was no work or housing. At the beginning of the war (August 31, 1941), being evacuated to Yelabuga (now Tatarstan), in a state of depression, M. Tsvetaeva committed suicide.

The main works of Tsvetaeva: poetry collections "Evening Album", "Magic Lantern", "Milestones", "Separation", "Poems to Blok", "Craft", "Psyche", "After Russia", "Swan Camp"; the poems "The Tsar Maiden", "Well Done", "The Poem of the Mountain", "The Poem of the End", "The Ladder", "The Poem of the Air", the satirical poem "The Pied Piper", "Perekop"; tragedy "Ariadne", "Phaedra"; prose works “My Pushkin”, memories of A. Bely, V.Ya. Bryusov, M.A. Voloshin, B.L. Pasternak, "The Tale of Sonechka" and others.

Name: Marina Tsvetaeva

Age: 48 years old

Growth: 163

Activity: poetess, prose writer, translator

Family status: was married

Marina Tsvetaeva: biography

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. Her mother taught her to play the piano and dreamed of seeing her daughter as a musician, and her father instilled a love for high-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 people's rumors that her husband had participated in a conspiracy against her son and that he had been recruited by the Soviet authorities. 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 during her 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 the civil war, Marina became sympathetic to 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 the Russian poets Andrei Bely, Maximilian Voloshin, Mikhail Kuzmin, the books "My Pushkin", "Mother and Music", "The 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 an almost 10-year romantic relationship that 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 “Mountain Poem” full of violent passion and unearthly love to her lover, volunteered to help his bride choose a wedding dress, thereby putting an end to love relationships.

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

Marina Ivanovna Tsvetaeva. Born September 26 (October 8), 1892 in Moscow - died August 31, 1941 in Yelabuga. Russian poetess, prose writer, translator, one of the greatest poets of the 20th century.

Marina Tsvetaeva was born on September 26 (October 8), 1892 in Moscow, on the day when the Orthodox Church celebrates the memory of the Apostle John the Theologian. This coincidence is reflected in several works of the poetess.

Her father, Ivan Vladimirovich, a professor at Moscow University, a well-known philologist and art critic, later became the director of the Rumyantsev Museum and the founder of the Museum of Fine Arts.

Mother, Maria Mein (by origin - from a Russified Polish-German family), was a pianist, a student of Nikolai Rubinstein. The maternal grandmother of M. I. Tsvetaeva is the Polish Maria Lukinichna Bernatskaya.

Marina began writing poetry at the age of six, not only in Russian, but also in French and German. A huge influence on the formation of her character was exerted by her mother, who dreamed of seeing her daughter as a musician.

Tsvetaeva's childhood years were spent in Moscow and Tarusa. Due to her mother's illness, she lived for a long time in Italy, Switzerland and Germany. She received her primary education in Moscow, in a private women's gymnasium M. T. Bryukhonenko. She continued it in the pensions of Lausanne (Switzerland) and Freiburg (Germany). At the age of sixteen she made a trip to Paris to listen to a short course of lectures on old French literature at the Sorbonne.

After the death of his mother from consumption in 1906, they stayed with their sister Anastasia, half-brother Andrei and sister Valeria in the care of their father, who introduced children to classical domestic and foreign literature and art. Ivan Vladimirovich encouraged the study of European languages, made sure that all children received a thorough education.

Her work attracted the attention of famous poets - Valery Bryusov, Maximilian Voloshin and. In the same year, Tsvetaeva wrote her first critical article, Magic in Bryusov's Poems. The "Evening Album" was followed two years later by the second collection "Magic Lantern".

The beginning of Tsvetaeva's creative activity is connected with the circle of Moscow symbolists. After meeting Bryusov and the poet Ellis (real name Lev Kobylinsky), Tsvetaeva participates in the activities of circles and studios at the Musaget publishing house.

Tsvetaeva's early work was significantly influenced by Nikolai Nekrasov, Valery Bryusov and Maximilian Voloshin (the poetess stayed at Voloshin's house in Koktebel in 1911, 1913, 1915 and 1917).

In 1911, Tsvetaeva met her future husband Sergei Efron. In January 1912, she married him. In September of the same year, Marina and Sergey had a daughter, Ariadne (Alya).

In 1913, the third collection, "From Two Books," was published.

In the summer of 1916, Tsvetaeva arrived in the city of Alexandrov, where her sister Anastasia Tsvetaeva lived with her common-law husband Mauritius Mints and son Andrei. In Alexandrov, Tsvetaeva wrote a cycle of poems (“To Akhmatova”, “Poems about Moscow” and others), and literary critics later called her stay in the city “Alexandrovsky summer of Marina Tsvetaeva”.

In 1914, Marina met the poetess and translator Sophia Parnok, their romantic relationship continued until 1916. Tsvetaeva dedicated the cycle of poems “Girlfriend” to Parnok. Tsvetaeva and Parnok broke up in 1916, Marina returned to her husband Sergei Efron. Relations with Parnok Tsvetaeva described as "the first disaster in my life."

In 1921, Tsvetaeva, summing up, writes: "To love only women (a woman) or only men (a man), knowingly excluding the usual opposite - what a horror! But only women (a man) or only men (a woman), knowingly excluding an unusual native - what a bore!".

Sofia Parnok - Marina Tsvetaeva's mistress

In 1917, Tsvetaeva gave birth to a daughter, Irina, who died of starvation in an orphanage in Kuntsevo (then in the Moscow region) at the age of 3 years.

The years of the Civil War turned out to be very difficult for Tsvetaeva. Sergei Efron served in the White Army. Marina lived in Moscow, in Borisoglebsky Lane. During these years, a cycle of poems "The Swan Camp" appeared, imbued with sympathy for the white movement.

In 1918-1919 Tsvetaeva wrote romantic plays; poems "Egorushka", "Tsar Maiden", "On a Red Horse" were created.

In April 1920, Tsvetaeva met Prince Sergei Volkonsky.

In May 1922, Tsvetaeva was allowed to go abroad with her daughter Ariadna - to her husband who, having survived the debacle as a white officer, is now a student at the University of Prague. At first, Tsvetaeva and her daughter lived for a short time in Berlin, then for three years on the outskirts of Prague. The famous "Poem of the Mountain" and "Poem of the End" dedicated to Konstantin Rodzevich were written in the Czech Republic. In 1925, after the birth of their son George, the family moved to Paris. In Paris, Tsvetaeva was strongly influenced by the atmosphere that had developed around her due to her husband's activities. Efron was accused of being recruited by the NKVD and participating in a conspiracy against Lev Sedov, son .

Marina Tsvetaeva and Sergey Efron

In May 1926, on the initiative of Tsvetaeva, she began to correspond with the Austrian poet Rainer Maria Rilke, who was then living in Switzerland. This correspondence ends at the end of the same year with the death of Rilke.

During the entire time spent in exile, Tsvetaeva's correspondence with Boris Pasternak did not stop.

Most of what Tsvetaeva created in exile remained unpublished. In 1928, the last lifetime collection of the poetess, After Russia, was published in Paris, which included poems from 1922-1925. Later, Tsvetaeva writes about it this way: "My failure in emigration is that I am not an emigrant, that I am in spirit, that is, in air and in scope - there, there, from there ...".

In 1930, the poetic cycle “Mayakovsky” was written (on the death of Vladimir Mayakovsky), whose suicide shocked Tsvetaeva.

Unlike poems that did not receive recognition in the emigrant environment, her prose enjoyed success, taking the main place in her work of the 1930s (“Emigration makes me a prose writer ...”).

At this time, "My Pushkin" (1937), "Mother and Music" (1935), "The House at the Old Pimen" (1934), "The Tale of Sonechka" (1938), memoirs about Maximilian Voloshin ("Living about the Living" , 1933), Mikhail Kuzmin (“An Otherworldly Evening”, 1936), Andrei Belom (“The Captive Spirit”, 1934) and others.

Since the 1930s, Tsvetaeva and her family have lived almost in poverty. Financially, Salome Andronikova helped her a little.

On March 15, 1937, Ariadne left for Moscow, the first of the family to have the opportunity to return to her homeland. On October 10 of the same year, Efron fled France, becoming involved in a contract political assassination.

In 1939, Tsvetaeva returned to the USSR after her husband and daughter, she lived at the NKVD dacha in Bolshevo (now the Memorial House-Museum of M.I. Tsvetaeva in Bolshevo), the neighbors were the Klepinins.

On August 27, Ariadne's daughter was arrested, on October 10, Efron. On October 16, 1941, Sergei Yakovlevich was shot at the Lubyanka (according to other sources, in the Oryol Central). Ariadne, after fifteen years of imprisonment and exile, was rehabilitated in 1955.

During this period, Tsvetaeva practically did not write poetry, doing translations.

The war found Tsvetaeva translating. The work was interrupted. On August 8, Tsvetaeva and her son left on a steamer for evacuation; On the eighteenth, she arrived with several writers in the town of Yelabuga on the Kama. In Chistopol, where the evacuated writers were mostly located, Tsvetaeva received permission for a residence permit and left a statement: “To the council of the Literary Fund. I ask you to take me to work as a dishwasher in the opening canteen of the Litfond. August 26, 1941". On August 28, she returned to Yelabuga with the intention of moving to Chistopol.

August 31, 1941 committed suicide (hanged herself) in the house of the Brodelshchikovs, where, together with her son, she was determined to stay. She left three suicide notes: to those who will bury her, to the “evacuees”, to Aseev and to her son. The original note by the “evacuees” was not preserved (it was confiscated as material evidence by the police and lost), its text is known from the list that Georgy Efron was allowed to make.

Note to son: "Purrlyga! Forgive me, but it would be worse further. I am seriously ill, this is not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Alya - if you see it - that you loved them until the last minute and explain that got stuck".

Aseev's note: "Dear Nikolai Nikolaevich! Dear Sinyakov sisters! I beg you to take Moore to Chistopol with you - just take him as a son - and so that he studies. I can do nothing more for him and only ruin him. I have 450 rubles in my bag and if try to sell all my things. There are several handwritten books of poetry in the chest and a pack of prose prints. I entrust them to you. Take care of my dear Moore, he is in very fragile health. Love like a son - he deserves. And forgive me. never. I would be extremely happy if I lived with you. If you leave, take it with you. Don't leave!".

Note to the "evacuees": "Dear comrades! Don't leave Moore. I beg one of you who can take him to Chistopol to N. N. Aseev. sale of my things. I want Moore to live and study. He will be lost with me. Adr. Aseev on the envelope. Do not bury him alive! Check it carefully".

Marina Tsvetaeva was buried on September 2, 1941 at the Peter and Paul Cemetery in Yelabuga. The exact location of her grave is unknown. On the south side of the cemetery, near the stone wall where her lost last refuge is located, in 1960 the sister of the poetess, Anastasia Tsvetaeva, "between four unknown graves of 1941" set up a cross with the inscription "Marina Ivanovna Tsvetaeva is buried in this side of the cemetery."

In 1970, a granite tombstone was erected on this site. Later, already at the age of 90, Anastasia Tsvetaeva began to assert that the tombstone was located at the exact burial place of her sister and all doubts were just speculation.

Since the beginning of the 2000s, the location of the granite tombstone, framed by tiles and hanging chains, has been called the “official grave of M.I. Tsvetaeva” by the decision of the Union of Writers of Tatarstan. The exposition of the Memorial Complex of M. I. Tsvetaeva in Yelabuga also shows a map of the memorial section of the Peter and Paul Cemetery indicating two “version” graves of Tsvetaeva - according to the so-called “churbanovskaya” version and the “Matveevskaya” version. There is still no single evidentiary point of view on this issue among literary critics and local historians.

Collections of poems by Marina Tsvetaeva:

1910 - "Evening Album"
1912 - "Magic Lantern", second book of poems
1913 - "From two books", Ed. "Ole-Lukoye"
1913-15 - "Youth Poems"
1922 - "Poems to Blok" (1916-1921)
1922 - "The End of Casanova"
1920 - "Tsar Maiden"
1921 - "Versts"
1921 - "Swan camp"
1922 - "Separation"
1923 - "Craft"
1923 - “Psyche. Romance"
1924 - "Well done"
1928 - "After Russia"
1940 collection

Poems by Marina Tsvetaeva:

Enchanter (1914)
On the Red Horse (1921)
Mountain Poem (1924, 1939)
Poem of the End (1924)
Pied Piper (1925)
From the Sea (1926)
Room Attempt (1926)
Poem of the Stairs (1926)
New Year's (1927)
Air Poem (1927)
Red Bull (1928)
Perekop (1929)
Siberia (1930)

Fairy-tale poems by Marina Tsvetaeva:

Tsar Maiden (1920)
Alleys (1922)
Well done (1922)

Marina Tsvetaeva's unfinished poems:

Yegorushka
Unfulfilled poem
Singer
Bus
Poem about the Royal Family.

Dramatic works of Marina Tsvetaeva:

Jack of Hearts (1918)
Blizzard (1918)
Fortune (1918)
Adventure (1918-1919)
A Play about Mary (1919, not completed)
Stone Angel (1919)
Phoenix (1919)
Ariadne (1924)
Phaedra (1927).

Prose of Marina Tsvetaeva:

"Living about the living"
"Captive Spirit"
"My Pushkin"
"Pushkin and Pugachev"
"Art in the light of conscience"
"Poet and Time"
"Epos and lyrics of modern Russia"
memories of Andrei Bely, Valery Bryusov, Maximilian Voloshin, Boris Pasternak and others.
Memoirs
"Mother and Music"
"Mother's Tale"
"The Story of a Dedication"
"House at the Old Pimen"
"The Tale of Sonechka".