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 published 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 was later called by experts "Alexandrovsky 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 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 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 city | 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

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 that was 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, Natalia 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 a 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.

One of the most difficult realizations for readers of biographies of great people is the simple fact that they were only human. Creativity, a brilliant flight of thought - this is just one of the facets of personality. Yes, descendants will see exactly her - but still this is only one single facet. The rest may be far from ideal. Many unflattering contemporaries wrote about Pushkin, Lermontov, Dostoevsky. Marina Tsvetaeva was no exception. The life and work of this poetess were in constant deep internal contradiction.

Childhood

Tsvetaeva is a native Muscovite. It was here that on September 26, 1892, she was born. Midnight from Saturday to Sunday, Tsvetaeva's holiday, always anxious about coincidences and dates, especially those that added exoticism and drama, often noted this fact, saw in it a hidden sign.

The family was quite wealthy. Father is a professor, philologist and art critic. Mother is a pianist, a creative and enthusiastic woman. She always sought to see in children the sprouts of future genius, instilled a love for music and art. Noticing that Marina was constantly rhyming something, her mother wrote with delight: “Maybe a poet will grow out of her!” Admiration, admiration for art - M. Tsvetaeva grew up in such an atmosphere. Creativity, all her subsequent life bore the imprint of this upbringing.

Education and upbringing

Tsvetaeva received an excellent education, knew several languages, lived with her mother in Germany, Italy and Switzerland, where she treated consumption. At the age of 16, she visited Paris to listen to lectures on classic Old French literature.

When Marina was 14, her mother died. The father paid much attention to the children: Marina,
her two sisters and brother. But he was more concerned with the education of children than upbringing. Perhaps that is why Tsvetaeva's work bears the imprint of early maturity and obvious emotional infantilism.

Many family friends noted that Marina has always been an extremely amorous and enthusiastic child. Too many emotions, too much passion. Feelings overwhelmed Marina, she could not control them, and did not want to. No one taught her this, on the contrary, they encouraged her, believing it to be a sign of a creative nature. Marina did not fall in love - she deified the object of her feelings. And this ability to revel in one's own feelings, to enjoy them, using them as fuel for creativity, Marina kept forever. Love in the work of Tsvetaeva is always exalted, dramatic, enthusiastic. Not feeling, but admiring them.

First verses

Marina began to write poetry early, from the age of six. Already at the age of 18 she published her own collection - with her own money, wrote an enthusiastic critical article dedicated to Bryusov. This was another characteristic feature of her - the ability to sincerely admire literary idols. In combination with an undoubted epistolary gift, this feature helped Marina to establish a close acquaintance with many famous poets of that time. She admired not only poems, but also authors, and wrote about her feelings so sincerely that a literary review turned into a declaration of love. Much later, Pasternak's wife, after reading her husband's correspondence with Tsvetaeva, demanded to immediately stop communication - the words of the poetess sounded too intimate and passionate.

The price of enthusiasm

But such was Marina Tsvetaeva. Creativity, emotions, delight and love were life for her, not only in poetry, but also in letters. This was her trouble - not as a poet, but as a person. She didn't just feel, she fed on emotions.

The subtle mechanism of her talent worked on love, on happiness and despair, like on fuel, burning them. But for any feelings, for any relationship, you need at least two. Those who came across Tsvetaeva, who fell under the influence of her dazzling, like sparklers, feelings, always became unhappy, no matter how wonderful everything was at first. Tsvetaeva was also unhappy. Life and creativity in her life intertwined too closely. She hurt people, and she herself did not realize it. In fact, I thought it was natural. Just another sacrifice on the altar of Art.

Marriage

At the age of 19, Tsvetaeva met a young handsome brunette. was smart, effective, enjoyed the attention of the ladies. Soon Marina and Sergey became husband and wife. Many of those who knew the poetess noted that the first time of her marriage she was happy. In 1912, her daughter Ariadne was born.

But the life and work of M. Tsvetaeva could exist only at the expense of each other. Or everyday life devoured poetry, or poetry - life. The 1913 collection largely consisted of old poems, and passion was needed for new ones.

Marina did not have enough family happiness. Marital love quickly became boring, Tsvetaeva's work required new fuel, new experiences and torments - the more the better.

It is difficult to say whether this led to actual infidelity. Marina was carried away, flared up with emotions and wrote, wrote, wrote ... Naturally, the unfortunate Sergei Efron could not help but see this. Marina did not consider it necessary to hide her hobbies. Moreover, the involvement of another person in this emotional whirlwind only added drama, increased the intensity of passions. This was the world in which Tsvetaeva lived. The themes of the poetess's work, her bright, impulsive, passionate sensuality, sounding in poetry, were two parts of one whole.

Saphic connection

In 1914, Tsvetaeva learned that not only men can be loved. a talented poetess and brilliant translator, the Russian Sappho, seriously captivated Marina. She left her husband, inspired and carried away by the sudden kinship of souls, sounding in unison. This strange friendship lasted for two years, full of the delight of falling in love and tender adoration. It is possible that the relationship was indeed platonic. Emotions are what Marina Tsvetaeva needed. The life and work of this poetess are like an endless pursuit of the object of love - love itself. Happy or unhappy, mutual or unrequited, to a man or a woman - it doesn't matter. It is only the ecstasy of feelings that matters. Tsvetaeva wrote poems dedicated to Parnok, which were later included in the collection "Girlfriend".

In 1916, the connection ended, Tsvetaeva returned home. The resigned Efron understood and forgave everything.

Petr Efron

The following year, two events take place simultaneously: Sergei Efron goes to the front as part of the White Army, and Marina's second daughter, Irina, is born.

However, the story of Efron's patriotic impulse is not so unambiguous. Yes, he came from a noble family, was a hereditary member of the People's Will, his convictions fully corresponded to the ideals of the White movement.

But there was another moment. In the same 1914, Tsvetaeva wrote penetrating poems dedicated to Sergei's brother, Peter. He was sick - consumption, like mother Tsvetaeva.

And he is seriously ill. He is dying. Tsvetaeva, whose life and work is a flame of feelings, lights up with this person. It is unlikely that this can be considered a novel in the normal sense of the word - but the love is obvious. She watches with painful enthusiasm the rapid extinction of the young man. She writes to him - as she can, hotly and sensually, passionately. She goes to see him in the hospital. Intoxicated by someone else's extinction, intoxicated by her own sublime pity and tragedy of feelings, Marina devotes more time and soul to this person than to her husband and daughter. After all, emotions so bright, so blinding, so dramatic - these are the main themes of Tsvetaeva's work.

love polygon

What was Sergei Efron supposed to feel? A man who turned from a husband into an annoying nuisance. The wife rushes between a strange friend and a dying brother, writes passionate poems and brushes aside Efron.

In 1915, Efron decides to become a nurse and go to the front. He goes to courses, finds a job on an ambulance train. What was it? A conscious choice dictated by conviction or a gesture of desperation?

Marina suffers and worries, she rushes about, does not find a place for herself. However, Tsvetaeva's work only benefits from this. The poems dedicated to her husband during this period are among the most piercing and creepy. Despair, melancholy and love - in these lines the whole world.

Passion, corroding the soul, spills into poetry, this is the whole of Tsvetaeva. The biography and work of this poetess form each other, feelings create poems and events, and events create poems and feelings.

The tragedy of Irina

When in 1917 Efron, after graduating from the ensign school, leaves for the front, Marina is left alone with two children.

What happened next, Tsvetaeva's biographers try to pass over in silence. The youngest daughter of the poetess, Irina, is dying of hunger. Yes, in those days it was not uncommon. But in this case, the situation was extremely strange. Marina herself repeatedly said that she did not love the youngest child. Contemporaries claim that she beat the girl, called her crazy and a fool. Perhaps the child really had mental disorders, or maybe this was the effect of persecution on the part of the mother.

In 1919, when food became very bad, Tsvetaeva decides to send the children to a sanatorium, for state support. The poetess never liked to deal with everyday troubles, they irritated her, caused anger and despair. Unable to bear the fuss with two sick children, she, in fact, gives them to an orphanage. And then, knowing that there is practically no food, she carries food only to one - the eldest, beloved. The unfortunate weakened three-year-old child cannot stand the hardships and dies. At the same time, Tsvetaeva herself, obviously, eats, if not normally, then tolerably. I have enough strength for creativity, for editing what has already been written earlier. Tsvetaeva herself spoke about the tragedy that had occurred: there was not enough love for the child. There just wasn't enough love.

Life with a genius

This was Marina Tsvetaeva. Creativity, feelings, aspirations of the soul were more important for her than the living people who were nearby. Everyone who was too close to the fire of Tsvetaeva's creativity was scorched.

They say that the poetess became a victim of persecution and repression, she could not stand the test of poverty and deprivation. But in the light of the tragedy of 1920, it is obvious that most of the suffering and anguish that befell Tsvetaeva is her fault. Voluntary or involuntary, but her. Tsvetaeva never considered it necessary to keep her feelings and desires in check, she was a creator - and that said it all. The whole world was her workshop. It is difficult to expect from the people around Marina to perceive such an attitude with enthusiasm. Genius is, of course, wonderful. But from the side. Those who believe that relatives of creators should endure indifference, cruelty and narcissism only out of respect for talent simply did not live in such conditions themselves. And they hardly have the right to judge.

Reading a book of genius poetry is one thing. To die of hunger when your mother does not consider it necessary to feed you, simply because she does not love you, is completely different. Yes, and Tsvetaeva are masterpieces, but this does not mean that poets were necessarily

Konstantin Rodzevich

With all the features of Tsvetaeva's character, with all her everyday, practical unsuitability, Efron still loved her. Once in Europe after the war, he called his wife and daughter there. Tsvetaeva went. For some time they lived in Berlin, then for three years - near Prague. There, in the Czech Republic, Tsvetaeva had another affair - with Konstantin Rodzevich. Again the fire of passion, again poetry. Tsvetaeva's work was enriched with two new poems.

Biographers justify this passion by the fatigue of the poetess, her despair and depression. Rodzevich saw a woman in Tsvetaeva, and Marina yearned for love and admiration so much. Sounds pretty convincing. If you do not think about the fact that Tsvetaeva lived in a country that was starving. Tsvetaeva, by her own admission, caused the death of her daughter. Marina was repeatedly fond of other men, and not only men, forgetting about her husband. And after all this, he made every effort to help his wife get out of the starving country. He did not leave her - although, of course, he could. Not divorced upon arrival. No. He gave her shelter, food and the opportunity to live in peace. Of course, what kind of romance is there ... It's boring. Ordinarily. Whether business a new admirer.

European hobbies Tsvetaeva

According to some contemporaries, Tsvetaeva's son, George, is not Efron's child at all. It is believed that the boy's father could be Rodzevich. But there is no exact information on this. Those who doubted Efron's paternity did not like Marina, considered her an extremely unpleasant, difficult and unprincipled person. And consequently, from all possible explanations, they chose the most unpleasant, discrediting name of the poetess. Did they have reasons for such dislike? Maybe. Should such sources be trusted? No. Prejudice is the enemy of truth.

In addition, not only Rodzevich served as a subject of passion for Tsvetaeva. It was then that she carried on a scandalous correspondence with Pasternak, which was cut off by the latter's wife, finding it outrageously frank. Since 1926, Marina has been writing to Rilke, and communication lasts long enough - until the death of the legendary poet.

Life in exile Tsvetaeva is unpleasant. She yearns for Russia, wants to return, complains of disorder and loneliness. The motherland in the work of Tsvetaeva in these years becomes the leading theme. Marina became interested in prose, she writes about Voloshin, about Pushkin, about Andrei Bely.

The husband at that time became interested in the ideas of communism, revised his attitude towards the Soviet government and even decided to participate in underground activities.

1941 - suicide

Not only Marina is sick of returning to her homeland. The daughter, Ariadna, is also eager to go home - and she is really allowed to enter the USSR. Then Efron returns to his homeland, already by that time implicated in a murder with political overtones. And in 1939, after 17 years of emigration, Tsvetaeva finally also returned. The joy was short-lived. In August of the same year, Ariadne was arrested, in November - Sergei. Efron was shot in 1941, Ariadna received 15 years in the camps on charges of espionage. Tsvetaeva could not find out anything about their fate - she simply hoped that her loved ones were still alive.

In 1941, the war began, Marina with her sixteen-year-old son leaves for Yelabuga, to be evacuated. She has no money, no job, inspiration left the poetess. Devastated, disappointed, lonely Tsvetaeva could not stand it and on 08/31/1941 committed suicide - she hanged herself.

She was buried in the local cemetery. The exact resting place of the poetess is unknown - only approximately the area in which there are several graves. A memorial monument was erected there many years later. There is no single point of view regarding the exact burial place of Tsvetaeva.