The difficult fate of Marina Tsvetaeva

Life separated Marina Tsvetaeva and Sergey Efron several times for an indefinite period, but each time the couple found the strength to reunite. The tragic fates of their parents were repeated by their children, who became victims of their era. In April 1911, Marina Tsvetaeva spent on the Black Sea, in Gurzuf. For the young poetess, this was a period of reflection, deepening in herself before, perhaps, the most important stage of her life. On May 5, Tsvetaeva arrived in Koktebel to visit Maximilian Voloshin, where she was supposed to meet her sister Asya. Anastasia Tsvetaeva, who arrived a little later, saw a completely different sister: instead of the lonely thoughtful Marina, she was met by a tanned, beaming with happiness girl, in short pants and sandals on her bare feet. The reason for the change was the meeting, which largely determined the fate of Tsvetaeva.

Immediately after arriving in Koktebel, Marina went to the deserted beach of Carnelian Bay. There she walked in search of beautiful stones. And on the bench, against the backdrop of the endless sea, sat a handsome young man. He volunteered to help Marina; she, admiring his blue eyes, agreed. Tsvetaeva thought to herself: if he guesses which stone she liked the most and brings it, then she will marry him. The poetess later recalled this acquaintance: “And with a pebble, it came true, because S.Ya. Efron, whom I, having waited for his eighteenth birthday, married six months later, opened and handed me almost on the first day of our acquaintance - the greatest rarity! - a Genoese carnelian bead, which is with me to this day. And one more thing: “In the Crimea, where I am visiting Max Voloshin, I meet my future husband, Sergei Efron. We are 17 and 18 years old. I promise myself that no matter what happens, I will never part with him. In Moscow in 1939, Tsvetaeva confirmed her promise made at the age of eighteen. And that same “carnelian bead” outlived the participants in the events described for a long time: in 1973, it ended up in the hands of their daughter, Ariadna Efron. Sergei Efron came from a family of Narodnaya Volya. His mother, Elizaveta Petrovna Durnovo, was a well-known noble family, which, however, did not prevent her from sincere desire to help all the disadvantaged join the revolutionary organization "Land and Freedom". Yakov Konstantinovich (Kalmanovich) Efron came from a Jewish family, from the Vilna province. Elizaveta Petrovna and Yakov Konstantinovich together participated in the secret affairs of the organization. In her future husband, Marina saw the embodiment of nobility and at the same time defenselessness. Contemporaries noted that in Marina's feelings for Sergei there was a lot of motherhood - and Efron needed guardianship and care. Friends and relatives described him in different ways. But most agreed that he was a handsome young man, with a gentle character, who needed the support of his wife. Anastasia Ivanovna was very fond of her "soft, friendly, charming relative."

Efron, who fell ill with tuberculosis after the death of his mother in 1910, was in poor health all his life. Sergei Yakovlevich could not endure the humid Crimean climate for a long time, so the young people soon moved to the Ufa province, from where they returned to Moscow in the fall of 1911. Tsvetaeva's father was then seriously ill and was being treated at a heart resort abroad. In anticipation of a serious conversation with her father about marriage, Tsvetaeva settled her future husband in her house in Trekhprudny Lane. Some time later, they settled in an apartment in Sivtsevo Vrazhka, where Lilya and Vera Efron, Sergei's sisters, and Elena Ottobaldovna Voloshina (Pra) from Koktebel moved in with them. Efron was a year younger than his future wife. At that time he wrote the book "Childhood" and attended the gymnasium. Marina was preparing for publication the second collection of poems "Magic Lantern". The quiet celebration of the wedding of Tsvetaeva and Efron took place on January 27, 1912 in the Palashevskaya Church. Not everyone met this marriage with enthusiasm. The right-wing monarchists Tsvetaev and Ilovaisky did not like the past revolutionary moods and the Jewish origin of the Efrons. Marina herself was happy. Her feelings were reflected in the poem “To Joy”, dedicated to her husband. Soon after the wedding, the publishing house “Ole Lukoye”, which was founded by a young family, published a book by Sergei Yakovlevich “Childhood” and Tsvetaeva’s collection “Magic Lantern”. The governess of the Tsvetaeva family, S. D. Main (Thio), helped the young people buy a house in Polyanka, in Zamoskvorechye. In September 1912, Ariadna was born in this house. In 1914, the young couple moved to another house, located in Borisoglebsky Lane, where Tsvetaeva lived until her departure from Russia in 1922.

The first years of their life together were happy. Marina Ivanovna wrote: “I constantly tremble over him. From the slightest excitement, his temperature rises, he is all feverishly thirsty for everything ... For three - or almost three - years of marriage - not a single shadow of doubt in each other. Our marriage is so different from an ordinary marriage that I don’t feel married at all and I haven’t changed at all (I love everything the same and live everything the same as I did at 17). We will never part. Our meeting is a miracle.” It is worth noting that by nature they were two different people. Sergei had to serve some idea: first it was Marina, then loyalty to the motherland, then communism. Tsvetaeva also served the word and art. Mark Slonim recalled that Marina really did not love anyone but her husband. Tsvetaeva remained with Efron all her life, following him to her death. However, there were other, sometimes quite unexpected novels in her life. In 1915, Efron went to the front as a volunteer. A possible reason for such an unexpected act, some biographers call Marina's romance with the poetess Sofia Parnok and the crisis in the relationship of the spouses. Tsvetaeva and Parnok met in the autumn of 1914 in one of the literary salons. Sofia Yakovlevna was seven years older than Marina Ivanovna. At the time of their meeting, she was already a recognized independent literary critic and a talented poetess. Parnok considered herself to be a student of Sappho and, as the literary critic S. A. Karlinsky said, she was "an open and aggressive lesbian." Tsvetaeva instantly fell under her influence. Parnok from her youth until her death had relationships with women, although from 1907 to 1909 she was married to the poet Vladimir Volkenstein.

Marina adored her beloved, admired her dark eyes, high forehead, pallor and haughty lips. At the beginning of 1915, Tsvetaeva created the poem "You go your own way ...", which describes everything that she liked so much in her new girlfriend. Parnok combined, according to Tsvetaeva, “the tenderness of a woman, the audacity of a boy.” In the spring of 1915, Marina and Sofia went to Koktebel, where Alya and her nanny and sister Anastasia and her son joined them. Meanwhile, Tsvetaeva was fully aware of the gravity of her situation and was torn between feelings for Parnok and her husband. When the women returned to the capital, it became clear that their relationship had come to an end. In February 1916, the novel ended. The details of the breakup remain unknown. The vicissitudes of their romance, with a certain amount of fiction, are reflected in the Tsvetaeva cycle "Girlfriend" and "Youthful Poems". These relationships left a mark on the life and work of both poetesses; for Marina Ivanovna they turned out to be an important stage in her poetic and spiritual development.

Marina Tsvetaeva and Sergei Efron had three children. Unfortunately, the fate of all three was tragic. The eldest daughter, Ariadne, grew up beyond her years as a developed child. Tsvetaeva dreamed of her wonderful future. She saw her daughter as a beauty, surrounded by reverence, endowed with talents that she could embody. Alya understood from childhood that her parents were unusual people, and she loved them passionately. Marina was the center of her daughter's universe. Ariadne learned to read at the age of three, and not by syllables, but like adults. At five, she herself began to write, and from six she kept diaries. Marina Tsvetaeva wrote her first poems to her daughter when she was a little over a year old. Then, until 1920, this theme constantly arose in the work of the poetess. The relationship between Ali and Marina was special: little Ariadne became very close to her mother, became her second self. The years of the girl's education fell on revolutionary events, and Marina herself was engaged in the education of her daughter. Instead of boring dictations, Alya wrote down the events of the past day. Marina instilled in her daughter a love for nature, music, romance - as her own mother once did. Ariadne was a fertile material, she accepted everything that came from Marina. In one of Tsvetaeva's letters there are the following lines: "She lives by me and I by her." And yet, in the diary: "The life of the soul - Alina and mine - will grow out of my poems - plays - her notebooks." In Paris, Ariadne Efron graduated from the School of Applied Arts "Arts et Publicite" and the Higher School of the Louvre with a degree in Fine Art History. The girl collaborated with French magazines, and also translated Mayakovsky and other poets into French.

At the time of her arrest, Ariadna Sergeevna was twenty-seven years old - and only at forty-three years old was she able to return to normal life. Daughter Tsvetaeva spent eight years in forced labor camps, but even after the end of her term, life at large did not last long. On February 22, 1949, Ariadna was arrested again, she was sent into exile for life in the Turukhansk region. In 1955, Ariadna was rehabilitated. She sacredly kept the memory of her mother, prepared editions of her works for publication. Ariadna Sergeevna Efron became the keeper of the archive of Marina Tsvetaeva. She was engaged in poetic translations, mainly from French, wrote original poems, which were published only in the 1990s. She died of a massive heart attack in the Tarusa hospital on July 26, 1975. The second daughter of Tsvetaeva and Efron, being weak, died in the hungry post-revolutionary years. Irina was born in 1917. At the beginning of the winter of 1919-1920, Marina realized that she would not be able to feed the children in starving Moscow. On the advice of friends, she gave Alya and Irina to an orphanage in Kuntsevo. The mothers promised that her children would be well fed. In February 1920, Ariadne fell ill with dysentery. Marina took her eldest daughter home, where she looked after her all the time. Soon it became known that the weak and small Irina died in a shelter. Tsvetaeva was horrified, feeling guilty before her youngest daughter. Marina Ivanovna wrote: “She died without illness, from weakness. And I didn’t even go to the funeral - Ali had 40.7 ° that day. Tell the truth? I just couldn't." And yet, from a letter to her sister: “Irina was almost three years old - she hardly spoke, made a heavy impression, swayed and sang all the time. Hearing and voice were amazing. The death of the youngest daughter is reflected in the poem "Two hands, lightly lowered ..." (1920) and in the lyric cycle "Separation" (1921).

No less tragic was the fate of the son of Marina Tsvetaeva. George Efron was born in exile in 1925 in Prague. He was a desired and dearly loved child. Everyone at home affectionately called him Moore. Later, in “Poems to the Son,” Tsvetaeva wrote: “I, that I pumped all of Russia into you, like a pump!” Once in Soviet Russia, the well-read and educated Georgy felt like a stranger. His drawings and diaries have survived. A short life of nineteen years contained all the horrors of that era: the disorder of life and the lack of money in life in exile, wandering, moving to the USSR with Stalinist repressions, the death of his mother, bombing, famine. George was called to the front. It is only known about his death that he was wounded in battle on the Eastern Front on July 7, 1944 and sent to the field medical battalion. There is no information about his grave. The Tsvetaev family archive was closed until 2000, at the behest of Ariadna Sergeevna Efron. Today, much of it has been published, including George's diaries. According to them, we can judge the extraordinary qualities, talents of Tsvetaeva's son and the difficulties of his biography. The fate of the children of Marina Tsvetaeva, like the fate of the poetess herself, turned out to be tragic. Their life became a reflection of the sorrows of the era in which they lived.

Secondary School No. 35

Examination work on literature.

Marina Tsvetaeva:

fate,

personality,

creation.

Tver

Marina Tsvetaeva was born on the night of September 26-27, "between Sunday and Saturday", in 1982. She later writes about it:

red brush

The rowan lit up.

leaves fell,

I was born.

Hundreds argued

Bells.

The day was Saturday:

John the Theologian.

For almost twenty years (before her marriage) she lived in house number 8 in Trekhprudny Lane. Tsvetaeva loved this house very much and called it "the most dear of all her places." In a letter to her Czech friend Anna Teskova, she wrote: “... Trekhprudny Lane, where our House stood, but it was a whole world, like an estate, and a whole mental world - no less, and maybe more than the Rostov house, because the Rostov house plus more a hundred years…" . The children of the Tsvetaevs hardly communicated with other children, and the whole world concentrated in the House. Young Tsvetaeva urged:

You, whose dreams are still unawakened,

Whose movements are still quiet

Go to Trekhprudny lane,

If you love my poetry.

……………………………

I beg you, before it's too late

Come see our house!

……………………………

This world is irrevocably wonderful

You'll still be there, hurry up!

Go to Trekhprudny lane,

Into this soul of my soul.

Childhood

Most of the documentary materials about Marina Tsvetaeva's childhood have disappeared or are classified. Autobiographical prose creatively refracts reality, it is "not "I", but an unusual child in the ordinary world" . In reality, relations between members of a large family were very difficult. Her father was Ivan Vladimirovich Tsvetaev, professor at Moscow University, who taught Roman literature, founder of the Museum of Fine Arts named after Alexander xxx (Museum of Fine Arts named after A. S. Pushkin). His first wife was Varvara Dmitrievna Ilovaiskaya (daughter of the famous historian Ilovaisky). In her early youth, she fell in love with a married man, but at the behest of her imperious father, she married Professor Tsvetaev. They had two children: daughter Valeria and son Andrey. Shortly after his birth, Varvara Dmitrievna died, and Ivan Vladimirovich married again - to Maria Alexandrovna Mein, a very talented pianist, translator, romantic and gifted woman. As Tsvetaeva writes: “She loved her father endlessly, but for the first two years she was very tormented by his unquenched love for his first wife. She got married in order to replace the mother of his orphaned children - Valeria, 8 years old and Andrey, 1 year old. Before her marriage, Maria Alexandrovna lived in isolation, there were almost no acquaintances. Having married, she tried very hard to bind her husband's children to herself, but there were practically no communication skills. She suffered a lot, but she could not make friends with Valeria, who adored her late mother and remained opposed to her stepmother for the rest of her life. This dislike was transferred to the daughters of Maria Alexandrovna - Marina and Anastasia.

The mother had a huge influence on the formation of the character of children. The main defining feature of Maria Alexandrovna's attitude towards children was intransigence. She was restrained and outwardly unkind, but not indifferent, and connected with her daughters all her unfulfilled hopes. Maria Alexandrovna dreamed that her daughters, inheriting her high aspirations, would enter the world of art. It was determined that only the spiritual was important: art, nature, honor and honesty, religion. Everything that could spiritually develop children was provided to them: multilingual governesses, books, music and theater. They almost simultaneously began to speak three languages: Russian, French and German. The mother tried to give her children as much as possible, to convey her ideas about the world to them. No one will say this better than Tsvetaeva herself: “Oh, how mother hurried with notes, with letters, with Undines, with Jane Eyres, with Anton Goremyks, with contempt for physical pain, with St. Helena, with one against all, with one - without everyone, I knew for sure that I would not have time ... so - at least this, and at least this, and this, and this more ... So that there is something to remember! To immediately feed - for life! How from the first to the last minute she gave - and even crushed! - not letting us lie down, calm down (we need to calm down), flooding and hammering with the top - impression on impression, memory on memory - as if in an already unaccommodating chest (by the way, it turned out to be bottomless), by accident or on purpose? .. The mother seemed to have buried herself alive inside us to eternal life. How it condensed us with invisibility and weightlessness, thereby forever ousting from us all weight and visibility. And what a blessing that all this was not science, but Lyrics - something that is always not enough ... Mother gave us water from the opened vein of Lyrics ... "

The material, external was considered low and unworthy. Marina Tsvetaeva inherited her mother's for life: "Money is dirt." Shortly before her death, she writes in her diary: “Having been born, like our whole family, I was spared these two concepts: fame and money ... Money? Yes, I don't care about them. I feel them only when they are not there ... After all, I could earn twice as much. Well? Well, twice as many pieces of paper in an envelope. But what will remain with me? .. After all, you need to be dead in order to prefer - money.

The character of the young Marina Tsvetaeva was not easy - both for herself and for those around her. Pride and shyness, stubbornness and inflexibility, daydreaming and intemperance - that was typical of her. "Fear and pity (still anger, still melancholy, still pity) were the main passions of my childhood." Fights between children arose for any reason and were often resolved with fists. The main reason for quarrels between the sisters was the desire for the sole possession of something, not necessarily material. Everything that Marina Tsvetaeva wanted to love, she wanted to love alone: ​​pictures, toys, books, literary heroes.

Throughout her childhood, Tsvetaeva read avidly, did not read, but "lived by books", one of her first poems is called: "Books in red binding":

From the paradise of children's life

You send me a farewell greeting,

Unchanged Friends

In shabby red binding.

A little easy lesson learned

I run immediately to you, it happened.

Too late! - Mom, ten lines! .. -

But, fortunately, my mother forgot.

………………………………….

Oh golden times

Where the look is bolder and the heart is purer!

Oh golden names

Huck Finn, Tom Sawyer, The Prince and the Pauper!

Pushkin was the first poet of Tsvetaeva. At the age of five, she stumbled upon Pushkin's "Works" in Valeria's closet. Her mother did not allow her to take this book, and the girl read secretly, with her head buried in the closet. However, she recognized Pushkin even before that: from the monument on Tverskoy Boulevard, the painting "Duel" in the parent's bedroom, and the stories of her mother. He was the first one she read herself. Forever Pushkin remained for Tsvetaeva the First Poet, a measure of the height of poetry.

"Happy, irretrievable time of childhood" ended in 1902. Maria Alexandrovna fell ill with consumption, her health required a warm and mild climate, and the family went abroad. Everyone went, except Andryusha, who stayed with his grandfather Ilovaisky. First they settled in the "Russian boarding house" in Nervi near Genoa. This winter of 1902/1903 was the period of "Wild Will" for the Tsvetaev sisters. First, they met and became close friends with the son of the owner of the boarding house Volodya, with whom they spent whole days in nature. Later, Tsvetaeva dedicated several poems of her first book to the memory of this friendship:

He was blue-eyed and red,

(Like gunpowder while playing!)

Crafty and affectionate. We are

Two little blond sisters.

The night has already fallen on the rocks,

A fire smokes over the sea.

And tired Volodya leans

Head on the shoulders of the sisters.

…………………………

Skirts cling to the rocks,

The pocket is torn from the pebbles.

We smoke - like adults - pipes,

We are thieves, and he is the chieftain.

Revolutionary emigrants also lived in the boarding house. Ten-year-old Tsvetaeva sought to understand their ideas, wrote poems about them, which, however, have not survived. The mother was afraid of the influence of revolutionary ideas on children's minds, but she could do nothing. Later, in the “Response to the Questionnaire,” Tsvetaeva noted this period as “one of the most important spiritual events.”

In May 1903, Marina and Asya entered the Lacaze boarding house in Lausanne. The atmosphere here was cozy, almost family. The girls improved their knowledge of French, from time to time their mother visited them. The atheism adopted under the influence of the revolutionaries in Nervi disappeared. A year later, the parents took the girls and settled in Germany in Freiburg. Marina Tsvetaeva falls in love with this country, which her mother loved madly and enthusiastically. She felt the spirit of Germany as her own, she knew the language as well as Russian. “How I loved - with longing I loved! loved like crazy! - Schwarzwald," Tsvetaeva later recalled. And for the rest of her life she remained convinced: “I have many souls. But my main soul is German.” Here, in Freiburg, two passions of Tsvetaeva were born – Napoleon and Russia. The longing for the motherland, which the girl had not seen for almost three years, awakened in her the first “feeling for the motherland”.

In 1905 the Tsvetaev family returned to Russia. For some time they lived in Yalta. Then Maria Alexandrovna became much worse, and she decided to return to her native places. The family moved to a dacha in Tarusa, where Maria Alexandrovna died. Marina Tsvetaeva was thirteen years old. Childhood is over.

Marina Tsvetaeva's studies were irregular and not very successful. After the death of her mother, she moved from one gymnasium to another, was expelled three times for impudence. The memoirs of Tsvetaeva's school friends are very interesting, they give an idea of ​​her personality.

“... a very lively girl with an inquisitive and mocking look. She was combed like a boy. She was very capable of the humanities and made little effort in the exact sciences. She kept moving from one school to another. She was more attracted to older friends than younger ones ...

As you know, Tsvetaeva's poems are now studied at school without fail. They are included:

- in the school curriculum of the 4th grade of the elementary school: “A path runs from a hillock ...”, “The mountain ash lit up with a red brush”, “For books” (4th grade of the beginning of the school);

- in the school curriculum for 9th grade students;

- in the compulsory school curriculum of grade 11, it also provides for a discussion of the difficult fate of Marina Tsvetaeva.

In total, children are invited to familiarize themselves with about 30 poems by the poetess. At the same time, it is emphasized that the most important themes of the poetess's work are love, loyalty to high ideals, Russia, the glorification of man.

The specificity of our report is the discussion of the psychological aspects of the difficult fate of the poetess. In this case, we will rely on facts known from the words of Marina Ivanovna Tsvetaeva's contemporaries, on facts discovered by researchers of her life and work. We did not make special searches in the archives of the poetess (due to a number of good reasons). We emphasize in particular that the vast majority of authors of memoirs about Tsvetaeva and, of course, researchers of her work are fans of her poetry, who could not say anything bad about the poetess.

Wikipedia says:

Marina Ivanovna Tsvetaeva (September 26 (October 8), 1892, Moscow - August 31, 1941, Yelabuga) - Russian poetess, prose writer, translator, one of the greatest poets of the 20th century. On the topic of the query “the genius of Marina Tsvetaeva”, the Internet produces 40 million results. That is, her genius today is a topos.

The first question we posed may seem unexpected. It sounds like this: “Was Marina Tsvetaeva an adequate person in life?”

The possibility and legitimacy of posing this question is indicated by the testimony of the freemason Mark Lvovich Slonim, who knew Tsvetaeva for many years and helped her organizationally and financially. Here is one of his memoirs:

However, during interrogations in the French police (Syurt), she kept talking about her husband’s honesty, about the clash of duty with love, and quoted by heart either Corneille or Racine (she herself later told about this first to M. N. Lebedeva, and then to me ). At first, the officials thought that she was cunning and pretending, but when she began to read French translations of Pushkin and her own poems to them, they doubted her mental abilities and came to the aid of hardened emigration specialists recommended her: “This half-witted Russian” (cette Folle Russe). (set fol russ)

According to M.L. Slonim, the French policemen, by virtue of their service, who met with the widest range of people, recommended Tsvetaeva as a “crazy Russian”, i.e. as a mentally disabled woman. So the question of the adequacy of Marina Ivanovna is quite legitimate. This hypothesis - about the psychological inadequacy of Marina Ivanovna Tsvetaeva - we will test.

The second question, which follows from the answer to the first one, should be put in a more concrete form: in what specific psychological characteristics of the personality did M.I. Tsvetaeva manifest inadequacy?

Acquaintance with the available biographical material allows us to clarify the initial hypothesis and put forward another one – that M.I.

In this regard, let's ask a clarifying question: How does demonstrative type accentuation differ from hysteroid psychopathy? Answer: In the same way that accentuation in general differs from psychopathy in general.

Recall that the accentuation of character (personality) is an excessive strengthening of individual character traits and their combinations, representing extreme variants of the norm. Accentuations are a kind of norm that is on the verge of its violation towards the disease. In terms of developmental psychology, the presence of accentuations of one type or another is typical for adolescence, and as they grow older, character accentuations smooth out, become hidden from obvious ones or disappear altogether.

The types of character accentuations partially coincide with the types of psychopathy. Character accentuation differs from psychopathy in that it manifests itself in separate, although quite pronounced characterological deviations, but at the same time it is characterized by sufficient compensation and does not reach a pathological level. It is in this case that experts talk about accentuation, and not about psychopathy.

Psychopathy differs from accentuation in that:

1) social inability to live is permanent, immanently inherent in nature and, due to the pathological characteristics of the personality, is determined not so much by an unfavorable environment as by the internal qualities of the personality;

2) it is characterized by a totality of manifestations - it manifests itself everywhere: at home, at work, in everyday conditions, and under emotional stress;

3) it is stable: pathological character traits are practically irreversible and persist throughout life. Most often they are first detected during adolescence.

What are the main characteristics of hysterical psychopaths? Along the way, we will accompany them with a psychological description of the behavior of M.I. Tsvetaeva. We emphasize once again that all the memories of the poetess were left by people who treated her with immense admiration and absolute non-criticism. They did not want to say anything bad about Tsvetaeva in principle.

1. Hysterical psychopaths are very good at presenting themselves, they know how to intrigue others with their persona. For hysteroid psychopaths, it is very easy to interest others in the same way as breathing.

Did Marina Tsvetaeva know how to intrigue with herself? Did she know how to be different from others and draw attention to herself? Yes, and it was easy.

Here are the memoirs of Maria Ivanovna Grineva-Kuznetsova:

How great was the amazement of all our students! A sumptuous golden dress rustled arrogantly with ancient silk, dense gatherings, tied at a thin waist, swayed in light streams.

I keep my eyes on Marina Tsvetaeva. Under the golden cap of hair, I see the oval of her face, wide at the top, tapering downwards, I see a thin nose with a slightly noticeable hump and her greenish eyes, the eyes of a sorceress. Tanya whispers in my left ear:

- This is probably the only one in all of Moscow she wears.

“Exactly such dresses,” Nina Okuneva whispers into my right ear, “I saw in my stepmother’s chest, these were the dresses of her two grandmothers.

- What charming courage - to go into society in such a dress! I whisper to Nina.

- In my opinion, this is a clear contempt for fashion, - Nina answers, - this is an aversion to our apes. We are all like one in tight skirts with a slit, - Nina laughs, - and because all of Moscow is in such! Do we dare to put on what we wore two hundred years ago? And here she is – against all odds! - took and put on.

“That's because she's a poetess,” Tanya whispers.

“Tanya is right,” I say, “we are connected by a director, a director, a partner, we are not free, but a poet is always free.

“Maybe it’s out of contempt for us?” Nina whispers again. - To the future actors? a? How do you think?

Her poems and she herself moved us all so deeply at that time that we completely forgot at that time about her bold attire. We realized that she has the right to such an unusual outfit, because her poems are unusual, she reads them unusually, and she herself is also quite unusual! Doesn't look like anyone at all!

As follows from these and many other reminiscences, Marina Ivanovna Tsvetaeva knew how to present herself well, knew how to intrigue those around her with her person.

2. The self-esteem of hysterical psychopaths is so high that they sincerely consider themselves the center of the universe. They are so important to themselves that they cannot even imagine that they must comply with social norms.

Was Marina Ivanovna Tsvetaeva typical of disdain for social norms?

We will not point to the example just given. He doesn't show very well here. Let us refer to the Yekaterinburg psychologist A.V. Kiryanova:

Half-sister Lera mentions that as a teenager, Marina became addicted to rowan tincture. Hiding in the attic so as not to go to the hated gymnasium, Marina drank and wrote her own translation of Rostand's tragedy The Eaglet. Having finished the bottle, she threw it into the yard, not caring at all that she might hit someone on the head. The fact is rather funny. But after this, her sister writes about how Marina pawned her things in a pawnshop when money was needed ... This attitude towards someone else's property can be traced throughout the life of Marina Tsvetaeva. Unfortunately, she... stole things. “She could have grabbed something that she liked,” one of her contemporaries timidly hints. Tsvetaeva herself wrote down her "thefts in the commissariat"; mentioned that she stole bread for hungry children from friends who invited her to the table. She sold furniture that friends of her half-brother Andrey had put in storage for her. Unfortunately, Alya, Marina's daughter, also stole. “Two vices of my childhood: lies and theft,” she writes to Pasternak from another exile. The unfortunate girl was taken to visit the family of the writer Zaitsev. After some time, it turned out that Alya was stealing corny ... When they tried to talk softly with her, Tsvetaeva's daughter said a terrible phrase:

“Don’t you understand that I can’t stand kindness!

The lack of respect for the social norms of the Tsvetaev sisters characterized from childhood. Their half-sister Valeria Ivanovna Tsvetaeva recalls:

From Italy (in Nervi), the life of girls broke into an extravagant freemen. It was then: Marina was 10, Asya was 8 years old. Their further journey through boarding schools in Switzerland and Germany (near the sanatoriums and resorts where their mother was treated) did not give them the necessary warmth, did not streamline their skills and character. Mandatory changes of places and people, change of attachments and orders created a feeling of homelessness, instability. Ideas began that were inappropriate for girls of 13 and 11 years old: on a free day, walking along the well-maintained pine roads of the Black Forest, go to a roadside pub and drink vying with each other, who will swallow more mugs of beer by the score, and go to the road with a stick in hand, portraying tipsy bourgeois.

True, there have been difficult inventions before: for example, for the sake of youth, while visiting the artist, take away a pack of sketches under the linen, thus putting the parents in an impossible position.

This case, which was even before the mother's illness, in conditions of apparent well-being, nevertheless revealed the obvious homelessness of 7-9-year-old children, the lack of understanding in children of what is good and what is not good to do, and this became the key to many difficulties for them in further, showing the complete homelessness of children who did not understand what was good and what could not be done.

The conclusion is obvious: the dismissive attitude of Marina Ivanovna Tsvetaeva to social norms of behavior, the desire for asociality was formed in her throughout her childhood.

Here is how one of the admirers of Marina Ivanovna's poetic talent writes: "Tsvetaeva had - the logic of an alien, and this should not be forgotten." When an admirer of Tsvetaeva's talent says that Tsvetaeva had alien logic, it actually testifies that the social attitudes of M.I. Tsvetaeva, if they were, then in their very infancy.

The "aliens" of the brilliant Russian poetess was also manifested in the fact that both homo- and heterosexual relationships were quite normal for her. Having already married Sergei Yakovlevich Efron, she almost immediately began an intimate relationship with Sofya Parnok, as it is written on Wikipedia, a Russian poetess and translator.

Wikipedia says that the Russian poetess and translator Sofia Parnok (real name Parnokh) was born seven years earlier than Tsvetaeva, was born in Taganrog, in a Russified Jewish wealthy family. It is to her that the famous poem dated October 23, 1914 from the cycle “Girlfriend” is dedicated:

Under the caress of a plush blanket

I call yesterday's dream.

What was it? - Whose victory? -

Who is defeated?

What are these lines about? We offer a translation from poetic Russian into prose, more precisely into Russian colloquial language. "Yesterday I evoke a dream." This is a definite personal sentence with a verb-predicate of the first person singular. Therefore, in the language of prose, this should be translated as "I am under the rug alone." Plaid is an inanimate noun. By itself, he cannot caress. Therefore, the noun “weasel” refers to the lyrical heroine herself, under a plush blanket (in fact, a circumstance of the place). Therefore, under the blanket, she caresses herself and remembers "yesterday's dream." In this sweet process, taking place under a plush blanket, the lyrical heroine constantly wonders what exactly happened yesterday:

What was it? - Whose victory? -

Who is defeated?

Everything was so spontaneous that it remained unclear to her which of them in yesterday's caresses was an active subject, which was a passive one. Which of them played the role of a man in these caresses, and which of them played the role of a woman? Who won, who is defeated? In the transition to reality, it is assumed psychologically more reliable that Sophia Parnok (Parnokh) as an older friend, like the “Russian Sappho” (as she was called), and taught Marina Tsvetaeva caresses under a plush blanket (however, “yesterday” this could happen in another place, not necessarily under the blanket). When translated into spoken language, the situation looks rather vulgar. But a poet is a poet for that, that he can furnish the most vulgar situation as poetically beautiful:

Under the caress of a plush blanket

I call yesterday's dream.

What was it? - Whose victory? -

Who is defeated?

It is symptomatic for us that it was after this relationship with Sofia Parnok that the brilliant Russian poetess, while being a married woman, wrote in her diary:

“To love only women (for a woman) or only men (for a man), knowingly excluding the usual reverse – what a horror! But only women (man) or only men (woman), obviously excluding the unusual native – what a bore!" (entry from 1921)

In this sense, the sense of Tsvetaeva's asocial inclination not only to men, but also to women, there is every reason to consider her one of the heralds of the sexual revolution that took place in Russia in the memorable 90s of the twentieth century. If earlier such women were called quite definitely, now Tsvetaeva is called an “alien”.

Tsvetaeva's poems recommended for children at school teach cheating in marriage and perceive adultery as a kind of holiday for the soul. It turns out that, according to the authors of the school literature curriculum, the asocial behavior of schoolchildren should be a kind of social norm:

Who is made of stone, who is made of clay, –

And I'm silver and sparkle!

I care – cheating, my name – Marina,

I – sea ​​foam.

Here is how one of her admirers writes about the asociality of Marina Tsvetaeva: “Tsvetaeva was never a hypocrite, and “public opinion” never influenced her behavior - it was hard for her to be at least something outlined. She was often told: "Marina, no one does that!" And they heard the answer: "And I - Who!" to the Yelabuga loop on August 31, 1941 - everything is in its own way.

Vadim Markovich Rozin writes: “However, is genius an excuse in front of children or a husband whom Tsvetaeva cheated on all her life (with Sofya Parnok, with Mandelstam, with Rodzievich, with Anatoly Steiger; one of the last Nikolai Gronsky). Here is the same problem as with “our everything”, Alexander Sergeevich” – and gives evidence of the numerous intimate relationships in Pushkin.

With all due respect to Vadim Markovich (we used to work together as visiting professors at Yelets University), I cannot agree with the opinion that “here is the same problem as with “our everything”, Alexander Sergeevich.”

This is not the same problem, if only because Alexander Sergeevich is a man, and Marina Ivanovna is a woman. The degree of social acceptability of the multiplicity of sexual relations between men and women objectively differs because in one case it is natural, and in the other it is a violation of the laws of nature. It is not necessary to discuss this issue in more detail here.

According to contemporaries, if a man did not agree with Tsvetaeva's proposal to have a special kind of relationship with her, he fell sharply in her eyes (for example, B.L. Pasternak). Anyone can find examples of this kind in the biography of the poetess. Traditional society condemns such behavior. Well, in today's informational carnival world, where gay people often run the show, women of the type we are discussing now are praised and called strange women, aliens etc.

There are a lot of examples of pathological asociality of Marina Ivanovna in the memoirs of her contemporaries. I will give just one example - the confession of Tsvetaeva herself to her sister Anastasia: “I am never alone in the city - I can’t” [M.I. Tsvetaeva; cit. by: A.I. Tsvetaeva, 1974, p. 519]. This confession impressed her sister so much that she included it in her Memoirs.

So the asocial nature of the behavior of Marina Ivanovna Tsvetaeva, who sincerely considered herself the center of the universe, was of a total “alien” character, which, in turn, confirms the presence of off-scale self-esteem, a typical characteristic of hysterical psychopaths.

3. Hysteroid psychopaths are pathological liars. Lying to them is like breathing. Once they start lying, they can't stop; lie more and more, enjoying the process itself. As experts say, a psychopath differs from a healthy person in that a psychopath does not care at all about the possibility of discovering his lies. Even if the lie has already been discovered, this fact encourages the psychopath to lie even more.

Was Marina Tsvetaeva a pathological liar. - Yes, it was. Her deceit was also total. The pathological nature of the lies of the brilliant poetess was most clearly manifested in the situation with her youngest daughter, Irina. As everyone who has studied the biography of the poetess knows, in November 1919, Tsvetaeva sent her daughters to the Kuntsevsky orphanage. To herself and, moreover, to others, she explained her decision by the fact that she herself could not feed them. The possibility of entering the light service for rations, and by doing this to save children from starvation, the brilliant poetess did not consider in principle - since official work is contraindicated for brilliant poetesses. This was the first lie, since Tsvetaeva could feed them without even working - selling things on the market. In addition (and this is an extremely significant point), there were always people around her who helped her in life.

The first lie, that she could not feed her children, is superimposed by another lie: to give a two-year-old child to an orphanage of the 1919 model meant, in fact, to sentence him to death, and Marina Tsvetaeva explained her decision to hand over her daughters to an orphanage with a desire to save them.

She forced her daughters to be liars. She made them say that she was not their own, but their godmother (this was her third lie in this situation). And the daughters carried out her order.

The notebook of Marina Ivanovna Tsvetaeva dated November 1919 contains a record of her conversation with Lydia Konstantinovna, the head of the shelter:

“Tell me, whose children are these, actually?” Are they abandoned, or something in the apartment? They can't say anything...

“Yes, yes, I knew their parents. I am Ali's godmother."

“Yeah, she says that too.”

- “Tell me” - to translate the topic - “would you like some baby things? Bras, knickers, etc. I have a million of them, I don’t know what to do with them ”...

The manager beams, thanks warmly, I was saved for a second, I beg her to hand over the package to Alya, we smile, we shake hands, - let's go!

As follows from this entry, Marina Tsvetaeva was simply happy that her lie received a decent cover. There are so many facts of pathological mendacity of Marina Ivanovna Tsvetaeva that there is hardly enough space to cite them all.

Let's name the most significant one. It is known that the sisters of S.Ya.Efron wanted to take the two-year-old daughter of Marina Ivanovna from the shelter in order to leave her and really save her from death. This required the consent of the mother. She didn't give it. The following is curious: in the death of her two-year-old Irina, her mother, Marina Ivanovna Tsvetaeva, who did everything so that she died in a shelter, blamed her husband's sisters. It was they who, according to M.I. Tsvetaeva, as the researcher Gevorkyan testifies, “let Irina starve to death in a shelter under the pretext of hating me.” But they helped Marina as much as they could.

Hysterical psychopaths lie very convincingly. Irina's father, Sergei Yakovlevich Efron, did not communicate with his sisters for a long time, believing for some time the brilliant Russian poetess Marina Ivanovna Tsvetaeva. More than two years later, in a letter to M. Voloshin, he wrote literally the following about Marina in December 1923: “She blamed my sisters for the death of Irina (Ali’s sister) (she is sincerely sure of this) and only recently I found out the truth and restored relations with L<илей>and B<ерой>».

As you can see, the falsity inherent in Marina Ivanovna Tsvetaeva was of a total “alien” character and indicates the undoubted presence of the indicated characteristic of hysterical psychopaths in her.

Did Marina Ivanovna Tsvetaeva have a similar idea of ​​life? Undoubtedly yes. Once again, we will quote the psychologist A.V. Kiryanova: “Marina bombarded her acquaintances with letters demanding help,“ send a dependent. For about eight years, Salome Andronnikova, who was once sung by Mandelstam, sent money, worked in a magazine and sent Marina part of her salary. Prince Svyatopolk-Mirsky also helped, who, by the way, could not stand Sergei Efron, and even Marina herself, but adored and respected her great poems. When help became impossible for a number of reasons, Marina called it<...>"disgusting", motivating the insult by the fact that she is used to planning the budget based on the amounts sent.

5. Hysteroids are extremely infantile, which allows them to displace everything unpleasant, ignore reality and just common sense.

Was Marina Ivanovna Tsvetaeva an infantile person? – Undoubtedly, yes. This and her desire to live at the expense of others. This and her unwillingness to work even in light service. Many of her contemporaries testify to the infantilism, "childishness" of the brilliant Russian poetess. In the publication of V.P. Kupchenko it is reported: on April 26, 1911, Adelaida Kazimirovna Gertsyk wrote to Voloshin: “I receive frequent letters from Marina, full of confidences, from a cat<орых>I finally understood all her childishness and spontaneity. On March 11, 1914, Voloshin wrote to his mother that both Tsvetaevs "suffered very childishly" from self-aggrandizement, from the thought of their uniqueness. There is too much evidence about the infantilism of the poetess to cite them all. The fact that Marina Ivanovna Tsvetaeva was generally characterized by “absolute impracticality, unwillingness and inability to understand others, throwing and strange actions,” writes, for example, Doctor of Philosophical Sciences, Professor V.M. Rosin.

So the infantilism, the "childishness" of the brilliant Russian poetess reached the extreme and is confirmed by many testimonies.

6. As the famous psychiatrist Pyotr Borisovich Gannushkin points out, my hysterical essence psychopaths are usually betray with all their behavior, everything they have is exaggerated - the expression of feelings, facial expressions, gestures, tone. The absence of a real inner background of all these manifestations is always felt.

Did the exaggeration of the expression of feelings, facial expressions, gestures, tone characterize the brilliant Russian poetess Marina Ivanovna Tsvetaeva? – Of course, yes.

Let's take a look at her poetry. There dominates - it can be seen by eye - such a punctuation mark as a dash.

Doctor of Philosophy, prof. Marina Vladimirovna Tsvetkova (from the Nizhny Novgorod Linguistic University) in her article “Communication? No, discord: The semantizing function of the dash in the poetry of Marina Tsvetaeva ”refers to the works of other scientists who have found that the non-traditional dash in all Tsvetaeva’s collections is more than 90% of cases (only in the Evening Album this proportion is slightly lower, but also very high - 71.2 %).

What does the increased role of the non-traditional dash indicate? Here it is either/or. Either about ignorance of other punctuation marks, or about excessive emotionality. It is hardly correct to speak about Tsvetaeva's illiteracy, but her excessive emotionality undoubtedly characterized her.

What does his excessive, exaggerated emotionality say about a person? If we summarize the conclusions arising from the information theory of emotions by P.V. Simonov, then negative emotions - and they prevail in Marina Ivanovna Tsvetaeva - indicate that the subject does not have the prognostic necessary information about the satisfaction of some important or some important needs .

Constant emotionality, therefore, testifies to the constant informational unarmedness of the subject, to his mental inadequacy.

No matter how many signs of hysteroid psychopaths we take, all these signs are observed in the brilliant Russian poetess Marina Ivanovna Tsvetaeva. According to the laws of logic, if the subject BUT demonstrates all the typical qualities of a class AT , then it belongs to the class AT . If, for example, an animal has all the signs of a fox, then this animal is a fox. If Marina Ivanovna Tsvetaeva has all the characteristics of a hysterical psychopath, then she is one.

Note that when we call the brilliant Russian poetess Marina Ivanovna Tsvetaeva a hysterical or hysterical psychopath, we do not put any offensive connotations into this nomination. In this case, we state, establish the fact that Marina Ivanovna Tsvetaeva belongs to hysteroid psychopaths. The suffix -k- in the word psychopath means that a person marked with hysterical (hysterical) psychopathy belongs to females.

What is curious. If we recognize the brilliant Russian poetess as a hysterical psychopath, then all the twists and turns of her complex fate and soul become psychologically understandable and transparent, even in small things.

For example, this is her entry in a May letter (1923) to Maximilian Voloshin: “Alya grows, becomes empty and becomes simple. She is 10 1/2 years old, taller than my shoulder. Kisses you and Pra” [V.P. Kupchenko, 1975]. Judging by the record, Alya (Ariadna Sergeevna Efron), just three years after Irina's death, became sharply stupid, and Marina Ivanovna does not like it.

But what does this entry really mean: “Alya grows, becomes empty and becomes simple”? It means that Ali's behavior has ceased to meet the expectations of the hysterical psychopath - the brilliant Russian poetess Marina Ivanovna Tsvetaeva.

What actually happened?

In the cold and hungry winter of 1919-1920, both daughters of Tsvetaeva, both sisters - both Alya (Ariadna) and Irina - were in the Kuntsevo shelter on the verge of life and death. At the same time, the sisters had a difference of five years.

Seven-year-old Ariadne (Alya), with her bestial self-preservation instinct, sensed the only promising option for psychological protection - self-identification with her mother. And a seven-year-old child wrote letters to her mother in the language of an older teenager, letters that clearly did not correspond to the age of a seven-year-old child. Thanks to the method of psychological defense effectively used by Ariadna Sergeevna Efron at the age of seven, thanks to her self-identification with her mother, the hysterical psychopath Marina Ivanovna Tsvetaeva, the brilliant Russian poetess began to perceive Alya as her alter ego, as her second "I". In such a situation, could the brilliant poetess leave her second “I” in the person of Ali in the Kuntsevsky orphanage to starve and cold to death? It would mean the death of itself. And the brilliant Russian poetess took her eldest daughter from the orphanage and thus took her away from the danger of imminent starvation.

And then she said admonishingly:

“Eat. No tricks. Understand that I saved from two - you, two - I could not. You were "chosen". You survived at the expense of Irina. Such is education.

When the danger of starvation from Ali-Ariadne receded, her need for absolute identification with her mother, a hysterical psychopath, disappeared, she needed other ways of psychological protection. Ali's behavior became more independent, less dependent on his mother. Marina Ivanovna Tsvetaeva ceased to be the only center of attraction for Ali (this is also confirmed by biographers). Marina Ivanovna Tsvetaeva could not but feel this, and therefore she ceased to consider her eldest daughter a child prodigy. It is with this that her record “Alya grows, becomes empty and becomes simple” is connected.

And Alya-Ariadna simply matured, although she retained a significant part of the psychological characteristics of her mother (take, for example, at least the suicidal idea of ​​the undesirability of childbearing). It is obvious to any person who is in the subject that the absence of children in a woman is primarily associated with her psychological characteristics.

As for the youngest daughter of Marina Ivanovna Tsvetaeva, Irina, due to her two-year-old age, self-identification with a hysterical psychopath as a way of psychological protection was not available to her. And she chose the only way that was available to her, namely, to be naughty without her mother and to be absolutely obedient with her.

It would have worked for a normal mother. But Irina was not lucky. Her mother was not ordinary - she was a hysterical psychopath and at the same time a brilliant Russian poetess. The method of behavior chosen by two-year-old Irina in relation to such a mother could not be effective. Here is an entry in Tsvetaeva's diary dated November 1919 about her conversation with the head of the shelter:

Next conversation:

- "Well, and Irina!"

- "Everything sings?"

- “Sings, screams, will not give peace to anyone. This is definitely a defective child: he picks up a word and repeats it - endlessly completely meaningless. She eats a lot and is always hungry. You absolutely vainly gave her to us, she belongs to a nursery due to her age, besides, as an obviously defective child, she should be given to a special institution.

I, almost joyfully: - “Well, I always said! Isn't it monstrously undeveloped for a 2 1/2 liter?"

“I’m telling you: a defective child. Also, she screams all the time. You know, I had children who were liars, children who stole...

“But you haven’t seen such a child yet?”

- "Never". - (A tirade about defectiveness, and both of us - for some reason - shine.)

- “Well, and Irina !!! She was obviously very hungry, it's a pity to look. But screaming? (Irina, who never dared to utter a word in front of me. I recognize her vileness.)

The behavior of a two-year-old daughter, screaming in a shelter from hunger, her mother defines not by a verb, not by an adjective, but by a noun - "vileness"! The noun "vileness" designates here the sign "vile" as something objective, i.e. as a constant quality of a two-year-old girl. And what is the fault? The fact that the youngest daughter did not have the psychological resources to look like a hysterical psychopath, how did her older sister do it?

Here is a diary entry from December 1919:

Irina, sensing my presence, behaves modestly. No "no dado!" - (the only word she learned at the orphanage) lets you put herself on the potty. L<идия>Konst won't brag.

- “Irina, who came to you?”

Irina, as usual, looking at me turns away. Silent.

Imagine a two-year-old child seeing his mother after a long separation. It's a storm of emotions! And here the child is silent. A two-year-old daughter is afraid of her mother, who sentenced her to starvation. And who would not be afraid of such a mother?

In mid-January 1920, Marina Ivanovna will take her eldest daughter from the orphanage and will not visit this shelter again. By doing so, she will give her two-year-old daughter a final death sentence. And when she dies from cold and hunger in early February 1920 in a shelter, Tsvetaeva will not go to her funeral.

The behavior of the brilliant Russian poetess today would fall under Article 125 of the Criminal Code of the Russian Federation, since the mother deliberately left her youngest daughter in the Kuntsevo orphanage without help in a state dangerous to life and health, and two-year-old Irina was deprived of the opportunity to take measures for self-preservation due to her infancy.

From the death of her daughter, the hysterical psychopath Marina Ivanovna Tsvetaeva then built a luxurious feast of the spirit. As she herself admitted, "the only luxury for me is a craft, what I was born for."

Here is the sympathy and love for Marina Tsvetaeva in connection with the described situation, the well-known researcher of her work, Anna Aleksandrovna Saakyants, writes:

“When the events that shook the soul recede even a little into the past, then the poet finds a voice to talk about them. After the death of little Irina, Tsvetaeva became dumb and only in the spring found the strength to write a requiem for her - piercing in the simplicity of tenderness and grief; to express the universal grief of a mother who has lost a child:

Two hands, lightly lowered

On a baby's head!

There were - one for each -

I have been given two heads.

But both - clamped -

Furious - as she could! -

Snatching the elder from the darkness -

Didn't save the little one.

Two hands - caress, smooth

Delicate heads are lush.

Two hands - and here is one of them

The night turned out to be superfluous.

Light - on a thin neck -

Dandelion on a stem!

I still don't quite understand

That my child is in the earth."

This is written by a mother who did everything in her power to ensure that her child ended up in the earth. It happens that mothers kill their children, and they do it in different ways, but few of them were as brilliantly poetic. Few of them from the murder of their child would arrange such a bright feast of the spirit.

At the beginning of this video, we already quoted an article by Kiryanova, a psychologist from Yekaterinburg, where she cites revealing facts from the life of Tsvetaeva. There she writes (presumably she knows what she is writing about):

Great smartest poetess, a man of great spiritual impulses and mystical enlightenment; she did some nasty things just like that, "out of infamy", as she herself explained.

There are events and facts that Tsvetaeva's biographers, who admire her poems, recall extremely reluctantly. It is difficult to explain them, so the compilers of the biography tend to talk less about the terrible and monstrous acts of Marina, inexplicable from the point of view of the rules of human communication, morality, morality.<…>

... Theft of Marina herself<…>not only was it not hidden, but it was demonstratively justified. “I did it out of infamy,” Marina explained when she was convicted of something unpleasant. Read - for the love of evil.

Tsvetaeva’s demonstration of her “vileness” was, as follows from the psychologist’s observations, also an exaggerated character, and exaggeration is the most typical characteristic of hysterical psychopaths: “everything they have is exaggerated.”

Maybe Tsvetaeva justifies that she is a poet of genius? But has Pushkin's well-known formula ceased to work: "genius and villainy are two incompatible things"? A child-killer, a liar and a thief, which Tsvetaeva was in life, if Pushkin's formula is recognized as true, in principle, cannot be a brilliant poetess.

However, even such a well-known admirer of her talent as Dmitry Bykov expresses his opinion that as a poet Marina Ivanovna Tsvetaeva is not at all brilliant. He says in his lecture "The Real Tsvetaeva":

... The challenge that Tsvetaeva throws at us all can be adequately met only if we say quite honestly: “Tsvetaeva has very serious problems with taste. She wasn't friends with him." But a genius with taste is not obliged to be friends. Talent must be friends with taste. And what a genius does, as a rule, is categorically at odds with the norm, and that is why good taste is not necessary for him. If a genius happens to have the line “Commercial tricks and ballroom powder ...”, we hear, of course, this indecent consonance, but we must understand: the poet at such moments does not think about how it sounds, he hates “ballroom powder”, and this is completely enough. Therefore, I will start, perhaps, with the recognition that Tsvetaeva is far from being the closest poet to me, that I do not consider her a poet, first of all, and, following Novella Matveeva, I consider her the greatest prose writer of the 20th century.

As you can see, the meaning of the words of the respected Bykov boils down to the fact that Tsvetaeva is not very good as a poet, but she is still brilliant. Wikipedia says about Dmitry Lvovich Bykov that he – Russian writer, poet, publicist, journalist, literary critic, literature teacher, radio and TV presenter – was born in the family of a pediatric otorhinolaryngologist, candidate of medical sciences Lev Iosifovich Zilbertrud (1927 – 1987) and Natalya Iosifovna Bykova (born 1937).

Judging by the fact that Dmitry Lvovich took the surname not of his father, but of his mother, it can be assumed that he is under a strong female influence.

Let us pay attention to such a detail in the speech of the Russian writer and poet Dmitry Lvovich about the brilliant Russian poetess Marina Tsvetaeva:

If a genius happens to have the line “Commercial tricks and ballroom powder ...”, we hear, of course, this indecent consonance, but we must understand: the poet at such moments does not think about how it sounds, he hates “ballroom powder”, and this is completely enough.

Dmitry Lvovich uses the imperfective verb "happens" (like Marina Ivanovna did not think how the line "... and ball powder" sounds). Like a poetess accidentally uses this line "... and ball powder." Dmitry Lvovich directly says so: “A poet at such moments does not think about how it sounds, he hates “ballroom powder”, and that is quite enough.”

But here Dmitry Lvovich is disingenuous. In The Poem of the End, Marina Ivanovna Tsvetaeva uses the line "... and ball powder" three times, and repeatedly puts this line in a strong position - the position of rhyme. Let us quote these lines of the brilliant Russian poetess without any exceptions:

…What smells? Hurry extreme, Podachka and sin: Trade secrets And ballroom powder. Family bachelors Wearing rings, venerable youths... – well-read! Both large and small, And the stigma, and fluff. ...Business deals and ball powder. Silver notch in the window – Maltese Star! Caressed, loved, And most importantly – pushed! Plucked... (Yesterday's Snack – do not seek: with a stink!) ... Commercial tricks And ballroom powder.

To say that a poet accidentally puts an indecent line in a strong position several times is the same as: 1) not understanding the basics of linguopoetics; 2) or very strongly deceive the most respected public. It seems, however, that Dmitry Lvovich is a quite qualified person and he himself understands what he is talking about, therefore, he is just having fun. "Out of infamy" – Marina Ivanovna Tsvetaeva used to say in such cases.

When discussing this article with colleagues, it was suggested that the line "...and ball powder" may be related to the designation of cocaine (an ironic slang designation - "anthracite", a kind of association in contrast). In this case, the line "...and ball powder" is deliberately ambiguous.

On the one hand, it can refer to ball powder, more precisely - the powder from slipping shoes on the parquet.

On the other hand, the line "...and ball powder" may be associated with cocaine use, which looks very much like slipper powder. The use of cocaine is known to cause euphoria and contribute to the removal of moral restrictions in behavior with a familiar or unfamiliar partner (partner) in dancing. In this case, the line "... and ball powder" becomes - in its indecent sound - quite adequate and meaningful.

In biographical color science, we did not find any mention of Tsvetaeva's use of cocaine. True, we must remember that color experts only admire Tsvetaeva and usually do not have to wait for objective information from them. Therefore, we do not know for certain about the degree of Tsvetaeva's involvement in the situation with "... and ball powder": she writes her "poem of the end" as an outside observer or as a direct participant in the events described.

For us, it is important that Marina Ivanovna Tsvetaeva, even according to some of her admirers, was not at all a brilliant poet. It is probably worth agreeing with the opinion of D.L. Bykov that it would be a big stretch to consider Tsvetaeva a poet of genius. Especially bearing in mind her mental disorder, her hysterical psychopathy. Especially bearing in mind Pushkin's formula "Genius and villainy are two incompatible things."

Various versions of the death of Marina Ivanovna Tsvetaeva are discussed on the Internet. As one of the arguments that it was not suicide, but murder, the fact is given that she hanged herself in a kitchen apron, and poets do not leave life like that. Here we are not going to discuss the plausibility of this or that version. Let us only recall the hysteroid-psychopathic essence of Tsvetaeva. A hysterical psychopath could commit suicide in absolutely fantastic ways, and a kitchen apron is not the most fantastic detail. The logic of behavior in a hysterical psychopath cannot be completely ruled out, but it would also be wrong not to take into account the uniqueness of this logic.

Demonstrativeness is one of the essential characteristics of hysteroid psychopaths. It is demonstrativeness that peeps through in one of the suicide notes of Marina Ivanovna Tsvetaeva: “... Do not bury alive! Check it out well." In these words, the thought of the possibility of failure in a suicide attempt is visible. Everyone knows that for Marina Ivanovna Tsvetaeva, this was the second suicide attempt in a row. This second attempt proved fruitful, but the assumption of miraculous salvation is present in the quoted words. The propensity for demonstrative suicide is also a characteristic feature of hysterical psychopaths.

Vadim Markovich Rozin ends his article “The Personality and Tragedy of Marina Tsvetaeva” with the following conclusion: “Tsvetaeva was both a very strong personality and a very weak one. As do many of us." Agree with this conclusion only if many of us are hysterical psychopaths. But is it really so? Isn't such a generalization too strong?

In conclusion, let us designate just one question: how expedient is it to include the study of the work of M.I. Tsvetaeva in the school curriculum? Of course, there are more questions [A.V. Puzyrev, 2017], but we will limit ourselves to one. How necessary is it for schoolchildren to get acquainted with the work of a liar, a thief, an infant, a child killer, a suicide - a hysterical psychopath? But this is exactly what M.I. Tsvetaeva was.

Art is contagious. We think that far from one teenage girl, having read Tsvetaeva, and even beyond the program, committed suicide. The inclusion of Tsvetaeva's work in the school curriculum contradicts the decision of the Russian government to support the draft law proposed by the Vice-Speaker of the State Duma Irina Yarovaya on criminal liability for inciting children to commit suicide. As you know, the bill was previously supported by the Supreme Court of the Russian Federation [https://a.msn.com/r/2/AAnSYSy?m=ru-ru] .

The legislative initiative of Irina Yarovaya is aimed at protecting children from inclination to suicide and defines criminal liability for organizers of dangerous activities for children and adolescents. According to the press service of Yarovaya, the draft law "for the first time in Russia puts a barrier to those who induce children to commit suicide, and those who organize deadly games for children, such as Run or Die, Fairy, catching, create" groups of death " in social networks". But the existence of Tsvetaeva's creativity in the school curriculum is not a game for children, it is a direct support of the "groups of death" at the level of school programs.

The inclusion of the work of M.I. Tsvetaeva in the school curriculum on literature contradicts the support of the Ministry of Education for the Yarovaya Bill, which provides for comprehensive measures to protect the life and safety of children, and provides for the improvement of the suicide prevention system among adolescents (Interfax reported about the ideas of the Bill).

What happens, with one hand we introduce a system of suicide prevention among adolescents, and with the other we promote the work of poetesses who have successfully realized their propensities for demonstrative suicide? For some reason, I can’t believe that the compilers of the school curriculum in literature will be prosecuted for inciting children to commit suicide. Perhaps it would be more appropriate to exclude the creativity of the hysterical psychopath from the school curriculum?

Cited Literature

Bykov D.L. The real Tsvetaeva [Electronic resource] // http://www.pryamaya.ru/dmitriy_byikov_nastoyaschaya_tsvetaeva

Kiryanova A.V. Two souls of Marina Tsvetaeva [Electronic resource]. – URL: // http://kiryanova.com/r11.html

Kupchenko V.P. Marina Tsvetaeva: Letters to M.A. Voloshin // Yearbook of the Manuscript Department of the Pushkin House for 1975. L., Nauka, 1977; the same: [Electronic resource]. – URL: http://az.lib.ru/w/woloshin_m_a/text_0340.shtml

The government will punish children for inciting suicide [Electronic resource]. // Vesti.Ru - March 6, 2017 - URL: https://a.msn.com/r/2/AAnSYSy?m=ru-ru

Puzyrev A.V. Who needs Tsvetaeva in the school curriculum? [Electronic resource]. – URL:

Rozin V.M. Personality and tragedy of Marina Tsvetaeva [Electronic resource]. – URL: http://culturolog.ru/index2.php?option=com_content&task=view&id=1143&pop...

Tsvetaeva A.I. Memoirs / Second edition, supplemented. – M.: Sov. writer, 1974. - 546 p.

Tsvetaeva without gloss / Comp. Fokin Pavel Evgenievich [Electronic resource]. – URL: https://biography.wikireading.ru/148209 (Access date:)

Tsvetkova M.V. "Connection? No, discord”: The semantic function of the dash in the poetry of Marina Tsvetaeva [Electronic resource]. – URL: http://hse.ru ›pubs/share/direct/document/76214144

The hard fate of Marina Tsvetaeva

A creative personality, due to its emotionality, is not at all protected from life's realities, and Tsvetaeva's biography confirms this. The poetess Tsvetaeva Marina Ivanovna was born in Moscow on September 26, 1892. Her mother was a talented pianist and came from a Polish-German family, her father was a famous philologist and art critic, at the time of the birth of his daughter he was a professor at Moscow University, later he became director of the Rumyantsev Museum and founded museum of fine arts.

Previously, the childhood of the poetess took place in Moscow, and the summer months - in Tarusa on the river. Oka. It was a real happy childhood with trips to the theater, Christmas trees and masquerades, with trips to the country. The mother of the future poetess Maria Alexandrovna noticed that the girl "mumbled rhymes" when she was 4 years old, and real poems Marina began to write at the age of seven. But this idyll ended when the girl was 10 years old. At this time, her mother fell ill with tuberculosis, the best cure for which was considered an optimal climate, in search of which the family began to travel around Europe, living alternately in Germany, then in Switzerland, then in Italy. In 1905, the family moved to the Crimea, and a year later, Maria Alexandrovna died. Marina's first book was published in 1910, when the young talent was 18 years old, it was called "Evening Album"

Close Marina noted that she was constantly in the world of her fantasies, vividly experiencing emotions. For some time, Sergei Efron, whom the young poetess married at the age of 19, was able to pull her out of this world. Marina was a complex and vulnerable nature, but Efron bore this burden with dignity, so the first years of marriage were a happy time for her. On January 27, 1812, Marina and Sergey got married in a church, a little later they went on a honeymoon trip to Europe, shortly before their departure, Marina's second book of poems, The Magic Lantern, was published. On September 5 of the same year, Sergei and Marina had a daughter, Ariadna.

The family life of the poetess went awry at the moment when Efron became interested in the political struggle, he became a supporter of the white movement and left the family for 4 years, joining the volunteer army. At that time, there were already two daughters in the family and the care of them fell entirely on the shoulders of Marina. Famine and devastation raged in the country, saving her daughters from them, Marina in 1819 handed over Irina and Ariadne to the Kuntsevsky shelter. Soon after, the girls fell ill and Marina took Ariadne back, and her youngest daughter died two months later in an orphanage, which was a terrible blow for the poetess and affected her work. Irina died in an orphanage during the period when Marina was struggling with bouts of malaria in her eldest daughter, some of Tsvetaeva's poems reflect these events.

There is no news from her husband, Marina does not even know if he is alive. Only in the summer of 1921 did she become aware that he was still alive and in Constantinople, she was going to go to him. In the spring of 1922, Marina and her daughter arrived in Berlin, from where they left for Prague in the autumn of the same year with Efron. The family of the poetess lives in the Czech Republic until 1925, all this time they live in poverty.

In February 1925, Marina and Sergei have a son, George, in November of the same year, the whole family leaves for Paris, but does not live in Paris itself due to the same poverty.

After living in poverty for several years, Efron begins to make attempts to return to his homeland, for this he begins to cooperate with the NKVD, his desire to leave is supported by his daughter. In the spring of 1937, Ariadne still leaves for her homeland, and in the autumn of that year, Efron flees from France, becoming involved in a political assassination. Maria and her son returned to Russia in the summer of 1939, and in the autumn the NKVD arrested first Ariadne and then Sergei. The life of the poetess was reduced to the constant search for work and the collection of transfers to her husband and daughter. Unable to withstand the troubles that fell on her, Tsvetaeva, cornered by life, committed suicide on August 31, 1941, hanging herself on a rope that B. Pasternak brought to her, helping to pack her suitcases before being sent for evacuation to Yelabuga, where she was sent in the summer of that year.

It is impossible to imagine the Silver Age of Russian poetry without the work of two great poets of genius - Anna Akhmatova and Marina Tsvetaeva.

Two women who have gone through many obstacles and trials in order to make the world a little better with their incomparable poetic gift. Two different fates, each of which was tragic in its own way. The period of creativity of the poetesses fell on a difficult time for the Russian people: the First World War, the fall of tsarist power, Stalinist repressions. Their works were subject to strict censorship, and many of them were not only not published during the lifetime of the poetesses, but also decades after their death. But in spite of everything, two great women continued to create.

Anna Akhmatova - woman poet

Anna Akhmatova (Gorenko) was born in Odessa, in the family of a retired officer. Later, her family moved to St. Petersburg, where the girl received a good education. Life in St. Petersburg greatly contributed to the development of her poetic talent. Pushkin, Zhukovsky, Bestuzhev worked here. In 1910, Anna Akhmatova married the poet N. Gumilyov. The couple traveled a lot together. Trips to France and Italy undoubtedly influenced the work of the poetess. But life, as you know, sends many trials to the fate of great people.

Thunder for Anna Andreevna struck in 1921, when her husband was arrested on suspicion of conspiracy, and later shot. After 17 years, life prepared another blow - her only son Leo was sentenced to 5 years in labor camps. During the period of her son's imprisonment, Akhmatova was extremely careful with political statements in her poems, because any, even masterfully veiled criticism of the authorities, could lead to his execution. Over time, Akhmatova's literary talent was duly appreciated by her contemporaries: in 1962 she was nominated for the Nobel Prize in Literature, in 1965 she became an honorary doctor of Oxford University. Anna Akhmatova was able to endure with dignity all the sorrows and tragedies that met on her long life path. Not for nothing, contemporaries called her " woman is a poet”, courage was inherent in her both in poetry and in life.

The tragedy of the fate of Marina Tsvetaeva

Marina Tsvetaeva. A poetess whose life is impossible to talk about without hidden sadness. In her early youth, Marina lost her mother and, together with her sister, was placed in the care of her father. In 1917, her daughter Irina died at the age of three. In 1922, the poetess was forced to emigrate to Europe to her husband, who miraculously managed to escape after the defeat of Denikin. Life in Europe had a depressing effect on Marina, because her soul, her thoughts always belonged to Russia and the Russian people. Most of the works of Tsvetaeva, created during the period of emigration, were not published.

The long-awaited return to her homeland, which the poetess had so reverently dreamed of for many years, brought new grief. Within two months, her daughter and husband were arrested. The execution of her husband was the last straw that overflowed the cup of patience and endurance of the poetess. Marina Tsvetaeva voluntarily passed away, unable to endure either the policy of the state, which doomed her to suffering and an impoverished existence, or society, which remained indifferent to her sorrows.

The work of Marina Tsvetaeva was influenced by such masters of Russian literature as Boris Pasternak, Vladimir Mayakovsky, Andrei Bely. Marina Tsvetaeva brought to Russian poetry an unprecedented originality of subtle lyrics, soaked through and through with the tragic contradictions of her soul.